Black Eyed Peas – MASTERS OF THE SUN VOL. 1 (Album Review)

For many fans, the Black Eyed Peas may seem incomplete without Fergie, but MASTERS OF THE SUN VOL. 1 proved that the trio of will.i.am, all.de.ap, and Taboo is still as relevant as ever. Truth be told, the styling the trio has aimed for returns us to old-school Black Eyed Peas; albeit with a more sophisticated musical style. If you’re expecting the pop-styled dance music that has been their cornerstone since Elephunk, however, you’re likely to be disappointed.

MASTERS OF THE SUN VOL. 1 sees the trio focus on political issues that pertain to gun violence, police brutality, race relations, and social media ramifications. While I don’t generally enjoy music for its lyrical meaning, preferring to enjoy the human vocal as another instrumental element in the mix, some songs are so important that they warrant closer lyrical interpretation. That aspect alone is a superpower of the Black Eyed Peas for you can jive with the music, oblivious to meaning, or thoroughly engross yourself in the music and lyrical messaging; the choice is yours. Either way, there’s no wrong way to listen to MASTERS OF THE SUN VOL. 1.

MASTERS OF THE SUN VOL. 1 is an album experience first and foremost, but it is missing a few songs that were released as promotional singles. Street Livin’ is a brilliant song and one that commands empathy within the listener. Get It is a great little tune but is different enough from the other songs featured on MASTERS OF THE SUN VOL. 1 that it simply wouldn’t have been a good fit, unlike Street Livin’, had it been included on the album. 

What is a good fit, however, is the album artwork. While the appreciation of art is as subjective as music is, the Black Eyed Peas never disappoint with their chosen cover art designs. Similarly, the Lossless Apple Music stream is simply stunning and has been mastered perfectly for the Black Eyed Peas’ style. There are no glaring aspects that will detract from the experience for the mix and soundstage are perfectly presented, ensuring that no aspect is concealed. Even with heavier bass-driven tracks, you won’t find muddiness creeping into the music, unless you add EQ’d bass, as the album thumps just as the best Hip-Hop/Rap albums do. It really is quite spectacular to listen to for not all music is made, in the modern era, with such perfection. 

BACK 2 HIPHOP (feat. Nas) is a fantastic start to the album. The song emphasises the return to their authentic hip-hop roots and explores the theme of rekindling the essence of the genre. Like all good opening songs, it sets the tone of the album from the outset. Yes, this isn’t a song that you’ll likely rap along to, but I dare you to sit still while listening to BACK 2 HIPHOP as it’s impossible to not connect with the rhythm.

YES or NO flows seamlessly from BACK 2 HIPHOP and while I don’t go for lyrical interpretation or meaning, as I’ve suggested earlier, YES or NO is vocally brilliant. A great song, yes, although the sampling is a little pedestrian despite being perfectly suited to the song. Additionally, the short vocal calculation rhythm at the end is brilliant. 

GET READY is one of the greatest songs on MASTERS OF THE SUN VOL. 1. I’d also class it as one of the greatest songs that the Black Eyed Peas has ever recorded and the inclusion of Lauren Evans pulls the song together. Yes, I love The Jacksons’ sample from Destiny of That’s What You Get (For Being Polite). Plus, the jazzy Joe Henderson Black Narcissus sample is also a superb addition and further ensures that GET READY is an absolute masterpiece.

4EVER (feat. Esthero) is smooth and melodic, but the introduction is a little underwhelming. While I’ve suggested how strong the mix is, and I stand by that assessment, I find that some of the instrumental elements and vocals, on this song, are too distant in the soundstage. It’s clearly intended to be that way, meaning that I don’t consider it a fault, but it’s an interesting choice nonetheless. 4EVER isn’t fundamentally bad, but it isn’t a tune that you’ll be seeking out on its own, most likely due to the chosen composition. 

CONSTANT Pt.1 Pt.2 (feat. Slick Rick) is a great track with a fluid transition from 4EVER. Given it’s a two-part song, I can’t help but wonder if 4EVER couldn’t have been shortened and merged into CONSTANT Pt.1 Pt.2 because it would work well sonically. Nevertheless, CONSTANT Pt.1 Pt.2 is a fantastic tune.

DOPENESS (feat. CL) has a killer rhythm that combines hip-hop and pop elements, with a catchy chorus, that ensures your body keeps moving involuntarily. 

ALL AROUND THE WORLD (feat. Phife Dawg, Ali Shaheed Muhammad & Posdnuos) continues the masterful flow of the album and while ALL AROUND THE WORLD may not be a standout tune, it again validates the importance of the album experience for the Black Eyed Peas have done far more than just slap together a series of random songs and call it an album. 

NEW WAVE is magnificent. I suggest you turn the volume up and become immersed in the soundstage. 

VIBRATIONS Pt.1 Pt.2 has a great vibe. 

WINGS (feat. Nicole Scherzinger) is a flawless song and Scherzinger’s vocal is a perfect addition to the tune. 

RING THE ALARM Pt.1 Pt.2 Pt.3 is, jazzy, hypnotic, and nothing short of perfection.

BIG LOVE has a pertinent message that needs to be heard by all. While not as important as the focus on the messages of unity, love, and the impact of gun violence, BIG LOVE is a perfect closing tune that compels you to listen to the album again. Given its topical subject, it’s also one of those songs that will reside in your mind, thereby allowing you to reflect on the song’s message long after you’ve heard it. 

MASTERS OF THE SUN VOL. 1 wasn’t just a return to form, it is one of the most compelling and socially conscious albums the Black Eyed Peas have ever released. Pivoting back to their hip-hop roots, while addressing pressing social issues, was a masterful use of their platform and is a testament to their musical versatility. If you're a fan of Hip-Hop and appreciate socially aware themes, this album is worth a listen. Even if lyrical interpretation isn’t your thing, and you just want a killer Hip-Hop/Rap release, MASTERS OF THE SUN VOL. 1 won’t disappoint as it’s a musical marvel.  

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Glenn Frey – After Hours (Album Review)

Glenn Frey's After Hours, released in 2012, offers a delightful departure from his rock 'n' roll roots with the Eagles. Delving into the Great American Songbook, Frey delivers a collection of timeless classics with his signature charm and musical finesse that fans, and newcomers alike, will find endearing.

Sadly, After Hours would be Frey’s final studio album, but in many respects, I couldn’t imagine a more fitting closing chapter for After Hours is reflective, beautiful, and offers a level of maturity that even at the height of Frey’s career, he never quite reached for the music he recorded for this album required the soulful tones of a mature musician. Even those who were not as enamoured with Frey’s Eagles’ recordings, instead preferring his solo works, will find After Hours to be considerably different but the shift in style simply sounds right. It is as if it were always meant to be and while dissimilar to his more commercial works, I’ve no doubt that fans will find something to love about After Hours for it is not that far removed from his other recordings and these interpretations are so lovely that you simply shouldn’t overlook this masterpiece.

While many will note the spit and polish applied to all of the Eagles’ output, it is fair to say that Frey’s 80s releases weren’t necessarily of the same sonic calibre. Granted, they were 80s rock releases that had the specific sonic cues of the era, but in After Hours we don’t need to be concerned for it was recorded, mixed, and mastered beautifully. The Lossless Apple Music stream, an Apple Digital Master, is exquisite and is simply a pleasure to listen to. While I’ve been fortunate to have heard the vinyl release, which was stunning by the way, the Apple Music stream is in every way its complementary counterpart. Yes, the vinyl release was a little smoother, for that is the nature of the format, but the emotive element rings through as true on both releases.

While the music is undoubtedly impressive, the same can’t be said for the cover art. It works for the style of music, and invokes the nighttime street view associated with countless jazz clubs, but is somewhat lacklustre for an artist of Frey’s calibre. That said, most of Frey’s solo works had average cover art designs, if we’re to be completely honest, so I really shouldn’t be as surprised as I am by the simple design of After Hours. That said, it’s all about the music, so let’s take a look at the songs that make up After Hours.

For Sentimental Reasons opens the album with a warm and inviting rendition of this classic song. Frey's smooth vocals immediately set the tone, drawing listeners into a world of nostalgic melodies and heartfelt sentiment.

My Buddy is campy, but I love it! That drumming is off-the-charts good, and the fullness of all backing musical elements will immerse you in the music while Frey remains front and centre. The performance and subsequent recording of My Buddy is done so well that you’d swear you were in the studio with the band.

Route 66 is lively and full of energy. Yes, Route 66 is one of the greatest songs to have ever been composed and this interpretation is no exception. It isn’t fundamentally different and doesn’t necessarily take the tune in new directions, but it also doesn’t detract from the classic renditions we all know and love. It is this similarity that is the song’s strength for fundamentally changing a classic such as this would be met with exasperation.

The Shadow Of Your Smile is a lovely song that further showcases Frey’s vocal versatility as he adds a touch of sophistication to this recording.

Here’s To Life is one of the most beautiful songs on the album. Frey manages to capture the essence of the song’s lyrics, reflecting on life’s ups and downs, masterfully. As much as I adore Frey’s rendition, however, I can’t help but wonder just how exceptional this tune would have sounded had George Michael recorded it for his spectacular Symphonica release. Nevertheless, Frey’s moving and contemplative performance is flawless and is one of the greatest vocal recordings of his career.

It’s Too Soon To Know is a poignant ballad, and Frey's vocal delivery is, as is the case throughout After Hours, sincere and touching.

Caroline, No is a standout recording of this Beach Boys classic. Frey adds his own style to the song while preserving its melancholic beauty, making it a fresh and captivating interpretation.

The Look Of Love oozes with sensuality and sophistication, but nobody does it better than Diana Krall.

I’m Getting Old Before My Time is a lovely tune, even if not a standout on the album. While it flows well within the album’s structure, it is unlikely you’ll be compelled to seek out I’m Getting Old Before My Time on its own.

Same Girl is stunning! Frey’s vocal prowess shines through and the song quickly becomes a hidden gem of his illustrious career. Filled with nostalgia and warmth, it’s an audible pleasure to be able to sit back and listen to this master musician at work.

After Hours is the only original composition, on this release, and it’s a lovely way to close the album. Writing with Jack Tempchin, the result is incredible as After Hours doesn’t feel out of place with the other standards featured on this record. That’s no easy task, even if you are as skilled as these gentlemen. Standards are standards for a reason and After Hours is a modern-day offering that encapsulates the overall mood of the album.

After Hours is a delightful journey through the classics of American music. Frey’s smooth, soulful vocals and heartfelt interpretations breathe new life into these timeless songs. The album is a testament to Frey's musical maturity and versatility, proving that his talent transcends rock music. After Hours really is Frey at his very best. Yes, his Eagles work is beyond reproach, but After Hours is his greatest solo release and one that should not be overlooked.

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Slash - Self-Titled (Album Review)

Released in 2010, Slash is the legendary Guns N' Roses guitarist's long-awaited debut solo album. Featuring a star-studded lineup of guest vocalists and musicians, this self-titled album showcases Slash's exceptional guitar skills and his ability to craft a diverse collection of rock songs.

Slash is so synonymous with rock and roll that it would have been easy for him to release a run-of-the-mill Slash & Friends release. However, he didn’t disappoint on this record as he was active in writing and co-writing the entire album. Perhaps this is where other artists have come unstuck as they tend to simply re-record their classics, or record tunes that were never worthy of release, with their friends, resulting in a less-than-stellar release. The result is that Slash is an album experience first and foremost and is arguably his greatest musical achievement outside of Guns N’ Roses. 

Part of the album experience is the artwork and Slash’s self-titled album is magnificent in that regard. Although, I do still feel that the artwork for Slash’s Snakepit It’s Five O’Clock Somewhere is superior. Regardless, Slash’s output has often been adorned with incredible cover art; well, that is until recently as the last great cover art he was associated with was Apocalyptic Love. 

Of course, there’s more to the album experience than the visual element for it must sound compelling in order to garner the attention of music lovers. While this album has been mastered loud, it works well for the hard rock genre. Yes, I’d like a little more breathing room as the drums can sound a little concealed and rather than a shimmer in the cymbals, we’re often met with hideous crunching as the album has been recorded well into the redline. Nevertheless, it rocks and while you won’t necessarily want to turn the volume up to ear-bleeding levels, it can rock loud enough to drive your neighbours insane. That all said, a remaster would likely yield better results, or better yet another vinyl pressing, for the limitations of the analogue format permit a greater dynamic range in order to play correctly. Plus, who doesn’t want that killer artwork on a larger canvas? 

The lossless Apple Music stream, a direct counterpart to the CD release, is subsequently adequate and will appease most fans. The only difference is the stream includes the bonus track Paradise City (feat. Cypress Hill & Fergie); a great interpretation, certainly, but one that I feel isn’t worthy of inclusion here. As a result, I’m sharing a playlist of the album with this track omitted. 

Ghost (feat. Ian Astbury) kicks the album off with a haunting and bluesy number. Ian Astbury's gritty, yet smooth, vocals are the perfect accompaniment to the backing musical performance; a performance that is off-the-charts good.   

Crucify The Dead (feat. Ozzy Osbourne) transitions seamlessly from Ghost and quickly becomes a hard-hitting rock anthem that is a match made in heaven with Slash's riffing and Ozzy's iconic vocal delivery. It’s one of the best songs from the album, but more importantly, it’s one of the best performances in their careers, for both musicians created a masterpiece. 

Beautiful Dangerous (feat. Fergie) is one of the greatest, and most unexpected, rock and roll recordings of all time. Most of us know Fergie from the Black Eyed Peas and while her contribution to that band was extraordinary, and her subsequent solo career has been admirable, she takes her skills as a vocalist to another level on this song. Truth be told, Fergie should be fronting a rock and roll band full-time for she’s got the sultry vocal chops to pull it off.  

Back From Cali (feat. Myles Kennedy) is the first of two masterful Myles Kennedy additions to Slash. As you listen to this song, you’ll be left with little doubt as to why Slash and Kennedy have formed a long-term collaborative partnership for they complement each other perfectly on this melodic rock track. 

Promise (feat. Chris Cornell) is sensational! I’ve adored Cornell’s vocals ever since I first heard Soundgarden’s Superunknown and Promise only intensifies my admiration of the late, great frontman. It may be a little more melancholic than you’d otherwise expect, but Promise allowed both Cornell and Slash to display their musical prowess. 

By The Sword (feat. Andrew Stockdale) is a bluesy masterpiece with Stockdale's unique vocal delivery complementing Slash's commanding guitar work.

Gotten (feat. Adam Levine) adds a pop-rock flavour to the album with this acoustic-driven ballad and Levine’s smooth vocals. It may be a departure from the album’s heavier tunes, but don’t let that deter you as it’s simply stunning.

Doctor Alibi (feat. Lemmy Kilmeister) is hard and fast with an addictive rhythm; a fitting song for Kilmeister’s distinctive growl. 

Watch This Dave (feat. Dave Grohl & Duff McKagan) is the only instrumental track on the album and while Grohl and McKagan are legends, it’s lacklustre and nothing more than filler. Given Grohl’s history as frontman for the Foo Fighters, one would have thought that a killer rock and roll tune, with him on lead vocals and Duff on backing vocals, would have been the perfect combination. As it never happened, it can only be considered a missed opportunity.

I Hold On (feat. Kid Rock) brings a little southern rock to Slash but as much as I enjoy, almost everything, that Kid Rock releases, I Hold On could have been a heavier tune, one that I feel would have been more fitting to this collaboration. Nevertheless, I appreciate it for what it is and it’s a solid rock tune that’s perfect to toe-tap along to.

Nothing To Say (feat. M. Shadows) is characterised by aggressive riffs and powerful vocals. It’s a match made in heaven for it’s reminiscent of the style on Avenged Sevenfold’s Self-Titled 2007 release and is, therefore, perfectly suited to Shadows. 

Starlight (feat. Myles Kennedy) is incredible! Not only is it one of the best songs from the album, but you’d be hard-pressed to find a recording, from Kennedy’s entire career, that is better than Starlight, for this melodic and soulful ballad will leave a lasting impression. 

Saint Is A Sinner Too (feat. Rocco DeLuca) has a slower, more reflective quality that adds depth to the album. It’s a lovely song and a hidden gem that will only be known to those of us who listen to the entire album.

We're All Gonna Die (feat. Iggy Pop) is a song that only Iggy Pop could have sung; one filled with raw, high-energy rock. It’s the perfect way to close out the standard edition of Slash.

Slash is an incredible album that has and will continue to stand the test of time. While I’d love to see another multi-artist collaborative release from Slash, sometimes less is more and this is one instance whereby a singular release is all that is needed. From blues-based hard rock to ballads, Slash's iconic guitar playing remains front and centre with each of his guest vocalists bringing a unique element to each track, making it a must-listen for fans of classic and modern rock alike.

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Big Scary – Animal (Album Review)

Released in 2016, Animal is the fourth studio album from Big Scary; a musically dynamic Australian duo that offers a mesmerizing exploration of human emotions and experiences, delivered via a unique blend of indie rock, electronica, and heartfelt lyrics. Each song from Animal contributes to the album’s cohesive narrative, one that asks us to transcend our animal instincts and rise above the animal within, making it a must-listen for anyone seeking an immersive musical experience.

Of course, before one can get to the music, the album artwork will draw you in as it’s simply stunning; in a non-traditional manner, that is! It’s eye-catching and stays with you while connecting with your soul on a level that only the visual senses can fully comprehend. If nothing else, it is the perfect visual accompaniment for the music that you’re about to experience. 

While such a visual element would be perfectly suited to the larger vinyl canvas, I’ve yet to pick up a copy on that format. A shame, yes, but with limited funds, my wish list is considerably lengthy as it is. Nevertheless, it gives me something to look forward to and until then I can say with certainty that the lossless Apple Music stream is sonically exquisite. 

If you are interested in seeking the album out on vinyl, you’ll notice an immediate difference to the streaming counterpart as the album is separated into Hunting, Lurking, Resting, and Walking themes; each presented on its own side of the double LP. The CD offers a similar breakdown, but due to the continuous nature of the format, it isn’t quite as unique as that of the vinyl release. For example, if you want to listen to just one aspect of the album, you can listen to that single side. This acts in much the same way as Sigur Rós’ () as it presents the album in a randomised, listener-determined, structure. Whether or not you find this aspect fascinating, it’s wonderful to see independent artists experimenting with their craft. 

While part of the artistic intent of Animal was to allow the listener to play the album in a non-linear manner, this review will focus on the sequencing released via Apple Music as that retains the core artistic intent.

Oxygen is a hauntingly beautiful track that sets the tone for the entire record. With its raw drum beat that harks to the core animal status within us all, to the sonically dry electronic rhythm, you’ll be captivated from the very first note.

Organism is diverse and layered, resulting in a song that is larger than the sum of its parts. Every aspect of Organism is perfect and it amazes me that music this good was made by an independent artist. I say that because Organism, and the entire album, sounds better than most big label/artist releases. 

Double Darkness is a little more subdued and introspective with a vocal tracking that is simply sublime. There’s much to love when Double Darkness comes on, and it’s one of the best songs on the album, but I find it’s the correlations I hear to Paul McCartney’s recordings that are the most interesting aspect here.  

Savior Add Vice transitions seamlessly from Double Darkness and while it has a greater rock vibe than the previous track, the distorted guitars and tempo quickly shift the atmosphere to one that is controlled by a sense of urgency. Additionally, I feel the vocal presentation is flawed on this particular song as it tends to get lost in the mix. While I acknowledge that that approach was likely intended, it results in a somewhat lacklustre performance. 

Lone Bird is a killer song with a perfect rhythm and composition. Incredible!

The Endless Story is thoroughly enjoyable. Not only are the musical elements compelling, but the vocal delivery is equally exceptional.

Flutism suits the album but isn't a track that connects with my soul. It isn't inherently bad, but it’s a little over-produced.

Up And Up And Up is incredibly addictive. I dare you to sit still while listening to this track; I can’t do it. 

Breathe Underwater reduces the tempo considerably and it may result in a shock to the senses; if you’re streaming that is. Breathe Underwater is the first song of the Resting element of the album and if you’ve picked up the vinyl release, the time delay, due to flipping sides, will be enough that you wouldn’t notice the shift as much as those of us who are streaming the album do. Nevertheless, Breathe Underwater is a lovely mellow song.

The Opposite Of Us is a beautiful tune that is not only an ideal fit for the album but flows perfectly through the Resting phase of the record. 

Heaven On Earth is atmospherically stunning. I can only imagine how exceptional it would sound on vinyl, for the Apple Music stream is already breathtaking.

Over Matter has a little too much volume and channel variation that I find to be rather distracting. Yes, it’s a technique but even if I could compartmentalise that aspect, the vocal pacing isn’t in harmony with the other songs from the album. The result is that Over Matter can sound like a garbled mess. Ultimately, however, that doesn’t deter me from the album experience but it is a low point in an otherwise exceptional release. 

Lamina has moody tones that are reminiscent of the opening tracks thereby making it an ideal bookend that compels me to listen to Animal again and delve deeper into Big Scary’s growing catalogue of music. 

From start to finish, Animal is a masterful album that showcases the Australian duo's incredible talent for crafting deeply emotional and sonically rich music that is immersive. Animal really is nothing short of a modern indie rock gem and is one of the best albums released in 2016. 

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Disturbed – Evolution (Album Review)

Released in 2018, Disturbed’s seventh studio album, Evolution, marked a significant shift in the band’s musical direction. Known for their heavy and aggressive sound, Disturbed took a more diverse and melodic approach with this album, exploring themes of personal growth, change, and, as the title suggests, evolution. While some long-time fans may have been surprised by this shift from their signature style, Evolution proved to be a bold and intriguing addition to Disturbed's discography. 

Sometimes the only way for an artist to remain relevant, and continue to grow creatively, is to evolve. Disturbed has done just that, but it comes at a cost for as exceptional as Evolution is, it sounds as if it would have been better suited as a side project. Think Corey Taylor's Slipknot versus Stone Sour styles and you'll likely understand where I'm coming from. Granted, David Draiman has the vocal chops to perform in multiple styles, and the cover of The Sound Of Silence certainly opened doors to a broader fanbase than Disturbed had previously had, but was a shift absolutely necessary? 

In retrospect, I believe it was. The problem is that until you get used to the stylistic shifts throughout, it reminds me of the disjointed mess that is John Lennon and Yoko Ono's Double Fantasy. I can’t help but wonder if Evolution would not have been better being expanded, resequenced, and presented with one half in their traditional manner, the other their newfound ballad-focused style. That didn’t happen, of course, but what you’ll find is that the chosen sequencing grows on you the more you listen to the album.

Speaking of listening to the album, the lossless Apple Music stream, an Apple Digital Master, is understandably compressed but perfectly suited to the music. About the only time the compression becomes an issue is in the drums whereby the cymbals lack a delicate taper as they ring out. Instead, and it’s quite noticeable one some songs, the crunching cymbal effect of such mastering results in a less-than-ideal sonic presentation that can be jarring on the senses. There’s little doubt that this is one area where the vinyl counterpart may be better suited because of the more stringent mastering limitations. That’s no guarantee that it will be better, but if you’re after a copy of Evolution with an even greater dynamic range (less compression) then it could be worth the time and investment to track a copy down on vinyl. That’s certainly what I’ll be endeavouring to do, but until then the Apple Music stream is a perfect facsimile that allows me to enjoy this album. 

Are You Ready is a signature stadium-filling song that combines Disturbed's classic heaviness with anthemic melodies. Its energy and finesse are addictive and will appeal to longtime fans and newcomers alike with its radio-friendly styling.

No More continues the album's powerful start with an incredible rhythm, killer guitar licks, and Draiman's distinctive vocal delivery. 

A Reason To Fight is a beautiful ballad. If you thought their cover of Simon & Garfunkel’s The Sound Of Silence, from Immortal, was impressive, you'll be blown away with A Reason To Fight. It’s arguably the best song on the album and one of the best songs Disturbed has ever written and recorded.

In Another Time introduces a more experimental sound and while it isn’t what I’d call classic Disturbed, it grows on you the more you listen to Evolution; so much so that it has quickly become one of my favourite songs. 

Stronger On Your Own is different and simply doesn’t blow me away. Subsequently, I think it’s fair to say that this is one song that no one will seek out on its own as it’s the weakest song from Evolution. 

Hold On To Memories is a welcome change following Stronger On Your Own for while it’s another ballad, Disturbed knocks them out of the park.

Saviour Of Nothing returns the album to Disturbed’s renowned heavier sound and while it isn’t a standout, Saviour Of Nothing is a perfect album-only tune.

Watch You Burn is somewhat similar to Saviour Of Nothing in that it isn’t exceptionally good, except for the incredible symphonic elements later in the song, but repeat listens have ensured that I’ve come away with a greater respect for the tune. This is one of those examples where it is imperative to listen to an album more than once, in its intended sequencing, for sampling tracks or listening via a playlist will never truly allow you to engage with the music.

The Best Ones Lie sounds as if it was left over from the Believe sessions. That's a good thing if you were wondering.

Already Gone closes the album out beautifully with a contemplative ballad that will either encourage you to play the album again or reflect upon the music you’ve just heard.

While some fans may have initially been resistant to the shift in musicality, Disturbed showed their willingness to evolve and experiment with their music and that should be celebrated. The album's strength, subsequently, lies in its introspective and emotional lyrics, as well as Draiman's powerful vocals, which shine throughout. If given the chance, after repeat listens, I’m certain that you’ll find much to love as Evolution is an excellent addition to Disturbed’s discography.

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Paul McCartney – Egypt Station (Album Review)

Released in 2018, Paul McCartney’s 17th studio album, Egypt Station, is a testament to the enduring brilliance of one of the world’s greatest musicians. As a living legend, McCartney owes nothing to fans, yet his career knows few peers. While some may point to select albums as not being his most innovative, Egypt Station is not only one of the best albums from 2018, but it is one of the most creative and appealing from McCartney’s illustrious career.

McCartney's ability to craft melodies that stand the test of time knows no bounds and Egypt Station validates this as the music contained within is a masterful blend of his signature pop-rock sound that effortlessly weaves through various musical styles. While not quite a concept album, the music has been built around a train station abstraction. The aim is that when listened to in its linear manner, each song represents a different station (theme/intended meaning) along the way. It’s intriguing, certainly, but outside of streaming options, the artwork more fully encompasses this creative arch. 

Egypt Station is one album where I can say with complete confidence that those of you who only stream are disadvantaged for the vinyl counterpart that I’m fortunate to own, a tri-fold concertina-styled design, is packed with a visual journey to accompany the audible expedition. It really is quite exquisite. The CD release, and other subsequent editions, replicate and further the artwork found on the vinyl release meaning that collectors can be thoroughly immersed in the tactile as well as the musical aspects of this particular release. Additionally, while the sonic reproduction on Apple Music is excellent, the vinyl release takes the album, sonically, to another level entirely. With the vinyl counterpart, you’ll experience a far greater sense of depth and presence to the music; particularly on songs such as the epic closer Hunt You Down / Naked / C-Link, for Tim Loo’s cello comes alive on the vinyl release. The Apple Music stream is akin to hearing the album whereas you’ll feel the music in your soul should you pick up the vinyl release. 

Yes, the lossless Apple Music stream is an Apple Digital Master, yet something has been lost in the delivery from the original master to the music lover. Of course, it could simply be a case that the vinyl record was mastered so incredibly well that that is the defining element. It isn’t a night or day difference, for it rarely is, but it is something to be aware of if you’re looking to get the very best sonic reproduction of this modern classic.

Opening Station is a short ambient tune that launches the album perfectly and flows beautifully into I Don't Know.

I Don't Know is simply stunning! All musical elements are crystal clear with a slow hypnotic rhythm that will immediately connect with your soul. It’s, without a doubt, one of the best songs from Egypt Station.

Come On To Me shifts the tempo to that of a rock-focused tune infused with catchy hooks. With a pleasing composition that has an eclectic feel, Come On To Me is an instant toe-tapper and one that would be ideally suited as a stadium-filling tune. 

Happy With You presents us with another audible shift, this time focused on an acoustic-based presentation. Happy With You is thoroughly enjoyable and further highlights McCartney's vocal capabilities; an astonishing achievement for a man of his years.

Who Cares is an awesome rock and roll song with a fantastic message. I wish I had a song such as this during my teenage years. Nevertheless, Who Cares has a spirited rhythm that ensures this tune stays with you well after you’ve heard it. Fantastic!

Fuh You is the only song on the album that doesn’t grab my attention. It’s campy, over-produced, and the drums sound is too flat within the mix. A style, perhaps, but not one that interests me.

Confidante feels like a heartfelt conversation with a close friend and is an excellent example of McCartney's emotive storytelling. 

People Want Peace is short but meaningful. It had the potential to be campy but isn’t and is a great example of McCartney’s continued commitment to spreading positivity through his music.

Hand In Hand is a simply beautiful song and is one of McCartney’s greatest songwriting achievements. An instant classic! 

Dominoes has a catchy hook and groovy rhythm. The pop-rock styling on this track always reminds me of Julian Lennon’s style; particularly on Photograph Smile.

Back In Brazil adds a touch of world music to the album, showcasing McCartney's continued willingness to experiment with sounds and musical styles.

Do It Now is absolutely gorgeous and is music at its very best. It blows me away every time I listen to the album.

Caesar Rock harkens back to McCartney's early rock 'n' roll influences, complete with catchy guitar riffs and spirited vocals and is one song that only gets better the more I listen to Egypt Station. 

Despite Repeated Warnings is a sprawling epic that is quintessentially McCartney for not only is the message one that is important to hear, but the musical aspects are so layered and diverse that you’ll latch onto different aspects of the song upon each listen.

Station II seems somewhat superfluous, especially at this late stage in the album. It does, however, set us up for the masterpiece that is Hunt You Down / Naked / C-Link.

Hunt You Down / Naked / C-Link is hands down the best song on the album and one of the greatest songs, or combination of, that McCartney has ever recorded. It’s also the ideal closer, for it’s memorable and will simultaneously encourage you to spin the album again.

McCartney's willingness to experiment with new sounds and themes, while staying true to his roots, ensures this album is a captivating and enjoyable musical journey. If nothing else, Egypt Station is a testament to McCartney's enduring artistry and is an essential addition to any music lover’s collection for this is McCartney at his very best.

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Slipknot – .5: The Gray Chapter [Special Edition] (Album Review)

Released in 2014, Slipknot's fifth studio album, .5: The Gray Chapter, marked a significant moment in the band's history. It came six years after their previous album, All Hope Is Gone, and was the first without their founding member and bassist, Paul Gray, who tragically passed away in 2010. Additionally, it was also their first album without drummer Joey Jordison, making it a crucial test for the band's ability to adapt and evolve while staying true to their signature sound. 

Alessandro Venturella would be the new bassist from this release onwards, as was Jay Weinberg on drums, but neither musician took anything away from the founding members they replaced for they not only brought their unique style to Slipknot, but they ensured that the legacy of Gray and Jordison was maintained. The result was a seamless transition that would allow the fans to embrace the music, rather than constantly contrast one performer against another.

What isn’t up for debate is the production quality of .5: The Gray Chapter for this is an incredible release with a mix and master that, especially for the genre, is the definition of perfect. While I’ve yet to pick up a physical copy of this exceptional album, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is an experience in and of itself and has to be heard firsthand in order to fully appreciate just how spectacular every aspect of this recording is. The stream is subsequently so mind-blowing that I wonder if a physical counterpart is necessary as there isn’t a single element that I would change, nor is there any aspect that I feel could be improved upon. Yes, dear reader, it is that good! 

XIX is an eerie, atmospheric opener, that sets the tone for the entire album. Even if the rest of the album had been lacklustre, XIX is about one of the best opening tracks you’re ever likely to hear, from any album, in all of recorded music history.

Sarcastrophe flows seamlessly from XIX, but it isn’t long before Slipknot’s renewed burst of energy comes blaring out of the speakers with pounding percussive elements and frantic guitars accompanied by Corey Taylor’s intense vocals. Sarcastrophe is Slipknot 101 and while it may not be the first song that you think of when looking forward to listening to .5: The Gray Chapter, it harks back to their origins and longtime fans will no doubt appreciate the rawness of the recording. 

AOV is a melodic and aggressive tune that highlights Slipknot’s dynamic and ever-evolving style. However, as exceptional as the music is on AOV, it’s Taylor’s vocal delivery that is of particular note here for the verses are poetic and the chorus is soaringly perfect. 

The Devil In I is the expected radio-friendly tune with a catchy chorus, sensational grinding guitars, and a rhythm that when turned up to 11 will collide with your soul. Yes, purists may feel these commercial-based tracks are a distraction, but just as I adore ballads, I absolutely love Slipknot’s more accessible tunes for they not only rock, but open the door for new fans to enter the fold.

Killpop showcases Slipknot’s softer side, for even the greatest headbangers need a palette cleanser from time to time. Additionally, the depth and level of detail in the soundstage of Killpop is sublime and while Slipknot's music has always been multi-layered, Killpop is a masterpiece in that regard.

Skeptic is an appropriate tribute to Gray, but it sounds a little too disjointed in places. It, subsequently, isn't one of my favourite songs from the album, but remains a worthy inclusion.

Lech is relentless and while it’s most certainly an album-only tune, .5: The Gray Chapter wouldn’t be the same without it.

Goodbye is another emotional song discussing Gray's death and the impact his passing had on the band. It’s an exceptional song with a gorgeous soundstage and vocal presentation. Its placement, mid-album, is interesting though. I would suggest it would have been better placed towards the beginning of the album or as the final track.

Nomadic is a high-energy, aggressive tune, that flows so seamlessly from Goodbye that you’d be forgiven for thinking of the two as a single song. 

The One That Kills The Least is a more melodic piece with an addictive rhythm, killer guitar licks, and more of Taylor’s exceptional vocal dexterity.  

Custer is a ferocious song with explosive energy, featuring Taylor's screaming vocals and aggressive instrumentals. It’s classic Slipknot!

Be Prepared For Hell is pure filler and should have been omitted from the album; despite leading us sonically into The Negative One.

The Negative One is a heavy, chaotic track that captures Slipknot's signature aggression and will appeal to long-time fans.

If Rain Is What You Want is an intriguing tune, but is it really a Slipknot song? I'm not sure! It sounds more like a repurposed Stone Sour tune, but that’s just me. That isn’t to say it's bad, just that I don't feel this qualifies as a Slipknot song per se. Nevertheless, it’s a haunting and atmospheric ballad that displays the musical talent within Slipknot. For those of you who collect vinyl, however, it is a rather strange way to close a Slipknot album as it’s the last song on the physical counterpart. 

Override is a dynamic, hard-hitting, track that suits Slipknot significantly better than If Rain Is What You Want. In fact, it’s one of their greatest recordings that many wouldn’t have heard, unless they checked out the Special Edition release, that is.

The Burden is a sombre closing to the Special Edition release of .5: The Gray Chapter and instead of going out with a bang, The Burden is more akin to a whimper. That isn’t to say that it’s fundamentally bad, but it isn’t the strongest song to close a Slipknot album on.

.5: The Gray Chapter is a powerful and emotional journey that explores themes of loss, grief, and rebirth. Slipknot manages to strike a balance between their familiar aggressive sound and a more melodic and introspective side. The result is that .5: The Gray Chapter is the definition of a perfect album; if it were a little shorter, that is. Had the runtime been reduced to that of a standard-length album, it would have been even stronger. Nevertheless, .5: The Gray Chapter is a testament to Slipknot's ability to evolve and grow with resilience while staying true to their roots. While it may not surpass their earlier classics, for many fans, it's a strong addition to their discography, nonetheless, and a must-listen as well as one of the best albums released in 2014.

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