This post was part of a series that I called S-Tier Songs. I later decided to abandon the series in favor of a simpler Song of the Week format. I am keeping these posts as I wrote them but removing the old page that linked to the list of S-Tier Songs, so that is why these posts might look a bit odd. Enjoy.
I’m going back to 1991 and the tail end of popularity for hair metal. While much of that scene began to sputter out in the summer before grunge put the final nail in the coffin that fall, one band released a genre-defying masterpiece that transcended the scene and is often remarked on as a master class in rock and metal. Skid Row’s Slave To The Grind would hit number 1 on the US Billboard charts and would see the band ride a wave of success for a few years while many peers fell by the wayside.
Skid Row – Wasted Time
Wasted Time was the third single released from Slave To The Grind. The song did not break the US Top 40 but did perform respectably well in international markets and would be their final “hit” in terms of charting in multiple countries.
The song transcends its middling single status by being an oft-cited highlight from the record and often mentioned among the best ballads ever recorded. The album as a whole has been revisited by many as a landmark moment in hard rock and metal, and much of that revisiting holds Wasted Time as the chief exhibit.
The song musically is a well-written and played power ballad that ditches the well-worn “hair metal ballad” formula. It isn’t just a slow song – its melodies and hooks are well-crafted and in abundant supply. The guitar solo is perfectly done, in keeping with the song rather than being a showcase of how fast a guitar can be played.
Skid Row really were on another level from their peers, both on their debut and this second effort. Much of what they did, both in sentimental songs like this or in blazing hard rockers, stands head and shoulders above the other offerings of the day. When they were on, very few acts could hope to touch what they were doing.
While the song’s instruments are very well done, it’s of special note to discuss the star of the song – the vocal performance of Sebastian Bach. His work on Wasted Time is the stuff of legend. There are very, very few singers walking the planet, from any genre, who could touch what he did on this song. His high notes are just beyond the reach of most humanity, and he uses his considerable range effectively to communicate the dark, swinging moods of the song.
Lyrically the song is about losing a friend to the throes of drug addiction. The lyrics had a specific muse – former Guns N Roses drummer Steven Adler, who had been fired from GnR a year prior and who would go on to have a well-chronicled series of problems with addiction. Wasted Time depicts that harrowing experience in grand form. It’s a song that cuts through a thorny issue that many have sadly had to deal with.
Why is this an S-Tier song?
Wasted Time is a magnificent showcase of the strengths of hard rock at the turn of the decade into the 90’s. It is songwriting on a level not many can touch and Sebastian Bach’s singing is something in a league all his own. The song is a fitting conclusion to perhaps an entire era of music and was a powerful final statement on an album that defied categorization and exceeded many’s expectations.
After dispensing with the Album of the Year on Monday and a more fleshed-out list the week prior, I’m back to wrap up 2021 with a variety of thoughts on things. I’ll discuss music as a whole, where I’m personally at and going with this blog into the new year, and I’ll give out a few “… of the year” awards as I go along.
The End Of The Year In Music, 2021
It’s about time to bring 2021 to a close. Christmas is just days away, and with that just one more week until 2022 begins. The COVID pandemic rages on after a brief glimmer of hope in the summer. Political unrest and partisan hostility continue to define the social conversation. We appear headed to the brink of some dystopian disasterpiece, but it’s kinda hard to say.
In music, the industry and artists tried their best to get back to the business of making music, tours and money. Legacy acts sold off catalog rights for large sums while smaller acts hit the road in uncertain conditions to try and make a buck. Bands who had sat on albums hoping to air them out as part of a new touring cycle instead chose to release their efforts and see some recompense.
Psychical formats came back strong, even in the wake of massive streaming numbers. But those formats might be threatened by short supply. Record plants are backed up on orders for years, only pushed further when one of the world’s biggest artists needs half a million copies of her album pressed ASAP. Cassettes have returned as a novelty but are only made in one place on a mountain in some remote Himalayan nation. More and more physical format collectors are casting fond eyes once again at the CD, a format thought to have been rendered obsolete by streaming. Hey, some people want to have something on their shelves.
Fans have turned out again for the bands who have braved the perils of travel to tour. While many places in the world continue to lock down over virus concerns, other parts have flat outlawed health restrictions and are as open as they were before 2020. It’s in these enclaves that bands and fans have met again after a nearly dead touring scene in 2020. It appears that the touring machine is preparing to fire up in a bigger way for 2022, replete with arguments about vaccination requirements and other protocols that have become as divisive as opinions about the best Metallica record.
2022 appears to be promising for a real return to the business of music, at least on the surface. Bands left and right are queuing new albums for next year’s release and many acts who sat on the sidelines during 2020 and last year are gearing up for tours this next go around. It might be a tenuous hope, but it is some hope after all that these groups can get back to what they need to do in order to keep themselves going.
Live Album Of The Year 2021
I’ll just be real – I didn’t listen to a lot of live albums this year. I don’t know of that many even released. I know some legacy acts like Kiss and Metallica pump them out almost in constant rotation, and that Deep Purple dumped a few old recordings on the market. Hell, I guess Pink Floyd just did a massive dump of early 70’s live stuff the other day. But I haven’t got to any of it yet. There’s stuff I’ll give a spin to later, sure, but live albums as a whole aren’t the biggest part of my music experience.
Of course, one live album did get released that caught my attention this year. In fact I spent a good portion of time on here discussing the band in the lead-up to the album’s release.
The live album of the year, to probably no one’s shock: Oasis – Live At Knebworth 1996.
I went into very full detail on this album and the accompanying documentary already in this earlier post, so I’ll spare details now. I’ll probably back off on Oasis content for awhile since knocking out the first two albums and the Knebworth discussion does tend to cover most of their career highlights. Liam does have a solo record hitting sometime in 2022 so I’ll certainly give space to that, but for now Oasis can give way to a multitude of other stuff I want to discuss.
This Blog In 2022
I was uncertain how I’d feel about getting back into blogging after a 10-plus year absence. Also I was unsure of sticking with one topic – in the past I would just write about whatever I wanted. But these days require a bit more specialization of subjects to hold any attention at all and music has always been one of my primary interests, so music it was.
So far I have to say I’ve been quite pleased with how things have turned out. I don’t find myself with as much time to write and plot out future stuff as I’d like, but I’ve started getting a handle on that. I have some new series and project-style features I want to air out and I should be getting to some of those early next year. I do hope at some point to expand to at least 4 days a week of posting, but for the time being I’m going to hold to 3 a week as it suits my present routines and time constraints.
One project I had intended to have going by now was a YouTube channel. I figured it would be a good way to do some list-style things like ranking a band’s albums and stuff of that nature. I haven’t found the time to get to work on that yet though I have a bit of planned content ready to go. It is a whole other animal with more demanding time requirements than the blog so it’s been a bit to get it going. I’ll be knuckling down after the holidays to get that ball finally rolling, though in reality the blog will remain my main mode of expression.
Thanks to everyone who has dropped by and read, and either left comments here, on social media or in person. It’s been a different world than when I blogged in the past, when it was semi-anonymous and almost no one knew or cared what people were writing. Even in an age where social media and video have driven many people from this written format, I’ve still found that people are interested. Time marches on into the new year, and this thing will keep going.
Song Of The Year
I’ll leave off with one more “award” presentation. Albums are fine and all but the individual songs do mean something and have their own processes to evaluate and take in. I didn’t bother with a ranked list or anything else for this one. Perhaps next year I’ll take some extra time to give a list.
But for this year I’m just going to crown a champion. I discussed this EP early on in the blog’s beginnings and I’ve been over it a time or two since. It wasn’t much of a contest for me to determine my pick for Song of the Year – To The Hellfire by Lorna Shore.
I went over it in my Spotify Wrapped review a bit ago – I played the shit out of this song. I was reeled in right when I heard it. I did miss it when it actually released in June due to being busy with a million other things, but I got into it right when the EP released in August. And I played it a few hundred times since.
I’ve noticed a lot of adverse reaction to this song after the hype built for it across the Internet. Now I can find as many people dismissing it or digging up every other deathcore release in 2021 to proclaim that “better.” I guess that’s how things go, but no other deathcore act captured that many ears and put up the kind of numbers that Lorna Shore and this song did.
But hey – it isn’t worth it to try and argue against people arguing against something. The song struck a nerve with a whole lot of people and did great things for the band and the subgenre as a whole. A rising tide lifts all ships, as they say. Lorna Shore have completed recording their new full-length, an album I’d expect to see sometime next year. They gave themselves a tough act to follow with this song and EP, we’ll see if they can live up to it.
Wrap It Up
That’s about all for my look back at 2021. A wild year, unsettling and chaotic with everything going on and the uncertainty of the future. But the music landscape looks to possibly be brighter in the coming year, and even with all the chaos, it seems many artists were able to turn in some great releases over this pandemic-soaked landscape.
I will be posting on my regular schedule for the rest of the year – this coming Friday and 3 days next week. And I’ll have a special album of the week that ties in to the coming of 2022, I’ve been looking forward to this since I got this up and running back in August. Have a good holidays, I’ll be around on my normal schedule, and off to the new year we go.
It’s that time – the end of 2021. With any music-related posting, that necessarily entails top “of the year” lists. It’s time to get mine rolling.
I’ll do this in a few parts. Today I’m going to roll out the bulk of a Top Ten Albums list. I’ll do everything from 10 through 2 today. On Monday I’ll give extra space to my 2021 Album of the Year. And on Wednesday I’ll go over some other stuff like Song of the Year and various thoughts about music this year.
No point in wasting time, here it is – my top 9 of 10 albums for 2021.
10: Darkthrone – Eternal Hails
The old gods of black metal switch it up, much as they have over the past many years, and go full-out dungeon dank on this record. It’s part Celtic Frost worship and very awesome. Only five songs but 42 minutes of old school, depth-trawling throwdown.
9: Hypocrisy – Worship
After 8 years away, Hypocrisy returned with a set that hits all the right notes. This set is a bit more savage and in-your-face than previous, more atmospheric efforts. It’s a highlight from a band that has done little wrong in a very long career.
8: Cradle Of Filth – Existence Is Futile
The group’s 13th studio album finds the band reinvigorated and firing on all cylinders. This album blends the band’s signature sound with the present day existential crisis running through the world.
7: Asphyx – Necroceros
A bit of a tricky one here. I could’ve sworn this album came out in 2020, but everything I’m seeing indicates it was released the very first day of 2021. We’ll go with that. Anyway, another great effort from the reformed group who have been kicking ass since their somewhat unexpected return several years ago.
6: Genocide Pact – self titled
Unrelenting death metal that doesn’t take a note off from pummeling the listener. This is brutality at its finest.
5: King Woman – Celestial Blues
A spectacular record that shapes its sound from several genres to fashion a harrowing masterpiece. This album can’t be labeled by any one thing and is a work greater than the sum of its parts. Truly one of the more unique listening experiences of the year.
4: Iron Maiden – Senjutsu
The 17th studio album from the legends raised some eyebrows with song length and composition. The album saw Steve Harris reclaim the creative reigns and head in a more atmospheric, ponderous direction.
This one came out of nowhere for me and instantly reeled me in with a mix of indie rock, pop punk and plenty else going on. It has been climbing this list since I started going over it this fall.
I only really began exploring Emma’s work earlier in the year and she capped 2021 with this minimal, desolate collection of songs. Only her voice, a guitar and piano weave these tales of trauma and sorrow.
I wasn’t going to run one of these this month, but as it turns out everyone and their mother have released new songs from upcoming albums. Might as well roll with it.
Blind Guardian – Deliver Us From Evil
The German metal masters offer up an early serving from a new album slated for September 2022. This song will make up part of a preview EP coming soon. It is unmistakably Blind Guardian, yet another great track in their impressive catalog. While the whole band is obviously great, it’s just stunning to hear Hansi Kursh sing like this after all these decades in the business. The new record’s early outlook is extremely bright.
Crowbar – Chemical Godz
The Louisiana sludge merchants are back for another round. This song heralds a new album in March called Zero And Below, marking the group’s 12th studio album in 31 years. It is also their first release in nearly 6 years.
The band is sounding great on this track, a brutal romp through the dangers of drug use. The video is better anti-drug propaganda than anything world governments cranked out in the 1980’s. In fact it’s not really propaganda, it’s pretty much just the ills of drug use. The song sounds pretty fresh and it seems Crowbar is ready to kick ass again in the new year.
Immolation – Apostle
New York’s death metal veterans return with their new effort Acts Of God in February. Immolation have been unparalleled masters of death metal over the years and it sounds like nothing will change with the new record.
Apostle is signature Immolation. No reason to fix what isn’t broken, and nothing is broken besides necks in this case. It’s another bastardized, dissonant riff parade from the band, and lyrics that I’m sure have something to do with Sunday church service. Looks like we won’t get too far into the new year without at least one essential listen.
Spite – Made To Please
This is totally new to me, something I’ve run across now that I’m following more deathcore-oriented media. There is no information about a new album at this time, only this single drop.
Unsurprisingly, this is very violent and very brutal, both musically and visually. It does, to me anyway, help illustrate that the line between death metal and deathcore is almost non-existent. But this is one I’ll keep an ear out for, presuming the band intends to record a full-length in the near future.
Arch Enemy – House Of Mirrors
This is the second new Arch Enemy single to be released in a few months, though as yet no new album information has been forthcoming. The song is quite serviceable and does sound like one would expect Arch Enemy to sound. The band continues to provide the highlight of having Michael Amott and Jeff Loomis on guitar, something of a metal guitarist’s wet dream. I think it would’ve been cool if the video would have shown some real broken mirrors but I guess safety is a big feature of modern-day metal video shoots.
Saxon – Carpe Diem (Seize The Day)
Venerable English metal institution Saxon return with the title track and lead single for their upcoming and (if I’m counting right) 23rd studio album coming in February. It’s been a pretty good run of late for the group, their last several albums have held serve among metal’s best.
This song is straightforward, up-tempo and gets right to the point. And honestly, the band looks older than dirt in this video but is still totally bringing it. It’s kind of shitty to think about how many more new albums are going to come from some of these metal legends, but Saxon act like they’re good for another 10 or so.
That’s about all for this month. I got enough that I didn’t have to waste time talking about the new Kid Rock song, which really sucks. We’ll see who brings what in the first month of the new year.
This Album of the Week will be a deluxe edition. I am going to cover an album, Blu-Ray and documentary. It was a few weeks back that the entire package of the Oasis – Knebworth album and film came to retail shelves and now it’s time to get into the astonishing amount of material within.
Oasis – Live At Knebworth
Released November 19, 2021 via Big Brother Records
My Favorite Tracks – Slide Away, Acquiesce, Columbia
The Album
The official live record compiles the entire setlist of both shows, though this compilation borrows from both shows to make one record. I suppose a completionist might have rather have both shows in full as an audio offering, though this stitched-together effort does a fine job of showcasing the gigs.
The songs are presented in order from the shows, the setlist did not deviate between the two nights. Almost all of the songs are slightly truncated versions of their studio counterparts – the structure is verse-chorus-verse-chorus and close, things were kept simple for the massive concerts. Set opener Columbia loses over a minute from its studio runtime, and everything besides Champagne Supernova has a bit of fluff trimmed off.
The song selection is almost completely spot on – 5 songs from the debut album, 8 from the seminal What’s The Story…, 5 non-album cuts and 2 tracks from the band’s next release Be Here Now. There is only one glaring omission from the chosen set and that’s a point addressed in the documentary – Rock N’ Roll Star is a perfect tune for the energetic festival performance. For some reason the band wasn’t playing it at all during this touring cycle.
For this massive scale performance the band would necessarily leave some nuance behind and put more force behind the musical presentation. Even with that, songs like The Masterplan and Wonderwall get string arrangements to accompany them, and horns join in on Round Are Way (which also sees the chorus of Up In The Sky sneak in at the end). Even the melancholy Cast No Shadow translates well to the stadium-sized performance.
If any one song loses a bit of something to the noise of Knebworth, it’s Don’t Look Back In Anger. Noel simply turns up his guitar and slams through the song. While the rendition is fine, it is a song that could have benefited from an arrangement of some sort. It is not a large disappointment but it is a note to be made out of the set.
Of course, Oasis has no shortage of hard hitting tracks that translate very well on the big stage. Supersonic, Cigarettes And Alcohol, Some Might Say and Morning Glory all stand out in the noise and power of 125,000 people. And the second song Acquiesce, a celebrated B-side that probably suffers from not having a proper album release, is an especially on-fire version of the song. Liam’s snarl through the verses is beautifully matched by Noel’s more delicate delivery of the chorus and the song absolutely stands out in the Knebworth gigs.
One track stands out above the others from Knebworth. It has been long known among Oasis diehards that the Sunday performance of Slide Away is perhaps the definitive version of that song and many consider it the band’s best live offering ever. While I haven’t checked out other landmark gigs enough to make such a determination, I will say that Slide Away absolutely hits on this live set. It is a complete monster performance, that much is certain.
In the end, the choice to piece an official Knebworth album from both nights works well. The diehards who wish to have both nights on audio probably already do digitally or in bootleg form, so it’s not a disservice to the product to patch this set together from both nights. Many celebrated live albums have gone that route in order to deliver the best possible experience.
And it’s nice to finally have one of the band’s historic gigs in official form. Oasis only released one live album during their tenure while Knebworth and other massively-celebrated concerts have been relegated to bootleg or YouTube status. A superfan will of course hope that Earl’s Court, Maine Road and other landmark gigs from this and other tours will get official releases in the future, but whether or not that happens is impossible to say.
The Blu-Ray
The video presentation of Knebworth offers the theatrical documentary as well as both concert sets in full. While we did not get an complete official audio package, the video side does deliver with both nights.
The footage does a good job of joining high definition content with more grainy film from 1996. I didn’t have a problem with how the video played out, it was all put together well. There isn’t a lot else that needs to be said – both shows are here for anyone who wants to get into them.
The Documentary
The centerpiece of the Knebworth package is the documentary filmed earlier this year to celebrate the 25th anniversary of the gigs. It was an historic occasion for Oasis and so Noel chose to honor the memory with this deluxe offering.
The film is very well-done and does not offer a dry run through historical facts, nor is it some hollow puff piece that kisses the band’s ass while not offering anything of real value. The filmmakers chose to let the fans tell the story of Knebworth and it’s a choice that makes this documentary stand out from many other music films.
The film runs through the build up to the concerts – the pain of getting tickets, finding a way to the shows, and getting on the grounds and up front when there. There is no central narrator – most of the story is told by the fans, while Noel and Bonehead also contribute thoughts. Liam only speaks briefly at the end, perhaps owing to how shitfaced he reportedly was on the night between the two shows. Also of note is that no modern-day footage of anyone from the band is shown – everything is from that weekend in 1996 or recreations of fans’ experiences.
I don’t know how well the film would play out for someone who isn’t a fan of Oasis. Some documentaries can be compelling viewing even if a person isn’t a fan of the subject, but Knebworth is very much a fan service film. It doesn’t offer up a lot to someone who doesn’t have a vested interest in the band and isn’t an accounting of facts and figures – it’s the true story of that weekend in August 1996.
The fans tell their stories of that weekend – a young man who found out his girlfriend was pregnant just before arriving at the shows, the requisite group of lads who drove a junk car across the country, and a couple of girls who were able to score tickets early Sunday morning with just enough time to get to the festival grounds. One woman’s story about her brother, told as the band ran through The Masterplan, is especially touching and a standout moment from the film that truly captures the weight of these concerts and Oasis at their peak in 1996.
It is a theme discussed in the film – these shows in August were the end of youth and innocence for many in the crowd. These shows are often looked at as the end of the Britpop movement, though some choose the next year’s release of Be Here Now as that moment. While I wasn’t at the gigs it also was the end of my youth – I turned 19 about a week after these gigs. It was a strange and interesting time where the last vestiges of childhood fell by the wayside. Music and life wouldn’t be the same after this.
The Knebworth film does a great job of showcasing how much weight Oasis and these shows held. The story is told by the fans, for the fans in celebration of that historic weekend in 1996. This film lines up very well just after the Supersonic documentary, as its endpoint was these Knebworth shows. This is likely the end of full-form documentaries about Oasis, as their high points are now covered by these two films. It is a collection of stories – about the band, the 250,000 fans who packed the house those two nights, and the millions of fans around the world.
Rather than cheap out and make another EP the Album of the Week, I decided to go ahead and give this one its own space. This new record comes to us from Adrian Smith and Richie Kotzen, a perhaps unlikely pairing who offered up a fantastic full-length album earlier in 2021.
Richie Kotzen has been around the block in rock music – over 20 solo albums, many more as a band member, and a slew of guest shots and projects. And Adrian Smith has a handful of various projects over the years, interspersed with his time as a part of Iron Maiden’s celebrated guitar duo/trio. As luck would have it, Kotzen and Smith are neighbors and the pandemic finally gave them a chance to hang out and record some music.
The self-titled debut of Smith/Kotzen was an excellent affair that stood out from the typical “side project” crowd. We’re now offered this 4-song EP as a Black Friday treat. Thankfully this release did not suffer from the secondary market RSD premium and is readily available on wax for normal retail prices. I just couldn’t bear the thought of not having an Iron Maiden-adjacent record in my collection, even if it means financial well-being will elude me.
As there are only 4 songs on this disc, it should be pretty easy to get through a track-by-track look at it.
Smith/Kotzen – Better Days EP
Released November 26, 2021 via BMG
My Favorite Track – Better Days
Better Days
The EP’s title track leads the proceeding. This is a nice rocker that picks up right where the debut album left off. The song brings the well-worn theme of looking at the past with rose-colored lenses while hoping for better days to come, something certainly relevant after the past few years. On highlight is the guitar work, well done but also very fitting for the song and not just a wank fest showcase. Of course both Smith and Kotzen have long plied their trades in that fashion so it’s no surprise.
Got A Hold On Me
This track kicks up the power a notch. It is another example of rock music done in 2021 outside the influence of alternative rock, something that usually takes a bit of digging to find these days. It’s a song that also would have been at home on the full album, driving home the point that this EP is not an exercise in getting rid of leftovers.
Hate And Love
A more mid-tempo affair that sounds like something that could have been a solid hard rock hit from the later 80’s. It does benefit though from the seasoned experience of the players, both in vocal delivery and in the to-the-point groove of the song. The song is fine to listen to for its own merits, and a person almost needs to keep an ear out for the quick guitar flourishes that remind everyone who exactly they’re listening to.
Rise Again
This song brings a different vibe that reminds me at points of Van Halen’s song Judgment Day from the For Unlawful Carnal Knowledge record. It’s a very quick rocker that feels like it’s over almost as soon as it began, but with plenty going on for its duration. This closer keeps things fresh with its variety but also maintains the rocking mood of the EP.
The Better Days EP is another excellent offering from the duo of Adrian Smith and Richie Kotzen. It’s great to have both a full album and this bonus recording from the group. Hopefully they will find time to do more in the future and perhaps have a gig or two. Time will tell, especially as Adrian’s day job is calling again. Whatever the future may hold, it’s nice to have some good rock music in 2021.
I was shuffling around my next few posts a bit and had a bit of a hang-up as I tried to figure out what to do for today. As luck would have it, Spotify would drop some quick and easy content in my lap in the form of their Wrapped end of year data dump.
For those unaware, Spotify provides a rundown of a user’s most-played songs, genres and artists for the year every December. It’s a neat little thing that provides a bit of info and can also be fun and silly. For me and the purposes of this blog, it’s a great way to get some content with just some screenshots and a few words. Let’s have at it.
This is the total minutes I spent listening on Spotify this year. This is by far the most I’ve used the service in a year. For the biggest part of 2021 I had a job where I could play music all day and I’d alternate between Spotify and the digital music collection on my phone. It’s over 450 hours, which is a fair bit of time when considering I didn’t use it all the time.
This tidbit did shock me a little. I don’t really know how Spotify does genres, I haven’t looked at the least how deep they get. I don’t feel like I listened to 35 different genres of music but I’ll take their word for it. If symphonic blackened britpop deathcore counts as 4 separate genres then I can see it. Not sure if I heard any whale sounds in the past year…
Here are the top 5 genres. Shoegaze sticks out a bit on the list but it’s not surprising since I just got into it this year. I did way more exploring of it than I did of anything else. Nothing else is a real shock. I did listen to what I guess is a lot of hard rock this year though I figure some of that might actually be indie rock or some offshoot of that. Again, who knows how Spotify genrefies things.
My most-played song of the year is no surprise at all. I played the ever living shit of this right after I heard it. In truth I’ve played it way more than that because I eventually got a digital copy on my phone and I’ve also played the YouTube video countless times. I’ve probably doubled the Spotify play count. I’ve literally been bitched at for how much I’ve played this song.
One bit of a shocker here. I didn’t realize I’d played Muse that much. I honestly only started listening to them in earnest this year. I wouldn’t have thought they’d rank that high or that Hysteria would be the song that did. The rest are all reasonable – I played LoG a lot because I didn’t own Ashes Of The Wake on any format until a few weeks back. I played the Iron Maiden lead single multiple times a day until Senjutsu released and then I played the CDs or vinyl.
This is absolutely no surprise at all. Emma Ruth Rundle was easily my most-played artist of the year, and I only truly began listening to her about halfway through the year. According to Spotify I spent a total of 3,682 minutes playing her songs in the span of about 5 months. That’s over 61 hours playing the same artist. Yeah, I dig her stuff that much. And this also doesn’t account for when I eventually got her albums on vinyl, which provided digital download copies as well.
Being in the top 0.1% of listeners is really cool, I have never seen that before. I’ll put that on my resume.
Again, Muse is throwing me a bit. I mean, I’m not one to argue with statistics, but still. I would’ve thought Lorna Shore had the number 2 spot in the bag, but I guess I really, really liked Muse earlier in the year. None of the others are huge shocks. I got Rage’s stuff on vinyl about halfway through the year but I was blasting them a lot in the first part of 2021.
I don’t know what the hell this is but I guess I’m bold and wistful, based on my musical tastes of sad indie rock and deathcore. I don’t know, whatever. I’m not really all that bold I don’t think. Wistful is probably right. I don’t how much of my personality I’m going to analyze from a damn music streaming app.
That’s a wrap for the Spotify Wrap 2021. I didn’t listen to Taylor Swift for over 200,000 hours like some people but hey, I did listen to something. We’ll see what the next year brings as Spotify remains more a vehicle for discovery for me instead of what I use to listen to my favorite stuff.
This will be a new series with a bit of discussion of a song and a story, just as the title says. It’s a way to just talk about something for a bit that’s funny, sad, or whatever. Sometimes the connection might be deep, others tenuous, it’ll be what it’ll be. It should in time be the regular feature on Wednesdays as I start shuffling a few things around.
For the first installment I’m going back to the well with Oasis, a band I’ve already covered a lot here. I have a bit more to go too, but this story came out over the weekend and just fit the theme for this new series all too well.
The Song
Oasis – Acquiesce
This is one of the band’s more famous B-sides, originally released as the other side to Some Might Say in 1995. The song quickly entered the band’s live set, as demonstrated here being the second song performed at the historic Knebworth gig. It would go on to appear on the group’s 1998 B-sides compilation The Masterplan, often touted as the band’s second- or third-best album despite not really being one.
The song is a nice contrast study – Liam belts out the hard rocking verses, while Noel offers a softer and higher chorus with a sentimental message. The song is reportedly about the relationship between the brothers Gallagher, which was not quite as bad in 1995 as it is at the end of 2021. Of course, the song could fit any sort of family, friend or romantic relationship.
I have no particular connection to this song – I didn’t own the singles or The Masterplan back in the day. I really only came into their B-sides when I got back into Oasis in the mid 2010’s. It’s a wonderful song and one I’d most likely include on a list of their top 15 or however many songs, should I ever get to such an exercise.
So what is the story with this song, if I myself have no real attachment to it? Well, you might need each other and believe in one another, especially if you’re stuck with 60 or so people in an English pub for 3 days.
The Story
Here is one of many media reports about the incident, this from Consequence. Over the past weekend a group of 60 or so people went to a Yorkshire pub to have a few pints and catch Oasis tribute band Noasis. Unlucky for the pub goers, a ton of snow fell in the area as Noasis played and the group was stuck in the pub. It would not be until Monday morning, a full three days, before the bulk of attendees were able to leave.
The story quickly made social media rounds, with many getting a chuckle and others thinking the scenario was heaven or hell, depending on one’s view of Oasis. I’d wind up with a snow-in of my own, getting messages and posts about the story plastered all over my social media. The event ended with no casualties and seemingly great spirits among the attendees and pub staff, so all’s well that ends well.
And I’ll be real – I’d love to be stuck in a pub for 3 days. Hell, I’d do it even if the tribute band was for someone I didn’t like, say Dave Matthews. Or, even better, if there was no band. But add in a tribute band to one of my favorites like Oasis and hell yeah, I’m down to be stuck in a place with beer and bar food for days on end. I guess the worst issue was that the place ran out of sausage. I could make do, I’m sure.
A bit about the tribute band – Noasis formed in 2006 and have over 1,100 gigs under their belts. They’ve gone nearly as long as the band they are paying homage to at this point. People might want to argue about the merit of tribute bands but hey, if you can make a living playing music, go for it. Or even if someone just wants to do it as a hobby, have at it. I’d surmise that it’s more than a hobby after 1,100 gigs and 15 years for these guys.
Of course this isn’t much of a story with any grand lesson or anything like that. It’s just a fun bit of trivia from across the pond that involves a band I talk about a fair bit and catch a fair bit of shit for liking, as I went over a few weeks ago. But hey, if anyone wants to lock me in a bar with a bunch of booze and all the Oasis songs I can handle listening to, hook me up.
It’s been a productive past few years for Emma Ruth Rundle. Her 2018 album On Dark Horses captured a lot of attention from many circles and her 2020 collaboration with Thou, May Our Chambers Be Full, offered a work even greater than the sum of its parts.
As the decade shifted and the pandemic hit, Emma shifted gears and promised a sparse, minimal album that veers away from the sonic wars of her recent work. And she has delivered exactly that – this new album features her voice, piano, guitar and little else beyond a guest vocal and cello.
Emma Ruth Rundle – Engine Of Hell
Released November 5, 2021 via Sargent House Records
My Favorite Tracks – The Company, Return, Razor’s Edge
I could waste words on questioning if this stylistic turn is a risk or not, but there’s no need to ponder the question. While Engine Of Hell is a shift it’s certainly not a departure. Emma’s 2016 effort Marked For Death bears some similarities to this new album, with moments that are sparse and harrowing. This album might forego the effects pedals and sonic range but it fits well within the body of work Emma has already created.
This album is apparently a very intense therapy session for Emma, as she has discussed how she is processing traumatic events of her past through these songs. She adds layers to the lyrics so that the bare meaning is concealed. And that’s the point of art, of course – it doesn’t do much for anyone to just grab a guitar and bitch about how things suck. It’s the shaping and twisting of form and the resulting work that gets attention. It’s also what allows the listener to find their own meanings to the songs.
On a record where minimalism is the theme, every word sang and note played becomes important. Emma’s delivery on this record is very deliberate and methodical – each chord strummed or piano key hit seems to be there for a reason. Album opener and lead single Return showcases this deliberate form of arrangement, it seems that every note is there for a purpose. It’s a realm away from finding a decent hook or melody and then shoehorning words that sound nice on top of it.
Engine Of Hell differs from Emma’s past work in that there is no hope or triumph to be found here. The music may be gentle but the subject matter is heavier than death metal. The happy ending is either down the road or not to be found. This album isn’t for the faint of heart.
With any music, and especially a record like this that’s extremely personal yet wrapped in enough layers to keep the true meaning hidden, the listener will find their own meanings and draw their own conclusions. In my own listening, I can say that The Company and Return are the songs that hold the highest order of meaning to me. The rest of the album offers bits and pieces that resonate, but the album as a whole is a very enjoyable listen even without having some personally identifying connection with a lot of it.
Engine Of Hell is not a casual listening experience with a hit single or a feel-good vibe. It is an album to be consumed whole – and one that might consume the listener whole, depending on one’s strength of spirit. It is a beautiful, haunting piece of art from one of the best musical artists in circulation today.
It’s time to look at a new batch of preview singles. Most of this stuff is releasing next year but a few are still going to hit in 2021. A few will land in a few days and one is already out. It goes to show how much attention I pay to things.
Scorpions – Peacemaker
The Scorpions are almost eternal at this point – these guys refuse to quit. Not only are they still at it but they’ve offered up a very nice lead track from a new album called Rock Believer due early next year. I’m very impressed with how great this song sounds and I’m very happy to have yet more new music from a band I got into before I could reach the kitchen counter.
Exodus – The Beatings Will Continue (Until Morale Improves)
This is one I overlooked awhile back as the song has been around a few months now. This comes from the band’s newest record Persona Non Grata which hits this Friday. The song is a nice, short thrasher that fits right in with Exodus’ now extensive catalog. The video is really damn violent, like I’m kinda surprised it’s being shown on YouTube. It plays like a CIA field guide in how to, uh, get information. (it is age restricted, apparently)
Jack White – Taking Me Back
This song hit a few weeks ago as part of the campaign to launch whatever the hell the new Call Of Duty game is this time. Now Jack has filmed an official video for the song and it is part of two new albums from him due next spring.
I didn’t get all that into the song when I saw the COD preview but now I’m liking it more. I think maybe this one is a different version, I’m not entirely sure about that. It’ll be interesting to hear what Jack has on offer with two new albums coming out. I haven’t followed his post-White Stripes career too closely but he’s one of the more interesting musicians around today.
Slipknot – The Chapeltown Rag
This song is Slipknot’s first preview of new music from an as-yet unannounced album that will presumably see the light of day in 2022. The song was premiered live at the band’s own Knotfest concert a bit over a week ago.
I am not the biggest Slipknot fan in the world. I never was moved to like their stuff that much, though they’ve had songs I liked over the years. This song is fine but it doesn’t compel me to explore them further or anticipate the new album. They have their place and plenty of people are into them, and all that is fine, but it’s not really my cup of tea. It is frenetic and heavy, not something I’d frown upon. But honestly not my cup of tea.
Oasis – Wonderwall Live At Knebworth
Ok so I’m totally cheating here. Obviously Wonderwall isn’t new and Oasis sure as hell isn’t recording new music. This is from the official live release of the historic Knebworth concerts from 1996, which hits record store shelves and streaming platforms this Friday. I like Oasis, in case you haven’t noticed. Here’s just one example from the other day.
As for the Knebworth performances – absolutely the height of their fame, historically important, but also not their best. All of their tracks are on coke here, probably just like the band. Everything from these shows was done at a frentic pace, which I think belies the importance of their more significant work. I do hope they go back and catch Earl’s Court and Maine Road as future official live releases, as those better capture the band when they were firing on all cylinders. But hey, nothing to bitch about with the historic Knebworth gigs being available.
Brand Of Sacrifice – Lifeblood
I’ll be upfront – I know nothing about Brand Of Sacrifice. They are a newer band in the deathcore realm, that is totally all I know.
But if you notice from the video title, this has a bit something different about it – much like Carlos Santana featured the talents of one Rob Thomas in 1999 for the hit smash “Smooth,” Brand Of Sacrifice also brings a guest vocalist in for a turn on their song. Instead of Rob Thomas, BoS thought to ask someone else to guest on their reworked track – new Lorna Shore vocalist Will Ramos, who has made waves this year as the dying Dark Souls boss in To The Hellfire.
Here is the original version of the song, released at the beginning of this fun year. It is a wonderfully serviceable deathcore song, but there is no denying the extra atmosphere added by having Will Ramos drop vocals on your shit.
I have already stated how I feel about Will Ramos and Lorna Shore. I’ll certainly be paying attention to Brand Of Sacrifice going forward – this “symphonic blackened deathcore” movement is gaining steam fast.
Korn – Start The Healing
Here’s one from a band with a long lineage that I’m not particularly into. I went over them a bit when I started this blog, here’s that info drop.
But, I’m not totally against Korn. I might have gotten into their little brother/bastard cousin a bit more, but I can respect what Korn brought to the mid-90’s scene. I don’t keep up with them though so there’s a lot of lost time and music between then and now. This song is from a new album Requiem, which hits early February 2022.
This song is fine. It doesn’t move me to pre-order the album but I’m not mad that I listened to it. At this point in my life, where I’m fighting being middle-aged, I can appreciate that Korn is still going.
Emma Ruth Rundle – The Company
I am totally cheating here because this isn’t an upcoming album. Emma released her new album Engine Of Hell last week on the 5th. I’m kind of not cheating though, because she just released this self-directed video the other day, so it’s like a new release of a new release. It’s also worth note that I might be a bit into her past work…
Not to give away what’s going to be my pick for an album of the week in the extremely near future or anything, but this is in the early running for my favorite song off the stunning new album.
I’ll save the very specific talk about this song and the rest of the album for later, because I’m going to bring it up twice in the next month.
But this song hits home like few others. I’ll never claim to know what she’s talking about, but I know how and where exactly this hits me. And I’ll say this – it isn’t some foregone memory. This song hits right here and now. I don’t really know what else to say, other than all hail the new queen, king and god of music.
That’s all I have for this installment. I’m going to forego this feature next month because acts don’t usually announce shit in the holiday month. If they do I’ll catch up to it next month. Let me know anything I might have missed in the comments below.
The Crooked Wanderer 