Album Review: Primus - The Desaturating Seven

Released: September 29, 2017
Label: ATO Records, Prawn Song Records
Duration: 34 Minutes

Primus, everyone's (or rather, my) favourite weirdos fronted by bass virtuoso Les Claypool, have returned with their ninth studio album, The Desaturating Seven. And, in true Primus form, the subject matter of this release is absurd. The Desaturating Seven is inspired by children's book The Rainbow Goblins by Ul De Rico; a particular favourite of Claypool's. The lyrics of the album thus follow the story of the book, with rainbow-colored goblins who seek to consume the colours of the rainbow and absorb their power. Or something like that. It's sort of insane and unclear, but what else did I expect?

This album also sees the return of Tim "Herb" Alexander, who, with Claypool and guitarist Larry LaLonde, released what are generally considered to be Primus' best albums, a stretch from their debut Frizzle Fry to 1995's Tales from the Punchbowl. All three are exceptional at their respective instruments. The tightness of the groove through the time signature changing "The Seven" shows the excellent chemistry between the musicians. The track also hints at the band's prog rock influences while never losing that classic Primus character, and is one of the most enjoyable works of their career.

The impressive skill of these musicians carries through the entirety of The Desaturating Seven, alongside a few forays into new sounds the band has rarely utilized before on original material. Opening track "The Valley" builds with beautiful upright bass and acoustic guitar interplay, while "The Trek" features classical-style guitar work that devolves into a pulsing rhythm. Every instrumental boasts new ideas, allowing the band to show off their skills. From a technical standpoint, this is another fantastic release.

The fatal flaw for this album, however, is that on certain tracks Primus is just too "out there", building tracks that are impressive but never lock in to create truly satisfying experience. At its worst moments, the whimsical tunes don't create anything notable, much like the weakest tracks off of 2014's Primus and the Chocolate Factory. This is especially evident in the back half of the album, where the jamming can go on a little long without going anywhere especially interesting.

That isn't to say that The Desaturating Seven isn't full of great tracks; it is, and they're aided by some punchy production. Every instrument hits hard in this mix, with LaLonde's guitar thankfully strong enough for his excellent riffs to play off of Claypool's well, as in previous releases the guitar can be too quiet to get the attention it deserves.

Ultimately, the members of Primus are some of the most talented and unique musicians working right now, and even with its indulgences The Desaturating Seven reminds me of why they're one of my favourite groups. Every song is fun and impressive to listen to, and if you like Primus as much as I do, you're going to love this.

Score: 8.5/10

Best Tracks: The Seven, The Valley, The Trek
Worst Track: The Dream

EP Review: Mastodon - Cold Dark Place

Released: September 22, 2017

Label: Reprise

Duration: 21 Minutes

Cold Dark Place is the latest four song EP from Georgia heavy metal band Mastodon, and their second release of the year following the disappointing full-length Emperor of Sand.

This newest set of songs luckily mark a return to form for the group, as they've finally found a way to bring together the excellent riff-work of their older releases with a more modern rock approach to structure and sound. Additionally, Cold Dark Place boasts what I consider to be the best vocal work of the group's career, with Brent Hinds (lead guitar), Troy Sanders (bass) and Brann Dailor all taking time to shine.

The lyrics they sing are also excellent; it's rare I actually spend time looking up the words to a song, but across this release I felt compelled to do so. From what I understand, much of Cold Dark Place was written by Hinds in response to the end of a relationship, and his lyricism reflects this with beauty, tragedy, and even a sense of hope.

The EP opens with its weakest track, "North Side Star". The song features some excellent, blistering guitar solo work courtesy of Brent, but is brought down by a more muddled melody that causes the track to lose much of its power.

The second song, "Blue Walsh", is a more reserved groove, exploring a style the band has rarely explored. Within the context of its lyrics, such as "I'm hiding the storm/The storm with the bright green glow/And I'm holding my knife/It's sure to make them leave", the groove helps create a feeling of holding strong even against your own mistakes.

The last two tracks are what truly make this release one of the band's strongest. Toe to Toes is everything you want from a Mastodon song, in their older style or their newer. The riffs pulse forward and it just crackles with energy. Then, on the titular closing track, things are brought down with some chilling and intricate acoustic guitar work. The track brims with tragic emotion and with a sense of longing, completed with an immense feeling instrumental section leading to the end, serving as an excellent send-off to a great release.

I'm exceptionally satisfied by Cold Dark Place. It's smaller size has forced Hinds, Sanders, Dailor and rhythm guitarist Bill Kelliher to approach it with razor-sharp focus, leading in turn to twenty minutes of fantastic music that is at times harrowing, epic, and among the best Mastodon has ever released.

Score: 9/10

Best Tracks: Toe to Toes, Cold Dark Place, Blue Walsh

Worst Tracks: North Side Star

Album Review: Foo Fighters - Concrete and Gold

Released: September 15, 2017

Label: RCA - Roswell

Duration: 48 Minutes

I have developed a very cut and dry, specific perspective on the Foo Fighters over the years; they have only two types of albums. The first type, which makes up the bulk of their 2000s discography as well as the recent Saint Cecilia EP and Sonic Highways, is mediocre, perfectly functional releases with one or two songs that shine a little brighter. There's nothing inherently bad about these albums, but there's very little special about them as well, even if I wish there was. The other type of album the Foo Fighters is capable of releasing are fantastic, energetic hard rock albums like 1997's The Colour and the Shape or 2011's Wasting Light. I can happily say that their new, ninth album, Concrete and Gold, falls into the latter grouping.

The album's name itself hints at what one can expect to find within. The dark, sullen nature of "Concrete" calls back to the bands grunge/post-grunge origins. "Gold", on the other hand, calls to mind the glamorous hard rock of the 70s and 80s; influences that Dave Grohl and the rest of the Foos wear more openly here than ever before. 

Dave Grohl's deep respect and love for groups such as Led Zeppelin, Cheap Trick, the Beatles and other classic rock giants is no secret. Celebrating these past groups was the whole thesis statement behind 2014's Sonic Highways. Concrete and Gold finds the group fully representing their influences, with the complete "dad rock" vibe that summons. Is dad rock such a bad thing though? Not when done like this. Much of the album is a fun blast, something you'd expect from a twenty-year old band trying to sound like the mainstream rock of the past century. The Beatles-esque "The Sky is a Neighbourhood" is a wonderful, energetic and melodic piece. The album's title track finds itself using choruses (which spring up periodically throughout the album) in a way reminiscent of Pink Floyd's The Wall, calling forth both melodrama and true energy. The band is having fun, and that can't help but spread to me as I listen. 

Occasionally, the cheesiness of the material does override the quality, such as in the track "Make it Right". Though the verses boast a grooving blues riff that easily sounds like a Led Zeppelin B-side, the lyrics of the chorus ("On a train to nowhere, baby/want to hitch a ride?") are difficult to sit through without laughing. Other tracks fall dangerously close to the mediocrity of weaker Foo Fighters albums due to uninspired riffs, and fail to leave any lasting impression. 

There are other stand-out moments where the raw "concrete" side of the band peaks through, such as the sections where Grohl's voice turns into a throat-tearing growl on "Run". At other times, however, this is far less effective. Fuzzy guitar riffs clash with the more nostalgic vocal melodies on La Dee Da, creating an experience that is less enjoyable and far more schizophrenic. 

The strongest songs on this album, ultimately, are the ones where Foo Fighters do what they do best; fast-paced arena-ready rockers. The slower, more intricate pieces do not have the variety and risks to stand as tall. 

I should also mention the guest appearances on this album, including Justin Timberlake and Paul McCartney (who drums on the track "Sunday Rain"). They're there. Dave Grohl has famous friends, and that's honestly all there is to say about it. 

Speaking of "Sunday Rain", it finds the Foo Fighters drummer Taylor Hawkins taking over for Grohl on lead vocals, and it actually works quite nicely. Hawkins tone pushes the band even further towards the late 70s tone they're looking for, and the track ends up becoming much stronger than it likely would have been with Grohl behind the microphone.

Ultimately, there's little more to say other than that I'm a sucker for when a band is clearly having fun, and the Foo Fighters are definitely enjoying themselves here. Concrete and Gold proves itself a stronger homage to the influences that made Dave Grohl the musician he is than the much more inconsistent Sonic Highways. Though several of the tracks are quite middling, it is much stronger than the band's worst material, even if it doesn't reach their strongest. If you want a collection of energetic "contemporary classic rock" songs, that's what this album will give you. I look forward to listening to it more, and will continue to watch whatever Grohl and company choose to do closely.

Score: 7.5/10

Best Tracks: Run, The Sky is a Neighbourhood, Concrete and Gold

Worst Tracks: Dirty Water, La Dee Da

Album Review: Death From Above - Outrage! Is Now

Released: September 8, 2017
Label: Last Gang
Duration: 36 Minutes

Outrage! Is Now is the latest release from the Canadian dance-punk duo Death From Above (who have officially dropped the 1979 portion of their name), following another major release cycle. The group's debut 2004 album You're A Woman, I'm A Machine is beloved by many, and I find that their 2014 return with The Physical World, while divisive among fans, is another strong set of tracks that showed their maturity of 10 years away from the band. Outrage! Is Now is not as good as either album, and is much more of a mixed bag.

There are, however, many things to like about the newest album. I thoroughly enjoyed the sound of the instrumentals this time around, with everything clicking together nicely alongside a more lo-fi sound to the leading basslines. Some of the tracks take full advantage of this tone to build a feverish energy, such as Holy Books and the opener Nomad, which left me excited for what came next (I would be disappointed). I The title track shines as well, with an almost paradoxical industrial-pop feel to the song.

If only the rest of the tracklist had lived up to these standards. Most of Outrage! Is Now is largely forgettable, with predictable songwriting that does little to take advantage of the group's trademark energy. The song Moonlight is particularly cringe-worthy, as Sebastien Grainger (drums and vocals) does his best impression of Matthew Bellamy. Muse is one modern rock band no artists should be trying to emulate. The meandering, even more mainstream sound of this release forces many interesting riffs to take a backseat to attempts at catchy melodies that ultimately lead nowhere interesting.

Lyrically, the album is as inconsistent as anywhere else. Some songs ooze sex, fury and power, such as the previously mentioned Holy Books. Others attempt to inspire the outrage the album is named for, and fail miserably. The line "Pray to American Idol/YouTube haircut so in style" from Never Swim Alone strikes me very much as sell-out profit-machines wondering where their hippy ideals fell apart, and somehow deciding to blame Millenials. I suppose this isn't that surprising when one considers the band's progressively saturated sound, however.

Ultimately, Outrage! Is Now desperately lacks the character of the band's previous efforts. Outside of the laughable Moonlight, none of the tracks are offensively awful, instead sitting in a zone of mediocrity that one would expect from a new indie punk outfit perfectly built for generic indie radio, rather than seasoned musicians like Sebastien Grainger and Jesse Keeler. Death From Above have by no means made a terrible album, but perhaps they have done something worse; releasing something completely uninspiring.

Score: 6/10

Best Tracks: Holy Books, Outrage! Is Now, Nomads

Worst Tracks: Moonlight, Freeze Me, Never Swim Alone, Statues