Book Review: Socialist Reconstruction: A Better Future For The United States, by Party For Socialism And Liberation

 

A few weeks ago, The Party For Socialism And Liberation put together a work that's meant to act as a look into what America would entail under socialist planning. As something that has never truly occurred on U.S. soil, many people, including leftists, are unsure of how the transition would work, as well as how policies enacted would tackle issues. Instead of boasting arguments on a platform of hope, Socialist Reconstruction takes that general aim for change and places it onto an achievable, realistic plan, roughly within the first ten years of socialism in America. It dedicates a whole chapter to each of the largest issues that tend to not only come up in conversation, but are also the most rampant in our current capitalist society. Before diving into that, there's a chapter noting past socialist and leftist movements that, while never achieving working-class power, resulted in victories for the working class that we still see today. It also paints a brief picture of the overall function of the new democratic society. This is not so much a book on "how to" meet this end goal of winning power, as there are countless revolutionary works in existence on the subject. Rather, consider it a projection of where we would go once worker democracy is won. The book makes very clear that it's impossible to predict this entirely down to the wire, as every revolutionary movement in history has been different, and were carried out differently between different regions and cultures.

From front-to-back, you'll find a chapter on the following issues: fighting climate change, addressing the existing crippling debt, agricultural reconstruction, housing and transportation, healthcare, education, crime/policing, and imperialist wars around the world. Each chapter on these topics is broken down into sub-categories, addressing how we would work with what the nation as a whole has, but without the privatization factor, as well as how to improve upon it. The importance of common ownership of human needs is unfolded, and the book does a stellar job of emphasizing the fact that almost everything that we would need is already within the realm of production, and that we are post-scarcity. Existing in private hands, hoarded by the few does no good if it can only be distributed to whoever has money for it, which is made clear. Similarities are drawn to existing examples of socialism, such as in Cuba or the People's Republic of China, as well as past examples like the USSR. Letting in examples of where something has already been done successfully helps the reader understand how possible it is. Moreover, the emphasis on the post-scarcity of our nation points out how we could even dodge many of the issues that plagued earlier revolutions and growth within them.

An important part of keeping capitalism alive is keeping the working class divided, and targeting the rights of certain groups, such as women, people of color, and the LGBTQ community. No chapters fail to note this obvious characteristic under the current state, be it the way climate change affects the global south worse than the imperial core, the institutional racism that targets nonwhites causing the imbalance keeping the prison system alive, and other problems within this realm. Additionally, Socialist Reconstruction points out not only how it would change this, but how the goal of the state under socialism would not require these oppressive facets by removing the profit incentive. Taking that yet a step further, included in the plans are steps that will be taken to repair nations that fell victim to U.S. imperialism, as well as oppressed groups within our own borders.

Often times, questions arise around the ability to pay for such changes. How will we afford free healthcare? How can we provide housing for everyone? What of the small business owners that work just as hard as their employees? How can somebody study without paying tuition? The list could go on. There is no shortage of answers here. Along with each chapter's breakdown, there are given names to departments that would come to exist under the new leadership. The new democratic state would also get more hands involved in the community and betterment as a whole, with the guidance of these departments. With everybody having different talents and different levels of passion, the restructuring of work is elaborated on heavily. Without the profit motive, people would instead have the freedom to partake in community growth, since working to make money for a company would no longer be the priority. No political careers would exist anymore, as anybody who takes a higher role in planning would also work alongside everybody else, wherever they're needed. Under this reconstruction, it expresses how leisure time and vacation time would increase, with active participation from everybody being part of the overall conclusion. 

If that's not enough, other tough questions are brought up that aren't directly linked to private companies within the context of each issue. For example, when addressing the destruction of our prison system, most people will jump to the question of "does this mean we will have murderers and rapists running free?" Socialist Reconstruction answers questions of this type, and shows how confinement or isolation would be a last resort to help public safety, rather than the immediate go-to for any wrongdoing, in this example. The aforementioned fact of being post-scarcity is brought up in these regards a lot. The ability to convert prisons and policing into recovery and support programs, or the fact that there are vacant homes everywhere while homelessness exists, etc. is drawn as a parallel to the solution to the struggles under capitalism. Scientific data, statistics, and other information that's helpful to point out capitalism's contradictions is used throughout, once again giving the entire scope a realistic angle to observe it from.

As mentioned before, obviously this will present its challenges. The book closes with acknowledging this, mentioning counterrevolutionary action and other resistance that could occur to save private capital. While we can't know exactly what the first ten years would bring under a socialist United States, this truly does an incredible job of at least laying out the goals, the plans of action, and organizing the big questions into digestible solutions. This is not only a work that I would recommend to every comrade, but to anybody who is unsure about socialism, and perhaps even to those who oppose it. Easily this is one of the more important reads to get into the hands of as many people as possible. A brighter future is absolutely attainable, and this book shows us in vast detail why that is so, and not just a utopian dream.

Order a copy of Socialist Reconstruction here

Album Review: Venator - Echoes From The Gutter

Venator - Echoes From The Gutter

Dying Victims Productions - 2022

9/10

Having been around since 2016, the Austrian heavy metallers Venator came forth with their debut album early on this year. Titled Echoes From The Gutter, they pay homage to the classic acts along the lines of Iron Maiden and Judas Priest. It’s safe to say that this influence shows itself in many traditional metal bands, but they’re really good at distinguishing themselves. Part of this may be because they reflect the Painkiller-onward era of Rob Halford and co., but with a refreshing, young charm.

As you may suspect, things stick to the melodic side, straying away from anything harsh vocal-wise. No wicked distortions are needed for the riffing, but the hoarse levels of energy and tighter production almost allow this to fall in line with the US power metal scene. Many of the tracks invite acoustic sections, longer solos, and slightly advanced bass passages to compliment the harder gallops and drum kicks. While certainly not progressive, this causes the playing to feel fuller and a bit more intricate.

That doesn’t mean that Echoes From The Gutter isn’t packed with memorable choruses and uplifting emotions. In fact, the slightly raspy vocal delivery packaged with the hopeful tones works wonderfully. “The Seventh Seal” dances all over the place between harder riffing, acoustic transitions, and the interwoven somber solo. At no point does any of this feel forced, nor does the catchy chorus feel out of place. Early on, this is Venator showcasing their ability to pack in different phases and a resolution.

Moreover, the lyrics fit in wonderfully here. The hopeful feelings coupled with that often make for rising action that can mold into a chorus that’s equally soothing as it is explosive, such as in “Red And Black.” Closer “Streets Of Gold” is also such a fun number to go out on; while a longer tune, there’s so much life in the lead guitars and vocals here. Plenty of room is left for straightforward metal bangers without extra toppings. The steadier layers of “The Hex” or the direct blow of “Manic Man” shall scratch this itch without a problem.

If I’m going to listen to something that so obviously reflects the classics, I always want it to go this direction. Small touches of repetition, louder bass presence, a decent length, and injections of the band’s own tricks prop this up so much. It should be pretty obvious who the target audience is for this type, and which listeners would dig it. Easily one of the best albums to come out of this year.

Listen - Bandcamp

Album Review: Ghost - Meliora

Ghost - Meliora

Loma Vista Recordings - 2015

10/10

Following a slight surge of popularity after their sophomore release, Ghost would reach what I call mainstream attention with Meliora. Naturally, the slight tamperings with a warmer sound on the previous album lead to the higher leap towards pop-oriented tunes for the third go around. While there’s certainly still some traces of the metal riffing, things move away from Black Sabbath/Mercyful Fate influences and more towards Led Zeppelin/Deep Purple influences meeting Blue Öyster Cult. The end result means ditching the colder atmosphere for good, and bringing on occult rock songs that would fare well on a hot summer evening.

But instead of shying away from that lack of metal grounding, this is where I see Papa (III) and co. reach their full potential from a songwriting basis. So much is offered under this rock ‘n roll scope, without needing to borrow a lot from the heavier riffing templates. There’s a strong foundation of 1970’s accessibility, greater emphasis on the theatrical elements, and the most even mix of hard and soft we’ve ever seen from them. Not to mention, the linear flow from song to song is on point, and these ideas are spread out nicely enough.

Looking at the heavier end of the scope, Meliora manages to fuse crushing rhythms with melodic accessibility, and with several outlets as well. “Absolution” dials in doomier licks under a minor tint, exposing its welcoming side with a catchy chorus and softer piano garnishes. Contrary to that, the menacing “From The Pinnacle To The Pit,” with its thunderous bass intro, uses operatic vocal technique and brighter colors in the bridge, leaving the chorus to follow up with dense riffs and whispered vocals. Figure it the “Con Clavi Con Dio” of this record. Then of course, you have the only full-rounded heavy metal song, “Mummy Dust,” which, save for the synth droppings, comes close to the levels of Opus Eponymous. The warm atmosphere is still there though, allowing it to fit in.

Transitioning into that song from the one lone power ballad leads into the softer discussion. True, Ghost had tampered with balladry before this, but none hit the full-scale tone that “He Is” managed to bring in. Soaking itself in worship-esque pools, it rides primarily on acoustic guitars, smooth singing, and a mild buildup to the resolution. Integrating softer parts worked wonders for other tracks that made them a bit more theatrical. My personal favorite “Cirice” nears epic feels with its soft but eerie intro, hard riffing, clean piano-backed breaks, and beefy leads. A similar approach is taken for closer “Deus In Absentia,” but further focus on explosive drum/bass combos takes precedence for this one.

All that leaves us with is the stripped down rock ‘n roll tunes. Opener “Spirit” admittedly took longer to grow on me than the rest, mostly because its alien-like intro contradicts a bare-bones center, but over time I found that to add to the charm. Same can be said about the steadier “Majesty,” which hearkens back to the organ-synth style used on the earlier discs to compliment a less bumpy ride. One complaint I had with Ghost’s latest record was the amount of non-song interludes, but the ones here work well, similar to the ones on Black Sabbath’s Master Of Reality. “Devil Church” and “Spoksönat” both contain quick memorable passages, and the latter seems extra special, as it became the bridge on “Rats” from the next album.

All controversy aside, this is not only my favorite Ghost record, but one of my favorite albums of the 2010s. Some may be shy to call it a metal release, and if that helps them sleep at night, that’s fine. But from a compositional standpoint, this is truly some immaculate work. There aren’t any records by the band that I dislike, but this is the one that I can’t find a loose end even if I look closely.

EP Review: Ghost - If You Have Ghost

Ghost - If You Have Ghost

Universal Republic Records - 2013

8/10

Out of the two Ghost EPs, If You Have Ghost is easily the superior of the two. While Popestar has its strong moments and decent identity, only roughly half of it is something I look forward to listening to. Both EPs have a poppier attachment to the surface, but I feel that this one had less of an end goal in mind and just wanted to turn some songs into their own. This proved successful, as all four tracks boast incredible levels of originality, harder edge, and smooth melody.

The “title track” (if you will), a cover of Roky Erikson’s “If You Have Ghosts” is probably the strongest cover they’ve ever put out. Turning the strong leads into a robust powerhouse did wonders, and the transitions here are immaculate. Despite the super warm vibes given off, the rest of the album departs from that while maintaining the melodic integrity. ABBA’s “I’m A Marionette” continues the original’s danceability, but swings in with darker, cool overcasts in the chorus. 

This swiftly falls into Army Of Lovers’s “Crucify,” one that rides on clean acoustics, but sneaks in a doomier base that compliments Papa’s whisper vocals wonderfully; dark undertones swarm this one all over. Cap things off with Depeche Mode’s “Waiting For The Night,” which weirdly swings back to the brighter vibes, though not to the degree of the opening track. I’d say the original version sounds darker than this one, despite this being guitar oriented. Figure the entire EP is like a slow descent into sleep with a sudden awakening.

The literal only thing that plagues If You Have Ghost was the stupidly unnecessary addition of a live “Secular Haze” at the end. Not only does this not fit with the theme of in-studio, only covers, but it throws off the entire energy that’s maintained for the four actual tracks. Bands will make their mistakes, but this truly is a move that I have no idea how they’d justify. Because outside of this, this is easily the most comprehensive, swift, and concise delivery of four covers on one disc I’ve ever heard.

Album Review: Ghost - Infestissumam

Ghost - Infestissumam

Loma Vista Recordings - 2013

8.5/10

Following a slight peak of interest within the three years after Opus Eponymous, Infestissumam would come in clutch and bring Ghost into the first steps of their mainstream fame. Even if only slightly, this would unfortunately also see the beginning of the hate train, and things only got more controversial as the years went by. Gone is the raw, freezing energy that made their debut such a haunting disc. In its place, we’re now given warmer tones and a slightly grander focus on the theatrics.

That being said, many call this the exit of the metal focus; that couldn’t be further from the truth. Injecting pop rock into the formula doesn’t mean forcing out doomy presence and traditional metal riffing. Sure, the former would take a higher precedence with each subsequent album, but I stand by the fact that Infestissumam is just a brighter variation of the same solid bottom we were given before. I’ll even admit that some of the “hits” on this album are some of the weaker songs, but this doesn’t make them un-heavy. 

Looking at “Year Zero” and “Secular Haze,” there’s an obvious anticlimactic drop in the choruses, which admittedly hurt both tracks. Despite this, both still boast heavy drum kicks, haunting basslines, and slow, burning riff progressions. Choruses aside, they’re beefy enough. Others like “Depth Of Satan’s Eyes” and “Per Aspera Ad Inferi” are overlooked classics that reach everything the former two tracks could have been. “Depth” hits levels of doom and gloom that are on par with the debut, leaving no light into the abyss.

Of course, overlooking the rock ‘n roll energy that focuses a bit more on the keyboard toppings and melodic leads would be a crime. “Jigolo Har Megiddo” is clean and concise with some of the best lyrical flow and poetic structural integrity. It pairs wonderfully with the piano balladry that makes up the first part of “Ghuleh/Zombie Queen.” This track in particular would see the beginning of the “Scooby Doo music” comparisons, which is executed wonderfully and works as a compliment. The back half of it invokes a dark-disco cadence that refuses to let go of the heavier patterns, topped off with a suspenseful guitar solo.

While it’s impossible to gloss over a few of the weaker moments, not one song really stands out as bad from beginning to end. Labeling something a transitional record this early in a band’s career seems a bit odd, but I can easily note the desire for what would come on the next three albums. The blend of a warmer climate and metal just had a few loose ends that needed to be cleaned up, nothing more. Picking that up at the time of release would have been pretty hard, but in hindsight I can dig most of it.

Album Review: Ghost - Opus Eponymous

Ghost - Opus Eponymous

Rise Above Records - 2010

9.5/10

Often viewed as the only “truly metal” Ghost album, the debut of the controversial band seems to invoke all sorts of interpretation. Having discovered the band shortly after its release, Opus Eponymous became an instant favorite nearly overnight. While a resurgence of traditional old-school heavy metal was already underway around this time, few took the doomier steps that Papa Emeritus and the Nameless Ghouls would conjure up. Instead of focusing on speed metal or NWOBHM throwbacks, they went after something truly cold and stripped down.

That sheer coldness and undead feeling is what  sets this record apart from the others for me; not that it’s the “only metal one.” As early as Infestissumam, the gimmick becomes far more clear, and the band’s progression from album to album would reveal some of their silliness as they gain popularity. But there is literally none of that here. Despite the hookier rhythms and obvious ear for melody, there’s no shortage of occult blasphemy nor heavy bottom. Guitars are coarse and crushing, utilizing crunchy tones to their advantage. The subjects of human sacrifice, Satanic prayer, and dark forces are served on a very concise platter.

Keeping all of this in mind, it’s not difficult to imagine why I found so much of this jarring. Mostly in the back half, this is packed with songs that I still find genuinely unsettling to this day. “Satan Prayer,” “Death Knell,” and “Prime Mover” all coast along with bass-backed doom rhythms, suspenseful build-ups, and contrast between pacing from chorus to verses. Immaculate writing, yet so simple. The minor toned licks fused with eerie organ garnishes do wonders for complimenting Tobias “Papa Emeritus” Forge’s haunting vocals.

Not to say there isn’t some good old heavy metal fun, but it’s still not coated with pop-rockisms (yet). “Ritual” and “Elizabeth” sorta work as the album’s earworms, feeling a bit more welcoming without ditching the feeling of being trapped in a dark-age fortress. Bookending these might be the album’s heaviest songs. “Con Clavi Con Dio” lets on bass fury early on with some of the deepest riffing in the bridge. Moreover “Stand By Him” cuts in an energetic solo with harder drum kicks and faster speeds without needing a transition. The effect of this alone works wonders, even before you coat on the chilling keyboard tones.

For years I was never really sure what it was about Opus Eponymous that made it stand out so much from the others, but the freezing atmosphere and the serious tone that it breathes has to be it. Closer “Genesis” perhaps hints at the warmer songs that would enter moving forward, being arguably the only song to let in calmer, brighter feelings. Its keyboard intro, steady twin-guitar attacks, and acoustic resolution is one of the best ways to package up an album I’ve ever heard. From the disorientation of “Deus Culpa” through the entire brief ride, this is traditional heavy metal laced with doom influence and horror-stricken ingredients to the max.

Album Review: Alice Cooper - Detroit Stories

Alice Cooper - Detroit Stories

Ear Music - 2021

3.5/10

The latest Alice Cooper record would see the same rock ‘n roll throwback energy as Paranormal. The big difference is that this one is significantly longer, it ditches the spookier resurrection element that’s hit the last few albums, and there’s somewhat of a funk feeling in certain tracks. Thus, we end up with Detroit Stories, a disc that reeks of “old man reminiscing” as heavily as it sounds. Therefore, finding the strong moments becomes a bit of a task.

For starters, almost everything feels like an anecdote, and depending on the subject matter there’s very little glue holding the tracks together. They’ll jump around from something that sounds Beatles-inspired, to Bee Gees, to KISS, to something off of a Boogie Nights scene. More or less, it creates a lot of songs that feel catchy enough but get on my nerves more often than not. “$1000 High Heel Shoes” was a doo-wop/disco attempt that I didn’t need to be subject to, yet I find it being stuck in my head; but not in a good way. It’s like getting a song from a kid’s cartoon in your head.

Moreover, Detroit Stories suffers from being way too on-the-nose and grows stagnant quite fast. “Detroit City 2021” is littered with references to other artists, the “old days” and corny rhymes that plagued the latest Megadeth album (though not quite as bad). Same can be said about the obvious blues reach on “Drunk And In Love,” an unflattering tune that couldn’t be less original, or further from Alice’s originality that often works its way in. The only real exception may be “Our Love Will Change The World,” a Monkees-oriented happy tune that surprisingly feels like a breath of fresh air compared to everything else being anywhere from alright to uninspired.

Perhaps I’m a bit hard on this record because of the expectations Alice has set. Even most of his weaker albums almost always have at least something worthwhile, or something I look forward to hearing. But essentially, this is an overly long (fifteen tracks is way too much) compilation of songs that hardly go anywhere, don’t really stick together, and ultimately could be skipped, save for that one standout. Perhaps a sign of retiring writing new material? I could stand for a brief band-reunion disc at most, otherwise no more songs from the shock rocker is really desired on my end.

Album Review: Alice Cooper - Paranormal

Alice Cooper - Paranormal

Ear Music - 2017

6.5/10

Alice Cooper’s Paranormal has a trait that I think many a later Slayer album suffers from; title track supremacy. If it isn’t obvious, this is when a record’s title track holds an immense amount of weight, while everything else fails to come close to measuring up. This doesn’t always make for a bad album, but often one that’s a bit underwhelming compared to expectation. For how long a gap there was between albums, it is somewhat surprising.

Thus, expect “Paranormal” to be a banger. The progression of softer riffing, molding into faster paced verses and incredible percussion works wonders. Throw in a beefy solo that transitions the energy in a cool, clean way, and the stage is officially set high. Sure, there’s autotune now, Alice’s age shows, and nothing is really new, but this song has lost zero of its luster since it came out five years ago.

Such a shame that the rest couldn’t hold that presence. No track here strikes me as overtly bad, but there’s very little to dig up that doesn’t just reek of modern rock ‘n roll by-the-numbers. Little standouts like the pacing in “Paranoic Personality” are enjoyable enough, and the faster spoken-word over instruments energy on “Dynamite Road” hits nicely. Hell, I’ll even give some credit to the dance-worthy “Holy Water.” If you get the version with bonus tracks by the original Alice Cooper band, “Genuine American Girl” might be better than any other song on this disc outside of the title track. It certainly breathes the classic energy.

But ultimately, this is a just-above-average disc that may be worth hearing once, but nothing I’d go to great lengths to seek out. If the entire album held the impact of the first song, this would truly be an immaculate disc. For what it’s worth, it’s better than a good number of the post-’90s records. Tread lightly.

Album Review: Alice Cooper - Welcome 2 My Nightmare

Alice Cooper - Welcome 2 My Nightmare

UMe - 2011

7/10

If Goes To Hell is the Halloween II (1981) of Welcome To My Nightmare, then Welcome 2 My Nightmare is the Halloween (2018) sequel. Confused yet? So are we all. Starting a new decade, Alice swung in with a follow up to the 1975 classic over 30 years later. Musically it’s not similar in any way, and this is easily the closest the shock rocker has come to making a full on modern pop album. Even the autotune is in full display from the start. It may be safe to say that that was used more for effect than pitch correction though. 

But I’m not exaggerating when I say this, opener “I Am Made Of You” Sounds like it could fit on an Imagine Dragons album. Yet, I don’t think it’s bad. The “Steven” throwback piano rhythm, the slow buildup, and the ending solo do make for a rather intriguing entrance to our next adventure. It fits too, because this is pretty much how the whole record goes; catchy pop songs with a slightly ghoulish twist to fit Alice’s narrative, and it surprisingly works really well. Disco tunage even works in again with “Disco Bloodbath Boogie Fever,” ending with a swift heavy shift in delivery.

So it should be no surprise that Welcome 2 My Nightmare is chock full of chorus-heavy numbers, catchy lyrics, and easy to ingest songs in the form of hits. The nightmare themes aside, this creates a fairly strong sense of consistency that we haven’t had since Brutal Planet. “Ghouls Gone Wild” is like a Scooby Doo montage tune that would work as a party anthem, and you even get Ke$ha as a guest on “What Baby Wants”. Never does pop music use the horror element to its advantage the way it does here. Most of the identifying tropes are sidestepped on “Caffeine,” but even that one works as a more energetic radio pop tune.

I’m sure this reads like a massive sellout, and things are admittedly pretty goofy, but I’m just thrilled to have something interesting and mostly catchy. There’s plenty of Cooperisms that fall outside of the regular pop schtick, lyrics even aside. “Last Man On Earth” is so much fun, using his older age to its advantage and injecting broadway musical feels. Even “The Congregation” has some Beatles meets Ghost feels, which I can appreciate.

Callbacks to the original classic, a handful of guest stars, pop music tropes, and a dash of originality make this an album absolutely worth hearing. It’s a step up from what was originally looked at as the sequel. Much of this description may sound off putting to die hard classic fans or metalheads, and things probably could have been trimmed a bit, but I urge everyone to give it a try.

Album Review: Alice Cooper - Along Came A Spider

Alice Cooper - Along Came A Spider

Steamhammer - 2008

6/10

To try and continue the momentum that existed on the previous release, Alice stepped into another old tactic with a concept album. Along Came A Spider details the tale of a serial killer and his approach to the victims, a rather straightforward horror idea. Surprisingly, it doesn’t inject as much of the spookier Nightmare traits that you would expect. Instead, things move along with modern pop/rock vibes and the occasional heavy riff as a side dish.

Actually, the tone that’s used on these harder sides has just the littlest hint at the industrial albums from the earlier records. The music itself doesn’t reflect this at all, but works alongside catchier rhythms and chorus-heavy songs, which is decent enough. Lyrically, there’s a humorous twist that permeates a lot of this, which can be heard pretty easily on “(In Touch With) Your Feminine Side,” and “The One That Got Away.” I also can’t help but see much of this as an obvious nod to “classic” real life serial killers, particularly Dahmer and Gein. 

Along Came A Spider however is a little better as an idea than it is in practice. The transitions between the songs are pretty nonexistent, and while consistency isn’t void, there’s little innovation. Things open on a stronger note; “Prologue / I Know Where You Live” boasts some intense energy, working into “Vengeance Is Mine” that rests on Slash’s noodly guitar playing. After that, things stagnate, save for the acoustic and repetitive “Killed By Love.” There isn’t a lot that I would call bad, but little that I would call great either.

Ultimately that’s the best way to sum this up. Never am I struggling through anything, but each time revisiting somewhat reminds me of why I remember so little of this. Repetition is used just a little too much in a lot of the songs, and I think the horror concept works as a poor coverup for things that could have used a little more refining. Strong idea, decent execution, poor innovation.

Album Review: Alice Cooper - Dirty Diamonds

Alice Cooper - Dirty Diamonds

Spitfire Records - 2005

7.5/10

Continuing on with alternative ingredients of the prior album, Alice Cooper follows up with one that has his own spin. Dirty Diamonds is hardly derivative stylistically, but the originality of this one certainly eclipses Eyes significantly. You would think that a constant aim for modern rock appeal would only go down in quality, but it really doesn’t. There’s enough standout here to make it more worthwhile than the prior two releases.

In fact, some stuff actually drastically sidesteps the overall picture, and while it may be awkward at times, those are the songs that stand out heavily. “Pretty Ballerina” aims for the softer, eerie influence that was reached for on the prior disc but missed, however actually feels compelling this time. “The Saga Of Jesse Jane” inserts western vibes, perhaps a callback to “Desperado,” and I can’t deny how fluid the verses feel here. Even the title track successfully injects spacey, noise rock vibes with its tones.

The rest of Dirty Diamonds is a more refined version of what Alice has been working with. Some work better than others for sure. “Steal That Car” is so damn catchy with surprisingly strong energy, and it fits the shock rocker’s vibes so well; I’ve loved this one for years, and the riff actually has some mild speed metal hints. Others tone things back, like “Perfect,” acting like one of the steadier Bowling For Soup songs. Similarly, “Sunset Babies (All Got Rabies)” doubles down on the silliness, and “You Make Me Wanna” drills in the sugary chorus under some Beatles energy.

Nothing here is too innovative, and the aging certainly shows. But I have to hand it to Alice, there’s more to this that sticks than there is that doesn’t. A mix of classic rock throwbacks, modern alternative takes, and weird touches of his own make for something decent. Dumb lyrics making their way in? Yeah, that’s been a thing for the past four albums. And there’s certainly little in the way of linear flow. But I may go as far as saying that this one is overlooked, and is on par with School’s Out.

Album Review: Spectral Voice - Necrotic Demos

Spectral Voice - Necrotic Demos

Extremely Rotten Productions - 2020

8/10

For a band that has such a massive following in the extreme metal scene, you would think that Spectral Voice would have more than just a full-length. That’s the trick though; they do. Listener’s like me find it cumbersome when a band has so much work spread throughout splits, and a compilation of this kind serves a wonderful dish for my lazy ass. Necrotic Demos not only gives us four songs from prior splits together, but also throws on the Necrotic Doom demo to start us off.

Beginning with said demo, these are three tracks that more or less hint at what’s to come with Eroded Corridors Of Unbeing. Crushing riffs with immense amounts of suspense make up everything here. For being in the demo stage, though, this feels surprisingly cleaner than you’d think. That’s not to say it isn’t a head-crushing blast of disgusting force, because it is; I just find it impressive that you can discern every instrument so well. “The Diffluence Of Ruined Graves” makes its impression the strongest. With eight minutes of gradual slowing and spacing out percussion leading into breakneck speeds, you can only imagine the proverbial burn it creates.

Moving onto the splits side, this is actually where things sound a little muddier. There’s a slight inconsistency between the songs since they come from different years and this wasn’t written in the context of an album, but I do find that to give it a little bit of charm. Considering that not a lot of this derives much from their normal sound, that also helps break things up some. “(Slowly) Claimed By Oblivion” is where Spectral Voice started really heavily laying down the dissonant, empty leads that cast an energy of lifelessness. Its jarring jump into the more abrasive “Peeled Veins” may be the best part of this compilation.

The best way to sum up Necrotic Demos is to call it a little look into the band’s progression within the first five years. I suppose that fits any compilation in the same time span, but fitting it into a work that could act as a full-length gives it just a little edge on others. Necessary for fans who want to hear all of their stuff in one place.

Listen: Bandcamp

Album Review: Alice Cooper - The Eyes Of Alice Cooper

Alice Cooper - The Eyes Of Alice Cooper

Spitfire Records - 2003

4.5/10

It’s a damn good thing that Alice Cooper stepped away from the industrial sound that dominated two albums. Two years following, we would see what marks the beginning of the modern rock ‘n roll sound that’s had little change from then to now. The Eyes Of Alice Cooper dials back the overly distorted guitars and dystopic on-the-nose lyrics while holding onto the crystal clear production. Basically, we’ve reached the era that every older rock star hits that seems to focus on nostalgia and looking back on their career.

We’ve seen it with Scorpions, KISS, Ozzy, and the likes. What does Alice’s brand look like? The answer is that it depends on if there’s a reach for one specific theme, or just a general “fit in” attempt. This one leans more towards the latter, bringing more of the alternative rock that was hinted in the last record. Poppier rhythms return, but not in the glam metal sense, but more in the early 2000s rock sense. “Between High School & Old School” would not sound out of place in a playlist with Green Day or All American Rejects. If that’s not enough, “Novocaine” uses the more easy going feel to implement the same idea. The latter is actually surprisingly kind of fun, but other attempts at this feel way too forced.

The rest of The Eyes Of Alice Cooper is more or less just underwhelming attempts at the classic rock sound under celebrity accomplishment. “This House Is Haunted” aims for the old Welcome To My Nightmare vibes but really goes nowhere. “Man Of The Year” absolutely reeks of generic riffing, and is very representative of something tired. In fact, a majority of the back half kind of falls off and reduces to this, going on for far too long despite not being too terrible in runtime. For the most part, the majority of this is fine, but extremely dull and holds little to no memorability outside of the first couple songs I mentioned.

Album Review: Alice Cooper - Dragontown

Alice Cooper - Dragontown

Spitfire Records - 2001

4/10

After diving deep into the Rob Zombie influence on the prior record, Alice Cooper evidently decided to take another stab in that direction. While it worked decently enough the first time around, Dragontown admittedly looked to be a near copy for the second time around, except longer and less innovative. The same downtuned guitars dominate the entire palette, dystopia-obsessed lyrics cover most of the writing, and a somehow even worse ballad sneaks its way in. Considering that only a year passed, perhaps the shock rock king just wasn’t done here yet.

Looking across the board, there are some notable moments worth digging into. For these later records, there’s a pattern of the doomier songs seeming to hold the most weight. With that, the title track has plenty of solo wankery over thick rhythm passages, and the chorus is admittedly somewhat fun. Opener “Triggerman” also sets a pretty promising stage, riding on strong gallops and heavy metal strength. Unfortunately, not much else stands out, and a lot of this is just merely existing early 2000s rock.

The missing gap is the shit that’s awful. “Disgraceland” is one of the worst attempts at an Elvis impersonation, once again being way too on-the-nose with the lyrics; it’s far too corny even for Alice. The ballad “Every Woman Has A Name” managed to stand out even worse in the unflattering sense than the last record’s try for one. “Sex Death And Money” is a weird alternative take that also throws things off, and it’s so rough that I’m not even sure what the idea was here.

It would be wrong to say that Dragontown is the worst thing I’ve ever heard, but man is this ever chock full of generic writing and some serious doozies. The few strong parts are worth listening to, and I can appreciate the attempt at doubling down. But really, this is skippable as a whole.

Album Review: Alice Cooper - Brutal Planet

Alice Cooper - Brutal Planet

Spitfire Records - 2000

7/10

It’s almost uncanny how Alice Cooper and Ozzy Osbourne align. Thrived in bands in the ‘70s, reinvented themselves as solo artists, re-grew in the ‘80s, and went out with a bittersweet bang in the early ‘90s. Yet, they both continued chugging along, lobbing over anything from decent to garbage following 1995, and they both went the Rob Zombie route in the early 2000s. Enter Brutal Planet, the heavy, downtuned riff monster with industrial tappings.

The real weakness is how on-the-nose things are here. Thankfully, being a newer idea for the Coop, it aged decently enough and the songs are written well. The consistency is also pretty on par for the most part. But the lyrics have some serious “born again” and “everyone in the world sucks now that I’m sober” energy that lays it down, feeling very in-your-face. But again, there’s no denying how crushing the energy is on the title track; its backing vocals leading to an explosive chorus, the vocal bridge, and the general atmosphere is burning hot. Truly a fierce note to open on. 

Brutal Planet did put a little too many eggs in the title track basket, however. Because nothing else fully measures up to it. This isn’t to say there’s nothing else worthwhile. Songs like “Eat Some More” smear this energy to an even heavier level, just less cohesive. Even though most of this is held up by doomier, steady chugging, faster songs with a bit of gallop break it up some. “Sanctuary” throws back to the more metal-oriented construction on the later ‘80s albums. Its verses are pretty lame, but “It’s The Little Things” manages to swing this approach with less error. The only glaring complaint outside of edgier lyrics is attempting a ballad here. “Take It Like A Woman” falls very short of anything flattering, and I struggle through this song.

View this record as the groundwork for what to expect moving forward. There are things worth digging up, but you may have to dig through some shit. Some albums pull it off better than others, and thankfully this one is absolutely a worthwhile spin as a whole. Moreover, it’s just the last nail in the coffin to prove how well Alice can stretch his core to fit a modern narrative. Unfortunately, the era of anything classic or essential died with The Last Temptation.