Album Review: Kiss - Animalize

Kiss - Animalize

Mercury Records - 1984

5/10

If Lick It Up hasn’t convinced you of Kiss’s glam metal shift, then Animalize the very next year certainly will. Along with this, we already see a change in guitar personnel, with Mark St. John replacing Vinnie Vincent’s short lived run. Someone that isn’t a seasoned fan may not see such a jarring shift, as stylistically his playing is similar enough. Thus, the heavy metal chops are still ever so present, with a heightened focus on the gang vocal choruses and pop-oriented glitter underneath the loud distortions.

This really could not be more evident on any song than the raging banger “Heaven’s On Fire.” This tune is glam metal in the most obvious form, right in line with the likes of Poison, Ratt, and Dokken. Anthemic lyrics and energetic muscles are flexed, topped off with a memorable singalong chanted chorus. It’s almost obvious that this was meant to be a hit, as the other songs still lean a bit more towards the heavy bottom than poppy build. It’s still present, of course, none scream “radio hit” the way this song does.

Unfortunately, not standing out is a theme on Animalize outside of that track. Heavier songs do not always equate to better songs, especially when a lot of it is just “more of that stuff we did well with before.” Every song tries to find a balance between the pop/metal scale, and the focus on that leaves so much to be desired. Opener “I’ve Had Enough (Into The Fire)” is the first instance of Paul and co. cranking out speed metal with a roaring solo that doesn’t make much of an impression. Calmer, but still heavy tunes like “Lonely Is The Hunter” suffer the same fate; exercising some serious guitar noodling that does very little outside of its sheer ability. You could argue that “Thrills In The Night” sidesteps into a somber mood, but I still hardly call this anything innovative. 

Again, I chalk some of this up to rushing, which only mildly hurt Lick It Up but obliterated its follow-up. Reinvention of a band sees success only as it continues to either evolve, or at least write addictive songs. Having Mark St. John’s strong chops couldn’t even save this. While there’s very little that I would call outright bad, this is one of the most average, merely existing Kiss records in the band’s entire ‘80s run with the exception of “Heaven’s On Fire.” That song is worth every bit of your time, the rest serves as background music.

Album Review: Kiss -Lick It Up

Kiss - Lick It Up

Mercury Records - 1983

8/10

After establishing a more metal-oriented sound a year prior, Kiss would carry this over to the new era of riding the glam metal wave, funnily enough alongside removing the makeup. At this point, Ace Frehley is completely gone, replaced by Vinnie Vincent on guitar to add a new personality to the recent rebranding. Lick It Up would be the end result, one that’s still fairly in line with the heavy metal riffing, just a little less loud in production and drum weight. From this point on, it remains Gene and Paul carrying all vocals save for a very rare sidestep.

Thankfully, things are still dynamically pretty tight this time around. If there’s anything to complain about, it’s a slight dip in songwriting quality particularly at the end, but Vinncent’s guitar passages carry a refreshed amount of weight that we got a little bit of on Creatures. The slower, stomping nature of “Not For The Innocent” showcases this wonderfully, and the guitar solo here boasts some very new energy. The famous title track is pretty trashy, yet it manages to stay strong with catchy vocals, heavy guitar bridges, and youthful energy. The other big hit “All Hell’s Breakin’ Loose” could be chalked up to the same thing, one even working in some rap to keep the attitude instead of metal.

On the other hand, Lick It Up has a few numbers that utilize more speed metal energy rather than slower trudge for that heavier effect. “Young And Wasted” is a furious Gene-fronted number with tons of rasp and bouncy guitar riffs, while opener “Exciter” and “Gimme More” let Paul Stanley work with this formula. Your inevitable fillers are hit or miss, some scratching the itch like the catchy closer “Fits Like A Glove,” while others feel void of any real purpose like “Dance All Over Your Face.” I guess at least the latter types still boast strong lead guitar passages, but that’s not enough to overlook it.

At the end of the day, Kiss’s first step in the non-makeup era is pretty strong with a few minor hiccups. It’s very top heavy, with everything worthwhile being within the first six tracks; the last four are when you reach the “hit or miss” stuff. If nothing else, things feel consistent for the whole run, and the energy that made its predecessor so great is still present. Had things not been rushed immediately after a tour, I think this could have fared just as well.

Album Review: Kiss - Creatures Of The Night

Kiss - Creatures Of The Night

Casablanca - 1982

9.5/10

After several albums very atypical of the established Kiss style, we reach a record that is the end of a few eras. Creatures Of The Night saw the end of the makeup era entirely (and its final “phase”), the end of being signed to Casablanca, and the end of Ace Frehley on lead guitar (although like Peter Criss on Unmasked, he’s absent in all but credit). This massive outro of a disc not only saw a return to the heavier rock form that has been absent for the last few years, but adds a new layer of aggression that I would qualify as heavy metal. Right as glam metal was poking its head from below, we got an unintentional transition away from what we’d call “classic Kiss” to “80s Kiss.” This was their third record in the ‘80s, but longtime fans will know what I mean.

Heavy metal characteristics come into play with several different tactics. For one, this is extremely loud production wise, amping Eric Carr’s new defined role up to harder heights behind the kit, which shows wonderfully. Riff-wise, the songs are just far more in line with Judas Priest than Cheap Trick, riding on heavier chugging whether it's done with steadiness or speed. Vocally, both Paul and Gene cast harder energy in their outbursts, and with this the general tone uses more minor scales. You could say the energy is just a bit darker, reminiscent of the nighttime, B horror-esque album sleeve.

Don’t expect it to be a satanic-panic era disc in line with Venom, however. Creatures Of The Night still very much keeps the band’s initial foundation, building on muscles flexed on the debut and Destroyer. The title track opener alone breathes loads of fun, riding on fast riffs and explosive drums to set the stage, being Paul’s heaviest performance to date. “Rock ‘N Roll Hell” and “I Love It Loud” rely on the catchy element as well, two Gene-fronted numbers that still howl harder than ever but hold onto the hooks that always made the band great. “I Still Love You” is a decent acoustic ballad, but still fits due to its doomy bridge and hard solo.

On the flip-side, we have a full serving of songs that break into the metal territory entirely, truly reaching the new heights without sounding out of place. Closer “War Machine” is a fuming doom metal number that rides on menacing drumlines and furious outbursts for Simmons’ normal levels, making “God Of Thunder” look limp. “Saint And Sinner,” another metal-oriented tune that amps up the attitude, while “Killer” busts out descending bass/lead chops and serious speed metal aggression. I’d even toss “Danger” in with this mix, which emphasizes a dash more  emotion over speed metal rhythms; the solos here are also some of the strongest.

My only honest complaint is “Keep Me Comin,” the single obvious filler, and even this one isn’t bad; had it been absent or replaced, this disc would be as strong as the debut. Objectively, it likely falls into the camp where writing wise it’s better than Kiss, but my biases and that one tune keep it below. If your goal is to get a metalhead to listen to Kiss, this is absolutely the album I would recommend. Much of its heavier energy would carry into several other records following, but none are as tight, stripped-down, and beefy as the final makeup era outing.

Album Review: Kiss - Music From "The Elder"

Kiss - Music From “The Elder”

Casablanca - 1981

6.5/10

After tampering with their little disco run, Kiss would head into 1981 revealing that they’re more susceptible to trying to fit in with their surroundings than they’d likely admit at the time (or ever). Music From “The Elder” was not only the band attempting the rock opera style that Queen and Styx had nailed by now, but this would also see the full official exit of Peter Criss with Eric Carr as replacement on drums. This isn’t exactly the record where that matters, considering how little a role the drums play. If you thought them doing disco was weird, strap yourself in; this is a true shark-jumper.

Weirdly, heavy passages get worked in more than you may imagine, but the focus is heaviest on the vocals and the theatrical aspects. Paul Stanely actually has an incredible voice for this; hearing his highs shine in opener “Just A Boy” rings in serious vibes from The Who’s Tommy. Transition from song to song feels tighter than you’d expect (at times), with a piano playing a heavier role than any album to date. The following track “Odyssey” lets this on nicely, coated with horn sections and strings to yield epic feels following a calm ascent. For how different this is than the band’s usual schtick, I can’t complain too much; yet.

Unfortunately, Music From “The Elder” tanks after that, having a bit of an issue with consistency, and every good moment moving forward  is good in its own isolation, often not fitting with the operatic style of the rest. “Dark Light” has always been a favorite of mine, tapping into the groovier elements Ace Frehley has given us previously, working with an aforementioned heavier passage. "The Oath" is also a stripped down banger that borders heavy metal territory. These tracks hardly fit, however, and I think may have stuck with me by accident. The other tracks either go on too long, such as the closer “I,” or just don’t feel nearly as organic, making them rather forgettable after I’m finished listening. I'm not sure at all what was going on with "Mr. Blackwell," and they really lean into the opera on “Under The Rose" painfully hard.

Honestly, I think if Paul Stanley attempted an effort like this with another band entirely, it could have worked absolute wonders. Nobody else in Kiss has ever been cut out for this type of thing, and recruiting Eric Carr for a completely atypical effort likely got off to an awkward start. Paul has the voice and energy for this, but the band as a whole wasn’t meant for operatic music. I appreciate the idea, and there’s some worthwhile things to walk away with; but I can’t accurately call this an objectively good album.

Demo Review: Koffin - Nailed Into The Coffin

Koffin - Nailed Into The Coffin

Morbid Chapel Records - 2020

8/10

Koffin were a very short-lived Estonian death metal act that came and went with only a demo and a few odds-and-ends songs for their couple year excursion. The demo titled Nailed Into The Coffin is the most accessible way to taste their formula, boasting only four songs and an intro. As you would expect, it’s as raw and rough as the artwork and somewhat goofy band name suggests. I’m not sure what it is with these Baltic death metal acts using incorrect spellings on purpose lately.

Regardless, what we get is a pretty healthy serving of murky rhythms under a swamp of festering gutturals trapped between padded walls. By this I mean that the harsh delivery is somewhat eclipsed by what feels like a sound-wall muffle thanks to the degraded atmosphere. The intro track into “Deicide” shows this pretty well, however the isolated guitar bridge feels more fierce because of this. We can also get a clearer feel for the basslines, a common feat in this kind of death metal release.

The typical themes around gore, death, and pain match the general aesthetic of suffering on Nailed Into The Coffin. For such a short work with a hard production, the songs are surprisingly concise. “Legal Genocide” marches forth with galloping rhythm patterns, which fold into a faster drive. “Stupid Thoughts” lets us on with a bass-heavy start that carries the whole track, before concluding with “Terminator,” utilizing more samples to set the tone for the most (fittingly) aggressive track here.

While nothing groundbreaking, Koffin managed to bring forth a really solid demo considering how brief, basic, and primitive sounding it was. It’s a shame that they broke up before breaking ground, because this lays some potential for what would be really strong death metal. Anybody who digs the OSDM sound and likes it as rare as their steak, perhaps give this a try. Don’t let the name turn you away.

Album Review: Kiss - Unmasked

Kiss - Unmasked

Casablanca - 1980

9.5/10

The start of the 1980s continuing the final step of the Kiss makeup era would see its second offering as being a more concentrated look at the standout aspects of Dynasty. A year earlier, this one combined disco and heavy rock elements to make something far better than it had any right being. Unmasked strips away (or perhaps, unmasks, ha…hahaha) that harder element and tosses the band into full-on pop feelings. The disco aspects appear relaxed (while still present) since what’s left of them drains into the pop elements that flood the entire disc, so perhaps they stand out less. 

The end result is truly fantastic! This isn’t to say there’s zero guitar distortion or riff-heavy moments, but they take a back seat anywhere they’re notable. Like before, we also see a higher influx of Ace Frehley fronted tunes, fitting the vibe very well. Despite this, his interest and writing was already dipping, and Peter Criss would see the first album without a single contribution, all but being out of the band by now other than in name. Sweeter finishes are coated onto the guitars and the drums alike to fit the general vibe, evident in the latter even more with shiny percussion fills all over. Swing all of this into generally upbeat melodies, and you’ve got your album.

It makes sense that Unmasked would be loaded with emotion, all things considered. “Shandi” is probably the most melancholic song to date, a dreary tune that breathes all too real experiences of emptiness. On the flip side, the Ace fronted “Talk To Me” coats on some serious harmony, feeling upbeat and full for something so simple in nature. “Easy As It Seems” boasts a synth solo, acting as a more pulled-together flipside of “Shandi,” and “Tomorrow” is as early ‘80s pop as it gets. These angles are what make the album stand out so much, and what I would call the biggest appeal. As Kiss have done before, they managed to make a cover into their own, with “Is That You?” starting us off and sneaking right into the mix from the start.

Yet, songs that hint at more traditional writing for the band show their faces plenty. “Naked City” is chock full of ‘70s Kiss layers and harmonies in the chorus, dipped into a noir-esque anthemic feel that much of this decade would see. Gene Simmons gave this a poppier coat on “She’s So European,” and “Two Sides Of The Coin” rakes in slightly harder rhythms to blend with the vibe Ace already set on “Talk To Me.” The conclusion might be that each singer has their own vibe on this album. Even “What Makes The World Go Round” fits into the Paul blend with its choppier, bright rhythms, boosted by a strong solo.

All that holds this back from absolute perfection is closer “You’re All That I Want” yielding very little innovation compared to everything else. Had this number been dropped, we’d have an album as good as the debut. “Torpedo Girl” captures the disco energy the hardest with its bassline, and would have been a perfect enough closer. Otherwise, the first Kiss album to bring us to the 1980s is just about perfect. It’s a more focused idea of what was laid down a year prior, being strong enough as is. More band skirmishes and experimental changes would come before submitting to the glam metal movement, but there’s no doubt that little hints are dropped here too.

Album Review: Kiss - Dynasty

Kiss - Dynasty

Casablanca - 1979

9/10

The last year of the ‘70s would see the start of the final stage of Kiss’s makeup days. This era sees some of the biggest jumps from album to album, likely due to trailing right off of the four solo albums a year prior. We would also see band hardships and absent members, particularly Peter Criss and Ace Frehley, on and off from here on out. Peter Criss’s solo album likely already saw a lack of caring on his end, but despite that, much of what we got on those four efforts gets channeled into Dynasty, thankfully with very little contribution on his end. You can only assume we’re in for a trainwreck.

Amazingly, we’re not! Dynasty, with all of its complications, came out on top far better than it had any right to. The funk tamperings that worked into several of the solo records morphed into more disco-oriented rhythms, and more than ever, the basslines carry much of the weight in this regard. While that style dominated the pop world of the late ‘70s, there’s still a raw energy to the production that allows the bass and lead guitar to jump out with the same regard, and all of these things compliment each other wonderfully. How often can you say you heard a disco record with heavy riffs and raw bass?

That’s all well and good, but it means little if the songs suck, right? As many have observed, Paul Stanely would take over much of the writing roles and control moving forward, which fared wonderfully. Moreover, Ace Frehley contributing to more vocals did wonders, having one more spot here than Gene Simmons did. Opener “I Was Made For Lovin’ You,” despite being such a bizarre jump from what we got on Love Gun, has such a steady beat with beefy rhythms, and sets up the idea for the whole album. My personal favorite is “Sure Know Something,” one that reflects the laid back energy of Paul’s solo album in an even tighter way; no heaviness is needed for this disco banger, and airy leads carry the bouncy basswork nicely.

Just about everything else rests on the same energy, and while there may be a song or two that still contains that old filler energy, not a single note feels out of place. ”Hard Times” puts a lot of focus in the chorus basket, letting Ace be as catchy as he can with a slight metal edge. Moreover, him fronting the Rolling Stones’s “2,000 Man” not only flows like a river, but outdoes the original. Simmons delivers “X-Ray Eyes” in a fashion that allows harmonies to take the reigns as well as ever, and I even have to hand it to Peter Criss on “Dirty Livin’.” It’s his final song, but at least it revives the mess that was his solo effort. If nothing else, a lot of these tunes test Paul’s vocal range, “Magic Touch” showcasing that as much as the opener. I still find myself singing along to the more obvious tunes, making this album super addictive.

All things considered, this never should have come out as strong as it did, and it’s easily one of the most consistent records of the ‘70s run. Many see it as the last worthwhile Kiss record, others even stop before it. That’s a mistake, because the next several records yield some of the biggest nuances in the entire Kiss discography, for better or for worse, and the foundation is laid right here. I challenge you to find me another album that combines disco with metal-oriented passages and ‘70s rock charm as nicely as this one does.

Album Review: Kiss - Paul Stanley

Kiss - Paul Stanley

Casablanca - 1978

8/10

Regarding the four solo efforts, Paul Stanley’s is the one most aligned with the typical Kiss catalog of the ‘70s, so it makes perfect sense when fans regard it as “just another Kiss album.” It may sound boring by that description, but considering how two of the other three experiments went, there’s little room for surprise that this is one of the better ones. Objectively, Paul is probably the best singer for the band anyway, so what it really comes down to is songwriting. Thankfully, the ball is not dropped on Paul Stanley.

If anything, it’s a slight look into the next full-length that we’ve seen from the entire band (more on that at another time). Opener “Tonight You Belong To Me” is a somber rock banger, reminiscent of the soon coming “Sure Know Something,” a strong note to open things up on. There’s still a heavier punch in tunes like “Wouldn’t You Like To Know Me” that last the whole way through, kicking out faster rhythms and the harder stomp that tend to make up the more addictive tunes. See “It’s Alright” for the same thing, amazingly reeling in a chorus that’s just as fun. There’s even a vocal bridge with strong bass here that I can appreciate.

I also find some gold in the ones that avoid the harder structures entirely. “Hold Me, Touch Me (Think Of Me When We’re Apart)” rakes in a feel-good charm, utilizing a piano and emotional tonal shifts without feeling stupid, unlike many Peter Criss songs. “Aint Quite Right” is another that utilizes softer licks, colorful leads, and a cooled-down tone to boast nice poetic flow. Combining the sharper edges with emotional tampering fared well on “Together As One” too, using softer builds and clean licks to bring on an explosive chorus; the Led Zeppelin-esque outro was certainly a surprising touch.

There’s certainly a song or two that hold little weight like others from the ‘70s run, but these ultimately mold together really nicely. The emotions being cast feel consistent from end to end, not only holding a firm ground but doing it with songs that stay catchy. If anything, I feel like this works as the perfect transition between Love Gun and Dynasty. The issues with the former get cleaned up, and the musical ideas we find more of on the latter are executed better here than on any of the other solo efforts. Much like Ace Frehley’s, this is very much worth seeking out.

Album Review: Kiss - Gene Simmons

Kiss - Gene Simmons

Casablanca - 1978

5/10

Out of all of the solo efforts, Gene Simmons’s attempt at a disc full of his own songs is one of the hardest to discuss due to it being the only one without a real flow. Ace Frehley’s is consistently strong and heavy with a few extra tactics, while Peter Criss’s is consistently terrible songs that should have been played by other musicians (but consistent nonetheless). The best way to describe the Kiss bassist’s shot has similar funk nods that fare as poor as it sounds, with a few good tracks worked into the mix. So we’ll go about dissecting Gene Simmons by discussing those separately from the rest.

The unfortunate part is that there are really only two tracks I ever come to this record for. Opener “Radioactive” is a common, popular choice for good reason, as it has a catchy trade-off chorus and strong but softer gallops to lead us there. The menacing intro is admittedly a bit overkill considering how harmless the song is, but it’s fine. The other is the quick, acoustic/clean ballad “See You Tonite.” Had it gotten bigger, every acoustic guitar nerd at parties would probably be playing it. Simple rhythm, straightforward lyrics, and nice, stripped-down emotional fun.

Sadly, there’s very little to get beyond these two songs. While it doesn’t suffer to the levels of failed funk, ballad, and contemporary pop attempts as the Catman’s, there really shouldn’t have been this many channels in that vein (at least not yet). Just because you’re the bassist doesn’t mean Seinfeld licks should carry your album, which can be found just about everywhere else. Adding insult to injury, things get repetitive more so than the forgivable Kiss levels, all of this reflected heavily in “Tunnel Of Love.” There was really no reason to re-record “See You In Your Dreams,” as the Rock ‘N Roll Over version of that was just fine on its own, and the phone-call sample in “Livin’ In Sin” was ridiculous even by their standards. “Always Near You/Nowhere To Hide” gives off creepy vibes when it was clearly meant to be flattering, which it wasn’t; I’d describe most of this that way.

If we didn’t see it before, this record shows the most glaring looks to the future of Gene Simmons being one of the cockiest and un-self aware frontmen in rock history. The typically small complaints I have on early Kiss are in full display. Save for the two standouts, this ranges from “I guess it’s fine” to “this sucks.” I’m sure some longtime fans have a soft spot for it, but to those digging in for the first time, it’s pretty skippable.

Album Review: Stryper - The Final Battle

Stryper - The Final Battle

Frontiers Records - 2022

7/10

Ever since Stryper returned from their ten year hiatus, the glam metal powerhouse has been spotty, ranging anywhere from incredible revival to absolute disappointment. Their latest effort Even The Devil Believes was serviceable but boring, the one prior an absolute fluke, and the one before that incredible. So yeah, it’s anybody’s guess, especially when they’ve lately taken the Overkill route of dropping a record every other year (almost). This brings us to last year’s The Final Battle, continuing with the power metal adjacent aesthetic yielding Christian themes, in every way including album art looking nearly identical.

For much of this, it’s fairly business-as-usual without a lot of deviation from the previous handful of records. You’ve got your powerful chanted choruses, high (albeit aged) Michael Sweet vocal energy, heavily distorted but shiny enough guitars, and an atmosphere void of any proverbial clouds. As I’ve stated before, stylistically, Stryper has gone somewhat stale by using the same trick for probably every album since No More Hell To Pay. For that, the only thing that we can rely on is songwriting that fares decently (or not). On an objective front, I’d say that there’s a slight step up in quality from before, a slow incline in writing since the jarring shift from the incredible Fallen to the horrendous God Damn Evil.

And that’s really the one heavier strength with The Final Battle. While nothing new is introduced, what’s being done again has enough catchy material and lead guitar chops to maintain my attention. As predictable as much of this is, I can’t deny the fun flow of “Heart & Soul,” especially mixing the calm chorus with beefy solos and slower rhythms. Opener “Transgressor” lays a faster gallop foundation, and the “Near” ballad is not only soothing but boosted with sturdy foundation, not coming off too corny. In recent years, they’ve done decently with maintaining strong balladry.

While there isn’t too much beyond some notable moments that stands out, there really isn’t much to complain about either. Maybe not the most inspiring stuff, but this is the strongest record we’ve gotten since 2015. Many a black/thrash artist will put out an album in the same vein, a difficult approach to mess up, and for the most part will satisfy a listening itch for a short time. This is no different, other than in the style itself. Probably skippable for most casual fans, but still worth hearing.

Album Review: Kiss - Peter Criss

Kiss - Peter Criss

Casablanca - 1978

2.5/10

As I’ve already stated, the Kiss solo records fared quite differently from each other, and the most stark contrast might be between Ace Frehley’s and Peter Criss’s. The drummer has by now had a bit of a reputation for singing the softer songs, with his heavier hitters mostly being a flop (save for “Black Diamond”). It only makes sense then, that Peter Criss is loaded with soft songs, between actual ballads and ones that just take a steady beat crossed with a warm tone. Surely he must have nailed it, right?

Unfortunately the answer is a resounding no. The upbeat tunes that would fit on a Village People album are unflattering even by that standard, and calling the ballads sugary would be an insult to every great ‘80s power ballad that I’d describe as such. Part of me wants to believe this was a look into the far more perfected “disco” era of Kiss, but I can’t say that. For one, Criss was all but absent after this year, and for two, the rest of the band made that work wonders; but more on that at a later time.

Perhaps one could appreciate the bouncy beats and uplifting vibes, but there’s no substance at all. The closest to a good song we get is “Tossin’ And Turnin’,” but good luck ignoring the ridiculous repetition and stupid chorus. The closest to a rock song we get is opener “I’m Gonna Love You,” and that’s if you count the likes of Pat Boone as rock. “Don’t You Let Me Down” sounds like an awful Paul Simon ripoff, giving him a bad name, which leads me to conclude that all of these songs could have been good if they were written by an artist that was, ya know, good at this style. Also, the song titles; what the hell kind of title is “Now That’s The Kind Of Sugar Papa Likes”? For the billionth time, that’s bad for the standards of other soft pop or regular Kiss cheese.

Knowing this, it shouldn’t be surprising that this is easily the worst record the band put out, if you count each solo effort as canon. I do, and for that, I don’t understand how a band whose biggest error was having a few too many fillers on a few albums could let this happen. If you extract every mild complaint I have about prior albums, inject them into one entity, and spit out songs around that, you get Peter Criss’s solo disc. Uninspiring, filler, cheesy, repetitive, and unflattering garbage.

Album Review: Kiss - Ace Frehley

Kiss - Ace Frehley

Casablanca - 1978

8.5/10

Who would have thought that only a year after taking his first swing behind the mic, Ace Frehley would get his own album? 1978 sees the next stage of Kiss, with all four albums of this… “era” being released on the same day. What’s even more wild is the fact that the guy who never does vocals arguably made the best solo album out of all four members. You would think that you’re going to get four albums of the exact same thing, when actually, each member’s fronted disc brings its own personality (for better or for worse). If any added something new to the formula, it’s this one.

First and foremost, Ace Frehley may just be the heaviest album not only of the four, but also since the debut. While I may struggle to go as far as calling this metal oriented, the heavier moments of Destroyer and the debut meet a new iteration of the ‘60s revival we’ve seen. “Speed Back To My Baby” is loaded with upbeat licks and ascending guitar crawls that boast plenty of energy, without being afraid to cake on sugary vocals. “What’s On Your Mind” works its strength into the chorus with an idea that cements a more contemporary version of the older rock style; truly some of the catchiest stuff! The acoustics mixed into the harder riffing truly leaves a mark.

On the other end, you’ll find some heavy-hitters that need no toppings. Opener “Rip It Out” is as aggressive as it sounds for the time, focusing on a steady pace to boost choppier rhythms, and “Wiped Out” combines fast elements with a bouncy foundation and bass path. Some of the more experimental moments like “Ozone” don’t quite land with me, but I have to admit that this angle made the classic “New York Groove” cover fit in far better than it should have. Placing it next to the doom oriented “I’m In Need Of Love” certainly helped, less because of its intensity and more because of its spacey cadence. “Snow Blind” is the only other weak spot, being void of any inspiration.

While it may have a hiccup or two, Ace Frehley is overall a very strong spin. Letting the lead guitarist do all of the writing opened some new avenues for the future, as well as laid the foundation for his eventual solo career. Every time I come back to this one, I ask myself why I don’t more often, and the spacey “Fractured Mirror” bookend should be every bit the reminder that we have something different. If you only listen to one solo record, let it be this one.

Album Review: Haalbuaer - Mortal Ones Scream In Horror

Haalbauer - Mortal Ones Scream In Horror

Caligari Records - 2021

7.5/10

Haalbauer is a band that only reinforces my conclusion that Norwegians take the death metal genre to crushing, unbearable levels all the time. This band was very short lived, having a small career spanning two years that consisted of two demos and a full-length. The latter titled Mortal Ones Scream In Horror is what we’re looking at today. In its bare twenty-one minute run-time, I can say it at least conveys its idea very clearly.

What isn’t clear is just about everything musically about it. Mortal Ones Scream In Horror is a fitting title, consisting of eight songs under the filthiest and goriest scope you can get without losing its character. Marshy, swamp-submerged guitar riffs carry disgusting rhythms that only discern themselves by the oddly clear drumming; the percussion alone may just be my favorite characteristic of this album. Vocally, things are matched with deep, gut-churning gutturals, and the sharp and chaotic nature nearly introduces a punk songwriting background. Objectively, it’s nothing like the latter, but I can’t help but feel that energy being trapped somewhere within the muck.

Thus, it should be no surprise that standouts aren’t exactly the main selling point with Haalbauer. I do think “Inhale The Nauseating Fumes” had the tightest guitar solo on the whole disc, being the only real showcase of stronger leads. But for the most part, this is less meant to be about songwriting and more about just feeling the horrendous imagery being cast. Obviously this can only be so good, but I must hand it to them; they very much achieve what they’ve set out to do. The casual death metal listener should avoid this, the seasoned one, give it a whirl.

Album Review: Kiss - Love Gun

Kiss - Love Gun

Casablanca - 1977

7/10

The final Kiss record of what I call “the classic six” consisting of two trilogies, each ending with live albums, is where we see the first signs of playing it too safe. While not a bad album, Love Gun sees the largest amounts of junk pumped out just for the sake of getting another record out. Having six full-lengths and two lives in a four-year span can hurt songwriting, even if some of the songs turn out just fine. So with that said, we’ve reached our last round of structure built on the Destroyer idea.

Considering that foundation, we’ve still got plenty of worthwhile tunes to discuss. For starters, the title track itself is one of the most iconic songs the band ever did, mixing heavy energy with strong drive and fun lyrics; even the basic ass chorus can be overlooked without issue. Opener “I Stole Your Love” kicks on some more speedy energy that sets the stage nicely, and “Tomorrow And Tonight” hearkens back to that ‘60s energy with its layered harmonies. I’d say the rhythms in “Christine Sixteen” reflect the same energy, one that aged very poorly for obvious reasons, despite its catchiness. If there’s any kind of consistency, it’s the heavy callback to these early rock tactics, which I guess explains why they felt the need to cover “And Then (S)he Kissed Me.”

Moreover, Love Gun holds the extremely overlooked “Shock Me,” our first taste of Ace Frehley vocals backed by some of their strongest percussion fills under beautiful lead sections. If the lack of consistent energy were the only problem, we’d have an album nearly as good as Rock ‘N Roll Over. Unfortunately, almost everything else here is rough. “Plaster Caster” is an obvious, bass-heavy filler that I can at least dig in the right mood, but “Got Love For Sale,” “Hooligan” and “Almost Human” are painfully corny and repetitive, making the obvious fillers on other albums look like bangers. I have a soft spot for many of them, but these certainly don’t fit the bill. Whatever was going on vocally in “Almost Human” had to involve drugs, I don’t care what Gene Simmons says.

Regardless of some of my heavier complaints, I still find myself returning to this record fairly often. Its strong moments are very strong, but the weak moments are very weak, so without that partial edge towards some of the other lesser tunes, it may not be the most desirable. New fans should certainly look elsewhere for their introduction, but there’s at least a lot to get from it for the seasoned listener. Take from it what you will.