Anthrax, Worship Music (Megaforce Records) -- No disrespect to John Bush, but Anthrax only sounds like Anthrax to me with Joey Belladonna behind the mic. Interestingly enough, his first album with Anthrax in more than 20 years is a much more modern-sounding album than I expected. While parts of Worship Music -- tracks like "Earth on Hell" -- are right out of the Persistence of Time era, others ("Fight 'Em 'Til You Can't" and "I'm Alive") sound more the like modern, radio-friendly hard rock found on more recent discs. Belladonna was in a tough spot here, as he and Scott Ian publicly admitted that Worship Music was largely complete when he was brought in. So he was basically singing over songs that were written with former singer Dan Nelson in mind. To his credit, Belladonna sounds at hom...
There's no shortage of groups right now trying to resurrect the music of the '80s, and most of them suck. Goldfrapp does not suck. I offer as evidence the first single from their upcoming album, Head First. It's called "Rocket", and it's a blast of sunshine compared to the relatively cloudy Seventh Tree.
A few months into this year I couldn't shake the feeling that 2008 just wasn't going to be the great year for new music that 2007 was. And so here I am, about a week away from 2009, and I still feel the same way. It wasn't a total wash mind you, as there was definitely some quality to be enjoyed. So here's my take on the 2008 music year - good, bad, and ugly. The Best of the Best (Albums) Fleet Foxes - Fleet Foxes (Sub Pop) Yeah, this seems like an obvious choice, but it's also a damn good one. I'm always up for listening to good vocal harmonies, and this band has them in spades. The music is gorgeous to boot, and is a highly engaging blend of folk titans like CSNY, America, and early '70s Fleetwood Mac. The vocal round of "White Winter Hymnal" is worth the price of admission
While the temptation for Goldfrapp to continue riding the wave of commercial success generated by the one-two punch of 2003's Black Cherry and 2005's million-selling Supernature must have been great, in the end they opted for a sonic left turn with Seventh Tree. While this latest effort from the duo of Alison Goldfrapp and Will Gregory is not at all a retreat to the sonic territory carved by their otherworldly, cabaret-styled debut, Felt Mountain, neither is it a continuation of the electro-glam of Black Cherry or Supernature. That much is made clear on the opening track, "Clowns," a tender and understated folk-styled number that opens with nothing but Alison's vocals and some delicate acoustic guitar work. It sets the stage for a record that is more appropriate for a sunny Sunday morn