[6-6-6] of 2018 Part 1: New Releases

It’s that time of year again where I spend three days going over my favorite music from the last 365 days. Just like the many music blogs I follow, you probably won’t agree with this list and also just like those sites I’m not really qualified to recommend anything to anyone … Just like last year, I’m breaking this down into three posts: 6 favorite new releases of 2018, 6 favorite NOT new releases I rocked hard in 2018 and 6 songs I killed my eardrums with — both new and old — in 2018. Because there were a few close calls, I’ve chosen to provide 6 honorable mentions as well.

All three sets are in no particular order.

This is Part 1/3


Anal TrumpThe First 100 Songs
Release Date: (November 6, 2018)
My Favorite Tracks: That Makes Me Smart; To All The Broads I’ve Nailed Before; Prayers

I’ve said many times before that the older I get, the more extreme I need my music to be. I’ve also felt like punk rock was on the verge of being completely dead. Alas, there’s Anal Trump. While not punk rock, per se, Grindcore is a subgenre that spun off as a result of punk and hardcore. I’m not a big Grindcore fan (my taste rarely goes past Napalm Death) but what Anal Trump has done here using our freaky commander in chief as not only the subject matter but using his quotes — verbatim — as lyrics and song titles is brilliant. I mean, it’s also scary that an American president’s words can be flawlessly used as Grindcore content but what Rob Crow (famous mulit-instrumentalist known for his work in Pinback, Goblin Cock and more) and bandmate Travis Ryan of over-the-top death metal act Cattle Decaptiation have put together is a masterpiece. It’s a punk rock work of art that should be celebrated despite the very disheartening reality that is the songs’ subject matter.

This album (released by indie label Joyful Noise) is actually made up of eight EPs the band released themselves. Each of the album’s eight tracks is made up of the EPs, so the proper tracks are made up of anywhere from 10 and 30 tracks each — there really are 100 songs on this album. And, true to Grindcore protocol, the whole thing still clocks in at under 12 minutes.

Zeal & ArdorStranger Fruit
Release Date: (June 8, 2018)
My Favorite Tracks: Gravedigger’s Chant; Don’t You Dare; Row Row

I first learned about Zeal & Ardor shortly before their first proper album Devil is Fine was released. That album, released as a solo act by Manuel Gagneux, hit me like no other band had in a very long time. It took the rough edges of black metal and combined it with the soulful, often painful sounds of negro spirituals. Gagneux is on record as saying the project is a result of his attempt to depict what spirituals would sound like if the slaves had embraced Satan instead of Christianity …

… and he hit the nail on the head. There’s no better way to describe it. Now, Gagneux is back with a full, touring band and a new record. Stranger Fruit picks up where Devil is Fine left off with the same spiritual wailings, monk-like chants, blues elements and the grinding guitar style ever-so prevalent in the black metal genre. I often find myself lifting HEAVY while listening to this record. The passion tears through your heart; the heaviness demands your attention; the mashup of musical styles leaves you begging for more. I hope to catch these guys in concert soon.

Ethan LuckLet it Burn
Release Date: (October 30, 2018)
My Favorite Tracks: Crash and Burn; Only Gonna Get So Far; Let it Burn

You know, you just can’t go out and play ska or reggae, man. You’ve gotta have that shit in your soul. In what was one of the highlights of my year, I stood outside in the VIP section of the Secret Stages Music Discovery Festival in Birmingham drinking a beer and talking about ska and reggae with the one-and-only John Davis, vocalist of the Lees of Memory (the band I was there to shoot) and formerly the late, great Superdrag. I played it cool but I was erupting with excitement over the fact that I was talking about my favorite kind of music with one of my favorite songwriters. The subject came up because they’d brought along a friend — Ethan Luck — to play one of many guitars during their set and Ethan was about to release his solo ska/reggae album Let it Burn. In fact, at that moment, I had a promo copy of it in my back pocket, delivered by Ethan, himself.

As the former guitarist for Christian ska sweethearts the OC Supertones, one could easily say Ethan knows his shit when it comes to ska and that truly comes out on this record. He takes ska down to its roots — none of that ultra-hype third-wave bullshit (that I still love). The songs are chill, yet danceable. All of the key elements are there from the horn sections to the guitars to the vocals (which Ethan’s are truly unique and a beautiful addition to the recording). You guys know I’m a ska snob and this is easily to best record the genre produced in 2018. Trad ska still exists, you just have to know where to find it, and Ethan Luck has mastered the art. John’s right — ska is in the soul — and Ethan’s is on fire.

Release Date: (June 1, 2018)
My Favorite Tracks: Rats; Faith; Miasma

Like I mentioned earlier, my musical tastes have gotten more extreme as I’ve gotten older. I think it has a lot to do with how easily bored I get with most forms of art — that and when it comes to metal, my attraction comes from a place of needing to be frightened. I want to be afraid of what I’m listening to. I want epinephrin to kick in when I hear it. That’s how I got into black metal, that’s how I got into death metal and that’s why I’m not afraid of the devil anymore.

And then there’s Ghost. A band that’s not really extreme. I mean, they’re evil, make no mistake, but they’re so accessible. They’re heavy, often fast and their lyrical content is pure S-A-T-A-N but they’re so melodic that most listeners will neither hear nor care about the fact that what they’re listening to is Luciferian — tongue-in-cheek though it may be. With each album’s release, I’m ready for the novelty to wear off yet it doesn’t. With Prequelle, fans of all aspects of Ghost’s appeal will be satisfied whether it be the banging finale to Rats, the heaviness of Faith, the 80s-influenced foot-stomper and hip-swinger Dance Macabre or the notable instrumental track Miasma.

Each Nameless Ghoul in the band is extremely talented in their own right and every character frontman Tobias Forge has played over the years is not only entertaining but perfectly fits into the saga that is Ghost. Forge’s current persona — Cardinal Copia — is a young man, a dancing machine and a charismatic leader that will take this legendary band into a beautiful future where they’ll leave their mark forever.

SkeletonwitchDevouring Radiant Light
Release Date: (July 20, 2018)
My Favorite Tracks: Fen of Shadows; Temple of the Sun; Carnarium Eternal

When I first saw Skeletonwitch, they were opening for Ghost at the Bijou in Knoxville and I didn’t want to give them a fair shot. I mean, Skeletonwitch? “I bet these guys are SOOOOO extreme” I said with an eye roll so fierce it nearly cracked my skull. When we showed up at the theatre, however, I was greeted by 45 minutes or so of pure death-thrash with shredding guitars, thundering drums and a vocalist (Chance Garnette) like I had never heard before. That with their then-recently released single I Am Of Death (Hell Has Arrived), I was hooked. I was a huge fan of this wild-ass band.

Like so many people, I was distraught when Chance was forced to leave the band in 2015 and didn’t have much hope when their EP The Apothic Gloom was released in 2016 with Wolvhammer frontman Adam Clemans taking over vocal duties. I mean, it was good, but it wasn’t “The Witch.” That disappointment has since been reversed with the release of Devouring Radiant Light — an album that embraces a black metal influence that, while always present, often took a backseat. Adam is back and his vocals are incredible. The band is tighter than they’ve ever been, the recording is top-notch quality and the songs are varied enough that while they’ve only given us eight tracks, they’re each very unique. There’s even a portion of Temple of the Sun that beckons a singalong and powerful chanting that I will most definitely take part in the next time they come through this part of the world. I love this band so, so very much.

Pig DestroyerHead Cage>/i>
Release Date: (September 7, 2018)
My Favorite Tracks: Army of Cops; Terminal Itch; Mt. Skull

Honestly, this spot was reserved for A Patient Man by Cult Leader but the more I listened to this record, the better and better it got. While I realize I said earlier that I wasn’t a big fan of grindcore as a genre, Pig Destroyer kind of eliminate the few things I dislike about the genre while simultaneously staying true to it. I mean, this album is often downright GROOVY. With only one song clocking it at longer than 3:30 (album finisher House of Snakes is 7:07) the guys blast through 12 songs in 30 minutes.

I’m always looking for good, heavy music to workout to and the closing lines of Army of Cops make the track perfect for any workout playlist — “Why would god create something so weak unless he wanted it to suffer?” Sounds like a challenge to stop your goddamn suffering if you ask me.

And it burns.

Honorable Mentions:

  • Uncle Acid and the Deadbeats Wasteland
  • Aborted TerrorVision
  • Iron Reagan / Gatecreeper split
  • Devil Master Devil is Your Master
  • Cult Leader A Patient Man
  • High on Fire Electric Messiah



Spotify Playlists For Heavy Lifting

In lieu of a Fitness Finds post (because I didn’t really read anything worth a shit this week) I thought I’d share some tunes. In my experience, posts like this where athletes/trainers share their workout playlists always make me think “sucks…sucks…sucks…I hate this,” and this will likely be no different for you.

Oh, well. A lot of people like this stuff.

Anyway, I have several custom playlists on Spotify that I use for my workouts. These have a variety of content but are mostly different forms of metal, hip hop and punk. Please feel free to jam any of these while you’re running, punching or picking up heavy things.

As of 6/23/2017: 258 songs, 11 hours and 23 minutes of music
This is a very long, very fast playlist of most of my favorite punk rock songs. Sure, metal is heavy and fast and strong but punk just doesn’t care. Punk makes you want to bring the walls down and destroy the system.

Favorites include So What by Anti-Nowhere League, Where Eagles Dare by the Misfits and DDT by the Suicide Machines. Also this:

As of 6/23/2017: 48 songs, 3 hours and 28 minutes of music
This is made of a combination of hip hop, metal and punk songs that make me want to fight. You’ll find a lot of Rocky music because duh as well as various other songs from similar boxing films. Also, just mean shit because it’s boxing.

Favorites include Rubble Kings Theme (Dynamite) by Run the Jewels, Beast – Southpaw Remix by Rob Bailey and The Hustle Standard and Go to Church by Ice Cube. And this, of course:

As of 6/23/2017: 65 songs, 4 hours and 50 minutes of music
Like Punxxx, Metalllll is a long playlist made up of death, doom, black, thrash, industrial and viking metal that makes me want to hit things and pick up heavy shit. Some classic heaviness here; some “why’d he put that on there?” on here, too.

Favorites include Angel of Death by Slayer, Battery by Metallica and Sign of the Wolf (Pentagram) by Pentagram. Also this:

Shitty Nu Metal
As of 6/23/2017: 117 songs, 7 hours and 13 minutes of music
Nu Metal is a subgrenre of metal that I’m embarrassed about knowing so much of. I’m embarrassed it was a phase of my life I went through and it’s embarrassing every time I remember the red New York Yankees hat and shitty goatee I used to have in middle school. Either way, it’s a fact that shitty male teenage anger is real and we’ve all experienced it at some point in our lives (or at least those of us who were angry teenage males). Luckily for some of us we had Jonathan Davis and *sigh* Fred Durst to sing about it for us.

Favorites I’m ashamed to admit to include Pollution by Limp Bizkit, Papercut by Linkin Park and Die MF Die by Dope. Also this:

JTF #HitItHard on Fridays
As of 6/23/2017: 33 songs, 1 hour and 56 minutes of music
This was made primarily for my own personal use during select TITLE Boxing Power Hours. It’s a lot of heavy classics and a few modern songs (even some pop to please the ladies). It’s all family-friendly with edited versions of dirty songs but it’s still a solid playlist in my humble opinion.

Favorites include Chelsea Dagger by the Fratellis, Step Up by Drowning Pool and Me Too by Meghan Trainor (shut up). Also this:

As of 6/23/2017: 27 songs, 2 hours and 12 minutes of music
Sometimes singing the praises of the Dark Lord is the only thing that can get that weight off the ground. That’s where this playlist comes in — all evil, all the time. If you listen to this, please note that I’m not responsible for any portals to Hell that open in our vicinity.

Favorites include Unanswered by Suicide Silence, Leave No Cross Unturned by Darkthrone and All Hail Hell by Midnight. Also this gem:

Anyway. Songs are always being added to all of these as I find more shit to add to them so if you’re on Spotify go ahead and follow them if you’d like. Or just pick a few from each to create your own embarrassingly testosterone-filled and Satanic mix!

You will get stronger.
You will get prettier.
You will get more dangerous.

AC/DC Forever, No Axl Rose Necessary

First, a little background.

I was a few years old – old enough to remember a lot of things, at least – when my dad had this black truck. My memory says it was “giant” but I’m sure I’ve distorted it over time. I definitely remember the color, the absurd number of fog lights he had on the top with smiley face covers over them, the Playboy bunny symbol that was on the glove box, and most importantly, the hot pink AC/DC Who Made Who 8-track cassette that was always stuck in the player. Who Made Who was released in 1986 and contained a variety of new material, songs written in the Bon Scott-Era of the band, and a few instrumentals that were combined to form the soundtrack to the film Maximum Overdrive, written and directed by the great Stephen King. If memory serves, I believe I was told it was the only 8-track we owned.

Knowing this, it’s not hard to believe that I’ve been an AC/DC fan, quite literally, my entire life. When my dad got a new truck with a cassette player, we “upgraded” to a copy of Back in Black (upgraded in quotes because the album was released 6 years prior to our earlier selection and wasn’t bought new, but borrowed – and kept – from my uncle Dean). This was probably 1989-ish, and at this point in my life I knew that I loved music, but due to not being introduced to anything else yet (it would be a few more years before I found out about Aerosmith and Motley Crue, Madonna and Prince) I was under the impression that AC/DC played all music. Listening to an AC/DC album? It’s them. Hear any other song on the radio? It had to be them. Hear a jingle on a fast food commercial? Definitely AC/DC.


I speculated 1989 above because it was 1990 when the Razor’s Edge was released. This record was huge for me in many ways. With songs like Thunderstruck, Fire Your Guns, Moneytalks, and the title track, this is easily one of my favorite AC/DC records. The band came to the area on their tour and my parents went and brought back stories of how incredible they are to see live, what a wild man Angus Young was, how elaborate their stage set was. My mom bought a t-shirt that would eventually become mine – a Razor’s Edge Tour shirt that depicted Angus Young holding his guitar in the reflection of a guillotine blade, free-falling after having the rope cut. The back was designed with tour dates and a picture of a man with AC/DC shaved into the back of his head. I wore this shirt until it ripped under my shoulder pads – I was in the 8th grade.


-Side note- While researching dates on some of the above, I learned that in 1990, Rolling Stone Magazine gave the Razor’s Edge 2 stars, citing Slade and Sabbath rip-offs (that I don’t see), the monotonous lyrical content they produced (and had already been established as their “thing” so I’m not sure why the reviewer took issue), and finding fault with the fact that Angus was over 30, Brian Johnson over 40, like that means anything. This is why I only accept Rolling Stone when it’s free, y’all.

I began branching out into the rock stars of pop music (read: Prince, Madonna, etc.) and more glam-style rock and metal, but in 1992 AC/DC Live was released and quickly replaced the Razor’s Edge in my dad’s truck. The cassette player could play the A side and then “flip” itself and play the B side automatically so there was never any need to take the tape out…Ever. And so we didn’t. I’m pretty sure we burned that tape up over time.

With the newly emancipated Back in Black and The Razor’s Edge cassettes in hand, I would retreat to my basement and blast them both in a little tape player I had. I would stomp around my basement with a baseball bat fantasizing that it was a special edition Gibson SG and I was Angus Young, busting out the harsh intro to the The Razor’s Edge, the slow and ominous intro to Hell’s Bells, the bluesy intro to Rock and Roll Ain’t Noise Pollution. I’d collect these baseball cards with rock stars on them I’d pick up from flea markets and admired each member of the Live album’s line-up (Brian Johnson, Angus Young, Malcolm Young, Chris Slade, and Cliff Williams).


As I got older, I better understood that AC/DC had life before Brian Johnson and I became a fan of Bon Scott-era AC/DC after being given Highway to Hell (1979) and High Voltage (1976) once I got a CD player and officially started a music collection that actually belonged to me. To me, it seemed that AC/DC had always been around, would always be around, and would exude greatness for all eternity.

Over the years, my taste would grow to incorporate metal (glam, thrash, black, death, doom – you name it), country, ska, punk, jazz, blues, easy listening, hip-hop, and folk. Interests come and go, but one thing that’s been a constant is my love for AC/DC and adoration for Angus Young. Even this morning, as a 31 year old video nerd sipping coffee, having woken before 7am on a Saturday, there’s not much I wouldn’t give to be Angus Young.

Well, I mean, back in October I sort-of was him for a day…


If you don’t frequent music websites, aren’t a fan of the band or their style of music, you may not know, otherwise it’s been widely publicized that the last few years haven’t been great for the band. Starting back in early 2014 when news of rhythm guitarist Malcolm Young being too ill to perform (later revealed to be dementia in addition to lung cancer and receiving a pace maker). Malcolm had been a member of the band since day one and it was hard to hear of his departure, especially under those circumstances. It was said there was an agreement between the Young brothers that if one wasn’t in the band, then the band would cease to exist, so I pictured this being the end of a four-decade era. Instead, Malcolm was replaced by his nephew, Stevie, and the band continued, presumably due to a family member loophole in the brotherly agreement.

And why shouldn’t they continue? They picked themselves up out of the absolute pits after the death of Bon Scott to not only achieve success with a new front man in Brian Johnson, but even bigger success (Johnson’s debut with the band, Back in Black, is still the second highest selling album in history, having sold well over 50 million copies, second only to Michael Jackson’s Thriller).

A few months later in 2014 came the news that long time drummer Phil Rudd had been busted on a variety of charges that included attempting to procure a murder, threatening to kill, and possession of meth and cannabis. Reportedly, the band had been having issues with Rudd in the year or two leading up to this and after this news broke, decided to part ways with him and bring back Razor’s Edge drummer Chris Slade. The attempt to procure a murder charge was dropped, but Rudd would plead guilty to the other offenses.

Then, most recently, the news was released that long time lead singer Brian Johnson had been warned by his doctor that his partial hearing loss would soon become total hearing loss if he continued to perform at the venues AC/DC played at (arenas and other large venues, obviously, the only places AC/DC can play and, unfortunately, venues that require louder than usual sound systems). Rumors quickly spread that he’d been kicked out of the band, some say confrontationally, others said he learned on social media he’d been kicked out. It wouldn’t be until earlier this week when Johnson, himself, released a statement explaining the situation and how it was a mutual agreement between himself and the band due to his concern that his hearing loss would hinder his performance and would inadvertently disappoint fans and/or embarrass the band.

No matter the circumstances, the fact remained that the band had lost yet another iconic lead singer. Tour dates were canceled and the future of the band was up in the air.

When I mentioned above that I started to branch out musically, one of the bands I got heavily into was Guns’n’Roses. My mom had Appetite for Destruction (1987) on a cassette that was so worn out, the track listings on the tape had worn off so you didn’t know which was the A side, which was the B. Singles Welcome to the Jungle, Paradise City, and Sweet Child o’ Mine were already huge and while I listened to this cassette early on just for those songs, it wouldn’t be long before I took my time to listen to the entire thing and learn what a masterpiece it is. Songs like Nightrain, Mr. Brownstone, My Michelle, and Rocket Queen have stuck with me since those days. These guys were grittier* than AC/DC, faster* than AC/DC, sloppier* than AC/DC, and to my young eyes, looked cool as shit.


*does not equal better

As G’n’R took off, so did music television and I was addicted. In 1991 the Use Your Illusion records came out and I was all about their cover of Live and Let Die, Don’t Cry, You Could Be Mine, Civil War, and there was a time when I thought November Rain was the best song ever recorded.

Give me a break, in 1991 I was 7 years old and had never even heard of the MC5 for Christ’s sake!

In the years since, however, I’ve learned a lot more about the band that’s made me lose a lot of respect for them. The band were all junkies (not that that matters, since I’m such a big Motley Crue fan, and let’s not talk about how much I love Dee Dee Ramone). Knowing how out of it Slash was when he was doing all of this mind-blowing guitar playing really disappointed me. Knowing how unorganized they were during the peak of their career really disappointed me. Knowing how much they all hated each other during this time really disappointed me.

Not to mention Axl Rose is…Well, Axl Rose. He was a great performer with a truly unique voice and stage presence, but the ego he brought along with him hurts my eyes and heart to read about. Stories about the band going on 4 hours late (and sometimes not at all) because of him are innumerable and the general consensus that it was his attitude that soured most of the relationships within his band do nothing to help his cause. Any shred of credibility Axl had with me was lost during the 11 year span between the beginning and actual release of the long awaited record Chinese Democracy. During production there were so many stories of Axl getting into heated arguments and fistfights with crew, band members, and fans. Countless lawsuits ensued, inexplicable delays resulted, and the album’s personnel were a seemingly-endless revolving door of musicians. At more than $13 million, Chinese Democracy is named the most expensive rock album ever produced.

After 11 years of anticipation and $13 million blown, fans were expecting a lot more than they received. I personally think the record was lackluster at best and the rock and roll community as a whole seemed to quickly forget about it. The numbers say the album went platinum but they don’t mention the Best Buy exclusive release (Best Buy bought a platinum amount) of the record that actually flopped from a sales perspective. As far as I’m concerned, one of the biggest disappointments in rock and roll history.

This coming from a guy that actually thought Metallica’s collaboration with Lou Reed – Lulu – was a good thing, so take my opinion with whatever grain of salt you have handy.

Fast forward to present day. While AC/DC are struggling with the loss of another lead singer, Guns’n’Roses have sort-of regrouped with some original members for the first time in nearly two decades and have gone on a short reunion tour. There was no real reason for this, in my opinion, after years of “it’s never going to happen” statements from the very band members that are currently making it happen. The only real reason to do it is the pay day it would produce for the members. Metalsucks.net recently reported that while it was a marketing risk to get these guys back together hoping the fans would care, it’s working and it’s working well: Opening weekend (read: 2 shows) at the T-Mobile Arena in Las Vegas saw both shows sold out, grossing nearly $6.5 million. There’s definitely money in nostalgia.

Sometimes, at least.

You could say Axl Rose is experiencing a resurgence in his career. Nobody’s tripping on his weight gain or his awful hair style like they had during his silent Chinese Democracy shut-in years. Even if it means nobody cares about anything new he has up his sleeve, I can’t blame the guy for being willing to take the stage to sing Welcome to the Jungle every night for a good pay day – very much like the Rolling Stones or KISS. This doesn’t change the fact that Axl Rose is an ass.

I can back this up with stories of him calling Metallica a cartoon band, ripping on his old bandmates for being in an actually (at the time) relevant band in Velvet Revolver, numerous physical and verbal attacks on fans, getting butt-hurt when Kurt Cobain declined his offer for Nirvana to open for G’n’R, and referring to the Eagles of Death Metal as the “Pigeons of Shit Metal”. Reportedly, he also hates small dogs. I’ve had enough of Axl.

So when I heard Axl was officially replacing Brian Johnson as the lead singer of AC/DC, you can imagine that I was beyond disappointed. Heart-broken, even. There were lots of other candidates, including Al Barr, lead singer of Boston celtic-punk band the Dropkick Murphys, that would’ve made it work well enough to fulfill what appears to be the main objective here of making up those canceled tour dates and finishing AC/DC’s tour.

The Who’s Roger Daltrey calls Axl’s inclusion into the Thunder from Down Under “karaoke” and I couldn’t agree more.

I can’t rip on AC/DC for wanting to make up the shows, but why Axl? And what happens after this tour is over? His attitude, his stage presence, his lifestyle, all contrast with that of classic AC/DC and the formula they’ve used for the last 40 years.

I think what pisses me off the most is that Angus recently came out on stage during the Guns set at Coachella to perform Whole Lotta Rosie…And it actually worked.

Regardless, I can’t accept Axl Rose as the lead singer for a band I’ve loved since before I knew what music actually was. As selfish as it sounds, I genuinely hope AC/DC use Rose to gain some serious dough during this last little bit of touring, and after finishing the last date, calling it quits. AC/DC has nothing else to prove – they’re the biggest band in the world – and nothing will ever change that. It doesn’t matter if you’re 5 or 95, your head is going to bang (or at least nod) when you hear You Shook Me All Night Long, you’re going to briefly love the devil when you hear Highway to Hell, and the walls will crumble all around you every time you hear Thunderstruck. Take it easy, guys, and enjoy the life you’ve built for yourself over the course of your careers.

AC/DC forever, no Axl Rose necessary.