ALBUM REVIEW: A.A. Williams – Solstice



A.A. Williams raised the bar for herself with 2020’s Forever Blue, making it the album that Solstice (Reigning Phoenix Music) finds itself going head-to-head with. “Poison” opens the album with the kind of brooding apocalyptic simmer that makes it clear she is not just another haunted Folk crooner, as it locks into a solid groove. There is a more depressive vibe to the second song that carries a slight drone to the minimal arrangement, giving her vocals room before swelling into something that sonically has more in common with post-Rock. “Little By Little” has more of a groove, and even with the synths darkening things in the background, it is the most accessible song thus far, thanks to how the vocals interplay with the drums, as the guitars slowly build to expand the dynamics. Continue reading


ALBUM REVIEW: Frank Turner – Undefeated


A new Frank Turner album is an event. One of the preeminent songwriters of the last two decades, we greet it with high expectations. Not unlike Buck in the book The Call of The Wild by Jack London, life around us becomes increasingly more complicated and vicious daily. Do we become more savage, or learn to “be more kind?” That is often the only question that needs asking. Continue reading


ALBUM REVIEW: Fleshvessel – Yearning: Promethean Fates Sealed


 

Anyone can make a concept album (which is not to say that it’s easy, but that it doesn’t depend on a particular musical style). That said, when it comes to the rock-opera-style concept album, the tendencies towards elaborate instrumental explorations and grand, dramatic spectacle often found in progressive rock and metal, provide particularly fertile ground. Pink Floyd, Queensryche, The Who, and many others have followed this path (coloured by their own particular musical approaches). 

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