Body Count – Carnivore
Honestly, when it comes to rap-metal, Body Count has never exactly been a favorite of mine. They’re an extremely talented bunch, and I’ve always enjoyed certain songs, but overall, their sound has always struck me as a fairly simplistic and derivative fusion of the most generic and formulaic elements of both gangsta rap and thrash metal from the late 80s and early 90s. And even though that is more or less what we get here, I must say this really isn’t a bad batch of songs at all. The instrumentals are heavy-hitting, yet groovy, the lyrics are pointed and topical, and we hear some of Ernie C’s best guitar work to date. At 62 years of age, Ice-T could be forgiven for phoning it in, just for the sake of putting music out into the ether, but we really get all the passion and conviction we have come to expect from this band, one of their main redeeming qualities. Guest appearances from Riley Gale, Jamey Jasta, and Amy Lee keep things interesting, plus, we get a pretty faithful cover of “Ace of Spades” and a metal rendition of Ice-T’s classic “Colors.” At the end of the day, this is still a Body Count album. It’s derivative, it doesn’t even attempt to reinvent the wheel, but hey, it’s still fun, purposeful, and shows that this aging rap-metal outfit still has more energy and chutzpah than one might expect.
Score: 3.5/5
Morrissey – I Am Not a Dog on a Chain
Morrissey delivers an album that is up to his long established standard of excellence. The Smiths frontman’s versatility as a solo artist is on full display on I Am Not a Dog on a Chain. Musically, we are treated to a well-paced and balanced mix of classic Smiths-style alt rock, more modern electronic cuts, soft piano ballads, and even some songs that draw from funk and jazz. Instrumentally, the album is chalked full of features such as synths, horns, strings, and psychedelic organs. We hear a beautiful, soulfully performed vocal feature from Thelma Houston on “Bobby, Don’t You Think They Know?” as well as superb vocals from Morrissey from top to bottom (but perhaps that goes without saying). The hooks and melody lines are infectious and emotive, though maybe not quite as effective as on some of Morrissey’s classics. The weakest element here is the lyrical content. For the most part, we hear the same odd, quirky lyrical style that has always accentuated Morrissey’s larger than life style and personality, but on tracks such as “Jim Jim Falls” and “I Am Not a Dog on a Chain,” his notorious flare for controversy and distain for political correctness start to cross over into obnoxious self righteousness. But at this point, that can almost be expected, and this is overall outweighed by the positives. Morrissey is a highly accomplished artist, and one who frankly has achieved a level of rock immortality where he doesn’t need to try anymore. But nevertheless, I Am Not a Dog on a Chain is a highly enjoyable album that would be just as passable if released in Morrissey’s prime.
Score: 4/5
Nine Inch Nails – Ghosts V: Together
Let me just say right of the bat that putting out two surprise albums for fans to enjoy during these times of quarantine was a really cool move on Trent Reznor’s part. The two latest Ghosts installments continue in the dark, yet beautiful ambient stylings established by Ghosts I-IV. This time around, we have one album with a lighter, more hopeful sonic aura, and another that’s a little bit darker. So let’s start with Ghosts V: Together. Even as someone who doesn’t go out of my way to listen to very much ambient music, I must say that this album is nothing short of beautiful. Listeners are treated to over an hour of gorgeous, encapsulating piano-driven music, with hints of haunting dissonance that will take your imagination to a far away place. As with Ghosts I-IV, this album serves as something of a soundtrack for a movie that doesn’t exist. If you want some beautiful background music to calm you during these trying times, this album will surely do the job. That being said, this seems to be meant to function solely as background music. If you choose to sit down with this album and give it your undivided attention (as I had to do a couple of times to write this review), it won’t be the most interesting experience. Several of these compositions are extremely longwinded and repetitive, while the overall lush, atmospheric sound of the album never changes, and the tempo remains extremely slow throughout. At the end of the day, this is an ambient album, and certainly a well-executed one. Not necessarily something that will have much replay value for me, but if you’re the kind of person who regularly enjoys ambient music, give this one a try. There’s a lot to like about it.
Score: 3/5
Nine Inch Nails – Ghosts VI: Locusts
In contrast to the lush, subtle beauty of Ghosts V: Together, Ghosts VI: Locusts is an extremely dark, unsettling record. Like Ghost V, this one is driven primarily by piano and ambient synths, but here, the haunting dissonance is dialed up to 11. I’m not exaggerating when I say that this album would give Opeth’s Mikael Åkerfeldt nightmares. Also an entirely instrumental album, Locusts is significantly better paced than Together, keeping the listener completely engrossed and unnerved from top to bottom. While Together is most functional as relaxing background music, there is nothing relaxing about Locusts. Unaware of the theme and contrast between these albums, I sat down with Locusts for the first time while I was alone at night. That was a mistake. As with every installment of Ghosts thus far, this album resembles a soundtrack for a movie that was never made. However, no movie could be as affecting as the feelings and images invoked by this music in the imagination of the listener. Locusts is not an easy listen, but it’s a gripping ride that will certainly make you feel something.
Score: 4/5
Phil Klinker Music Reviews 