May 26 Danzig, “Black Laden Crown”Surprising me most of all, even after a god awful covers album, Mr. Glenn Danzig can still ride with the best of them. Seriously, this is some of the best Danzig material in the last decade, really bad album artwork notwithstanding. The opening title track sets the bar high, and while the album withers as it goes on, by no means is it bad. Danzig’s zombie Elvis impersonation is out in full force, with dirgey and doomy guitars leading the listener along. Some other tracks, like “Devil on Hwy 9,” sound like an early ’90s White Zombie throwback, which is weird but not entirely unwelcome. There are some strange production choices (or maybe performance choices) that sound like Danzig’s vocals came from way too close to the microphone, but beyond that, fans of the genre and of the earlier Danzig material will find plenty to love.
Alestorm, “No Grave But The Sea”“Rum, beer, quests and mead, these are the things that a pirate needs!” I love Alestorm so much. They were the soundtrack to many a drunken high sch— er … college night. “Nancy The Tavern Wench,” from their first full-length is still my go-to drunken swaying song, and they haven’t lost any of that energy in the meantime. Extreme music often has an obsession with being overly seriousness. This is not the case for Alestorm. If you want something with heavy guitars, synthesized accordions, and that has some of the most shout-along-able lyrics in metal, “No Grave But The Sea” will satisfy.
Justin Townes Earle, “Kids in the Street”Just by virtue of his name, Justin Townes Earle has had a lot to live up to. Over his decade-long solo career, he has made a name for himself as a separate and distinct entity from his father, Steve Earle, and his namesake, Townes Van Zandt, while at the same time never forgetting both aspects of their influence. With “Kids in the Street,” Earle seems to finally transcend his direct influences, channeling bebop rhythms and being both nostalgic and forward thinking at the same time.
Solstafir, “Berdreyminn”This is one I’ve been looking forward to for a while. Icelandic post-folk metallers Solstafir return with “Berdreyminn” (“Prophetic Visionary” in English) and they did not disappoint. The whole thing is drenched in sullen Scandinavian atmosphere, punctuated by crisp and clean vocals and a nice balance of organs, traditional folk instruments, and riffs. While I don’t understand the lyrics, the emotion behind the delivery is clear as day. The atmosphere, while murky at times, doesn’t overshadow other elements of the songwriting, so nothing feels buried, which is a testament to the producers of the record. It’s like if Explosions in the Sky and Sigur Ros got buried out in the moss and dirt of a half frozen tundra, only to be dug up by animals foraging for food. The whole album has an ebb and flow that makes it feel like it is breathing alongside you, all capped off with some guitars that wouldn’t feel unfamiliar on a Baroness record. If you like heavy music with a light touch, you owe it to yourself to discover these guys.
— Cooper Stapleton
