Sadly, everything must end. We have reached the final part of the Rocking In the Norselands countdown, with the 20 albums I enjoyed the most from 2024!
Every album featured in this countdown, whether #100 or #1, is recommended and worth checking out. With most genres and all corners of the earth represented, you likely won’t see a more diverse list anywhere else. Enjoy exploring!
20) Lucifer – Lucifer V
Lucifer’s front woman Johanna Sadonis is fascinating. She grew up in a family of Christian pastors. Just to prove that teenage rebellion is alive and well, she early on found her passions in the darker side of music, influenced by black metal, death metal, and doom.
After the dissolution of her previous band The Oath, she formed Lucifer in her hometown of Berlin, Germany in 2014. The band has always been heavily inspired by 1970s hard rock and proto-metal groups like Black Sabbath, Deep Purple, and Blue Öyster Cult.
There has been many line-up changes over the years, leaving Sadonis as the only constant member. For the last three albums, the line-up has solidified and remained stable. Interestingly, this has led Sadonis as the lone German in a band of Swedes. It works, though, and I don’t think they have never had a better line-up than the current one.
The drummer Nicke Andersson may be the band’s best-known member, as he’s also the frontman of with The Hellacopters, Imperial State Electric and Entombed. Andersson and Johanna are the main composers, collaborating closely to shape the distinctive sound of Lucifer. Additionally, the band consists of Martin Nordin (guitar), Linus Björklund (guitar), and Harald Göthblad (bass).
Stylistically, they play a mix of occult rock, doom metal/proto metal, and more straightforward hard rock. In some ways, they are a modern version of Occult, with Sadonis even looking like a young version of Coven’s frontwoman Jinx Dawson at times.
It is easy to keep track of Lucifer’s album chronology, as each title consist of a chronological roman numeral. Lucifer V sees them continue to develop ever more interesting compositions. The lyrics often tell vivid stories, painting pictures of mystical and otherworldly experiences.
True to Lucifer’s style, they explore darker themes, often delving into the occult. Songs like At the Mortuary and Riding Reaper reflect these themes with their eerie and haunting lyrics. The album also touches on themes of love and loss: Slow Dance In A Crypt is a romantic ballad that juxtaposes tender emotions with a dark setting.
Musically, the album continues the band’s tradition of drawing heavily from 1970s hard rock and proto-metal, and I can’t even begin to say how much that endears them to me. The music is full of nostalgic fuzz, twin guitars, and a rich, layered sound. A Coffin Has No Silver Lining is a great faster-paced track with catchy hooks, while Fallen Angel showcase pounding rhythms and howling guitars.
Johanna Sandoris claims her space in the musical expression much more satisfyingly than in the early days. Whether that is experience, confidence, or better encouragement from her band mates, it does the music a ton of favours. She is not a belter, but has a rich and warm tone which is especially effective given her expressive delivery and versatile range. A good example is Witching Hour, which is a slower, more atmospheric track with haunting melodies and a broodong rhythm. Her singing style benefits from a retro vibe, and she is often compared to the likes of Grace Slick and Dusty Springfield.
Lucifer V is a solid album by a band that I have always enjoyed that I will be following closer. The new album takes strides on the previous ones and they have become a band I need to stay on top of.
19) Magnum – Here Comes the Rain
Here Comes the Rain has been a great album to listen to the past year, but it has also been a hard album to listen to.
Magnum have been reliably putting out a new album more or less every other year for the past two decades, in addition to collections (often with lots of new or unreleased stuff) and live albums on top of that. For the past five albums, new albums have emerged early in the new year. The new album Here Comes the Rain followed this formula and was slotted in for a release on 19 January 2024.
And then everything changed.
Tony Clarkin died on 7 January 2024 after a short illness. It came more or less out of the blue, in spite of the announcement just before his passing that Magnum cancelled their upcoming European tour due to Clarkin’s diagnosis with a rare spinal condition. Nothing about that indicated this outcome.
Clarkin was the guitarist of the band, as well as their sole songwriter for Magnum throughout their history and their musical director. It was unthinkable that they would go on without him, and they didn’t. After a few months, singer Bob Catley posted an emotional video online where he said it was impossible for him to even imagine doing this without Tony.
The album release went ahead, though. I had pre-ordered a deluxe box edition of the album (and this is the first and only time I have ever received an umbrella as part of a boxed set!). The box hadn’t sold out prior to Tony’s death, but as you can imagine, it immediately sold out after.
There’s no denying that receiving the album and listening to the music took on a totally different dimension than I had imagined. There was an expected sadness, but there was also something good about it. Ever since their return with the Brand New Morning album in 2004, after a decade-long break, Magnum continued to release albums of consistently high level of quality, to their albums, giving them an enjoyable late-career streak.
Magnum has always stood for melodic rock with somewhat progressive and somewhat hard rock touches. The final album does not change any of this. For better or worse, you know exactly what you will get with a new Magnum album. Some would call it predictable. Then again, bands like Magnum are in the same boat as AC/DC. Can you imagine them changing up their sound and broadening their musical horizons? It would be unthinkable.
The main thing is that there is an established standard in what they do, with songs of a certain quality. The songs will differ, but there is a certain feeling that comes from listening to Magnum music that is downright joyful. It is a safe comfort blanket. Seeing good things end is sad, but the joy and comfort will remain.
18) Ace Frehley – 10,000 Volts
You know what you’ll get from a new Ace Frehley album. As the lead guitarist and vocalist for KISS during their classic years (which started over 50 years ago!), as well as a solo artist ever since, his sound is well and truly established at this point. He has his style, and that is what the fans want from him.
The suspense is more about whether the album is good or bad. Or rather, good or great. Since his recording comeback in 2009, Frehley has never delivered an album that isn’t at least good. Some have even been great. Most commonly, it has been a good album with several great tracks on it. That’s fairly close to what we’re getting this time as well. There seem to be an extra spring in his step on this album, though. He sounds motivated.
A lot of this is likely related to Ace being in love when he wrote and recorded the tracks on 10,000 Volts. Things had gotten quite serious with Lara Cove, who is also pictured on the album’s back sleeve. They seemed inseparable, and thanks to her, the fans got more social media posts, videos, live streams, and images of Ace than ever before. Some of it may have been a little too silly for my taste (“Socks Frehley”?), but in general, I enjoyed getting these glimpses into his life at home and on the road.
A lot of the songs seem to have been inspired by Lara. In the title track, Ace sings “She hit me like 10,000 Volts / When I saw her face.” On Walkin’ On the Moon he weaves her into his well-known space imagery: “’Cause you’re out of this world to me / And you’ve got my heart consumed / When I wake up you’re all I see / You got me walkin’ on the moon.”
Elsewhere, Cherry Medicine chronicles them getting together: “When you came into my life that day / You really stole my heart / And I knew right then and there / You’d always take my breath away.” Lara is heavily featured in the video as well. Later in that song, he even gives a nod to his classic KISS track Shock Me: “You make me feel better / When you’re in your black leather.” If you know, you know.
It almost starts getting too much on Constantly Cute, which also features Lara on backing vocals “You’re constantly cute, you look like a dream / All guys in pursuit, there’s nowhere to run / You’re constantly cute, always makin’ the scene / You look absolute, ’cause you’re constantly, constantly cute.” Fortunately, the song is extremely catchy with several great musical hooks, making it into one of the most memorable songs from the album. To take a cue from its title, it is a cute song. I did not know that I particularly wanted ‘cute’ from Ace Frehley, but if the track works, I can certainly manage. And if I’m honest, this song is adorable.
Everything is not about Lara. Long-time fans will enjoy Back Into My Arms, which was written in 1984 as a candidate for Ace’s first post-KISS album. It has been circulating amongst fans in demo form, with many bemoaning that it was never properly recorded. 40 years later, it finally was, and it is definitely a great inclusion. It ends up being an almost power-pop track, light in tone and expression.
Long-time KISS fans will also enjoy the fact that Anton Fig drums on a handful of tracks. He was the drummer on Ace’s 1978 KISS solo album, on the KISS albums Dynasty and Unmasked, and sporadically during Ace’s solo career. They click together quite naturally.
Sadly, Ace and Lara did not last. They split up during the fall of 2024, half a year or so after the release of the album, and after nearly six years together. Who knows how Ace will feel about performing songs like Cherry Medicine and Constantly Cute in the future, but the album stands as a very pleasant listening experience, chronicling a time in his life – like all songs inevitably do – that will forever live on on this album.
Ace has been remarkably prolific in the latter part of his career. In his first 25 years as a solo artist, he released three studio albums. In the 15 years following that, between 2009 and 2024, he has released six. He is already working on the next one, which is looking to be a covers album. Anything new from Ace is more than welcome in this household. Long may he continue.
17) The Cure – Songs of A Lost World
This is the album that everybody and their mother seems to put on (or near) the top of their own album rankings of 2024. Obviously, that happens for a reason. The fact that I have it pretty high on my own list speaks to the fact that there is something extraordinary about it, because I don’t really consider myself a fan of The Cure. Even so, the new album clearly stands out.
As Mrs. Norselands is a huge and significant fan of The Cure, I have been exposed to each and every one of their albums several times. Multiple times, even. And I have no problems with that, but I have never taken to them on an album level. I think some of their songs are incredible. Lullaby is probably my favourite, but they have others that I like. And that’s what they are to me – a selection of songs from various points of their career, scattered across the decades. I embrace individual moments of The Cure rather than albums or eras.
Songs of A Lost World is the first time I have embraced one of The Cure’s albums from start to finish. Never before have I enjoyed one of their albums as a full, recorded piece of work.
What is different this time? Hard to say, but it’s a mixture of instrumentation, arrangements, how the album hits me stylistically, and its emotional depth.
That, and the use of mellotron. The first song, Alone, is full of that wonderous vintage mellotron sound that I can’t help to be drawn in. It adds a beautiful yet haunting layer to the song’s rich tapestry of sounds, featuring sad words about fading dreams, broken connections, and the bittersweet nostalgia of aging.
I have seen frontman Robert Smith describe the album as “a really emotional piece of work,” focusing on themes of loss and introspection. This has given the album a darker and more melancholic tone, with the production retaining the raw emotional intensity that The Cure is known for.
The album also delves deeply into the theme of loss, and perhaps no more than on I Can Never Say Goodbye. Robert Smith wrote the words in wake of his brother’s passing, capturing the raw emotions of grief and the enduring pain of losing a loved one. The haunting melody and introspective lyrics reflect Smith’s personal journey through sorrow, making it a heartfelt tribute to his brother.
Despite the overarching themes of loss and mortality, there are moments of light and hope on Songs of A Lost World. The track And Nothing Is Forever stands out with its bittersweet yet uplifting tone, featuring ethereal instrumentals and lyrics that suggest a sense of acceptance and peace, even amid sorrow. A Fragile Thing additionally incorporates pop hooks and rhythmic elements that bring a sense of vibrancy to the album. These moments provide a contrast to the darker themes, offering a glimmer of hope and resilience.
Part of the reason for the album’s incredible reception would surely be that a long wait was over. The gap between Songs of A Lost World and their previous album 4:13 Dream was 16 years. It turns out that the new album had a long gestation period, with some of the songs written as far back as 2010. That means some of the songs went through a long period of development and refinement, and several of them were even tried out live. 2019 was particularly prolific as the band put down around 25-26 songs, with just a few of those ending up on the new album. Indeed, Smith has mentioned that two more albums are on the way very soon, based on the amount of work done and the backlog of finished songs. That sounds like the best possible way to reward the many who patiently waited for a new album.
16) Castle Rat – Into the Realm
If Castle Rat did not exist, we would have to create them. This the band we have always been waiting for.
They are a medieval fantasy doom metal band hailing from Brooklyn, New York. The immersive atmosphere of their music is enhanced by their use of elaborate costumes and stage theatrics. The lead vocalist and guitarist, Riley Pinkerton, performs as The Rat Queen. The other band members are The Count, The Plague Doctor, and The Druid. Their performances often include battles against their nemesis, The Rat Reaperess and her minions.
This is cool even before they have played a single note. It gets even better when they do. Castle Rat’s music is heavily influenced by the doom metal tradition of Black Sabbath, with powerful riffs and a dark, creative energy.
Their songs explore fantasy and medieval themes, creating a narrative world filled with mythical characters and epic battles, tales of heroism, dark magic, and ancient lore.
Into the Realm is Castle Rat’s debut album. It was recorded in an abandoned church, which adds quite a lot to its ambience and atmospheric sound. The band often evoke a sence of ancient, mystic realms, which is enhanced not just by the sonics, but also by their use of minor keys and eerie, melodic interludes.
Castle Rat are very much a DIY band, and as a new band of (as of yet) limited exposure they do not have gigantic funding in place for everything you do. Imagine what they could do with more support! Fortunately the crowd funding for their second album is already wildly successful, so people are clearly enjoying what the band does. That extends to their Kickstarter promo videos, which don’t even mention Kickstarter by name, and you may even miss the point of it. I love that whatever they do, they do 100%!
15) Simone Simons – Vermillion
After two decades of reigning supremely as the queen of Epica, Simone Simons embarked on a solo career with the release of Vermillion. Some endeavors require patience and time. Simone chose not to rush her solo project, opting instead to thoughtfully consider how she wanted to present herself. Through conversations with Arjen Anthony Lucassen, known for Ayreon whom Simons has contributed vocals for several times, he agreed to become her musical partner, collaborator, and producer for the project.
Lucassen is known for being quite hands-on and having full control of his projects, so it was a new situation for him not to have final say. While he came up with most of the music, Simone had inputs, gave directions, and would turn down things she didn’t feel fitted.
“For me it was a real challenge to come up with material that Simone liked,” Lucassen says in the album’s press release. “I have to say she’s very honest, she told me clearly when she didn’t like something! But I really feel that this pushed the best out of me and it made me work harder. Usually I’m my own boss and I just write for myself, but now I had to please someone else. I really love this pressure, it keeps me focussed! And it was also very comforting to know that she would always elevate the songs with her amazing delivery.”
Simone would then come up with the song titles, themes and lyrical fragments for the songs which were then written together with Arjen’s partner Lori Linstruth.
Simone’s performance on the album is compelling and extremely versatile. She sings for her life, showcasing her vocal range and diversity like never before – from opera to symphonic metal, from atmospheric melodrama to alternative rock. Lucassen: “From the beginning I knew I wanted to capture the many facets of Simone’s voice and her incredible range on this album: The soft seductive side, the classical opera style and also the high powerful belts. She can do it all, so let’s flaunt it by all means!”
For Simone, this extraordinary feat was also accomplished by their fruitful partnership. “I love Arjen’s work, and he wrote the songs fitting to my voice,” she says. “He is a master of creating magical melodies. What always fascinated me, was how emotional and melancholic his music is. He pushed me to the next level with this album. I strive to become better with each art piece that I create.”
The album blends various musical influences, including progressive rock, symphonic film scores, metal, and electronic elements. Primarily, it sounds HUGE!
The album kicks off with Aeterna, a track that feels like the musical equivalent of a grand masquerade ball, taking us on a journey through a crimson-tinted wonderland. The orchestral might and bold riffs make this into a dramatic opener that sets the stage for what’s to come.
Cradle To the Grave features a duet with Alissa White-Gluz, and it’s like watching a fierce battle between a dark sorceress and an ethereal enchantress. The guttural growls and soothing wails create a perfect storm of menacing darkness and celestial light. It’s a musical tug-of-war where everybody wins.
My favourite track on the album is likely In Love We Rust, a melancholic, slow-burning ballad. Simone’s vocals are at their very best in this hauntingly beautiful song. It’s a track that tugs at your heartstrings as it ponders the fragility of love. The song’s emotional depth and Simone’s impassioned delivery make it a standout moment on the album.
Throughout Vermillion, Simons explores themes of innocence, corruption, and the eternal struggle between light and dark. The album cover, depicting Simons as Medusa, perfectly encapsulates the duality of beauty and tragedy that runs through the record.
We could have expected many things from Simone Simons’ first solo effort. Vermillion emerges as a universally touching, stellar tour de force. I will add that this wasn’t an easy album to get into at first. The sound of the album almost acts like a shield to the songs – the pure panache, the sheer scale of things, made the path to the heart of the songs a little more difficult. When you get there, though, it’s a poweful revelation. That journey makes the album all the more of an unforgettable and bedazzling journey.
Vermillion is a commendable, multifaceted venture into Simone Simons’ musical soul. It’s a symphonic rollercoaster that delights at every turn. There is some amazing musical storytelling on this album.
And, on a more cheeky note, I like the thought of Simone bossing Arjen around.
14) Steve Hackett – The Circus And the Nightwhale
Steve Hacket has a very interesting, if inconsistent, solo career. His music is never bad; usually at least good, but once in a while an album comes along which is truly great. This has previously included Voyage of the Acolyte (1975), Spectral Mornings (1979), Darktown (1999), Beyond the Shrouded Horizon (2011) and particularly Wolflight (2015). He has done it again in 2024 with The Circus And the Nightwhale.
The conceptual studio album revolves around a young character named Travla, who embarks on surrealistic adventures. It is a rite-of-passage story, with each of the 13 tracks exploring different facets of Travla’s journey. Each piece transitions seamlessly into the next, and given that each track has its own unique style there are some very creative transitions here.
The album frequently features harder-edged electric guitar sounds that delve more towards a rock expression than Hackett normally does, but it’s more of a genre blending album. The album offers ballads, symphonic rock, high-energy progressive rock, jazz fusion, blues rock, and more theatrically arranged rock movements. The electric guitar is a near constant, giving the album a defined sound as well as an edge and a sense of urgency that befits it.
As a guitarist, Hackett is one of the big innovators in the prog genre, as he continually demonstrates on this album. He uses his signature fast runs and fret-tapping. He demonstrates his delicate touch and lovely sustain, which when combined with his use of wailing vibrato brings a particularly emotional and expressive quality to the music. He also integrates classical and Spanish guitar work, seamlessly worked into the album’s soundscape.
This is the type of album that takes you on a journey. It has been a recurring companion throughout the year.
13) Jon Anderson & the Band Geeks – True
Jon Anderson is the cosmic adventurer best known for his years as the frontman of Yes. His former bandmate Rick Wakeman once affectionately remarked, “Jon Anderson is the only guy I know trying to save this planet while living on another one.” Lots of people laughed at that one, and none more than Jon Anderson himself.
His solo career has been a patchy one, though. It contains moments of brilliance and moments of… inconsistency. He has it in him to be brilliant, but sometimes things get in the way. His grand and ambitious concepts can be so huge that they collapse in on themselves, or are difficult to grasp. He has an experimental nature which when harnessed works to his advantage, but this is truly a double-edged sword, leading him down avenues which are hard to follow even for the most ardent Yes/Anderson fan. He is known for having strong artistic visions which has led to tension and conflicts within his projects, most notably with Yes.
At his best, though, he is an inspired band leader who has it in him to create imaginative and fresh progressive rock music. This is exactly what he is doing with The Band Geeks on this album.
Anderson left Yes in 2008 due to a combination of health issues and a decision by the band to continue forward without him rather than wait for him to recover. Anderson has expressed that he didn’t leave the band voluntarily, and while he has been open about his wish to rejoin that band at some point, I think he should be happy where he is right now. Anderson and the Band Geeks have just made the best Yes album since 2001’s Magnification. Incidentally, that remains Anderson’s final studio album with Yes.
Simply speaking, True is Yes music in its purest form. The album has been both an incredible surprise and a delight. While I have found something to like on every Yes album after Anderson left (some more than others), True delivers in every way. There are no attempts to branch out or move forward. This is embracing the best of what the band has always been about.
A lot of the credit goes to The Band Geeks, led by Richie Castellano, who initially gained recognition as an online band producing a series of cover versions. Their full renditions of Yes albums like Close To the Edge, faithfully recreating very complex Yes music with bravado, caught Anderson’s attention. He initially invited them to be his backing band for a solo tour focusing on his time in Yes, but the collaboration extended into the studio.
The album captures the essence of classic Yes, but also brings a fresh and energetic approach to the music. It will be hard for anyone to not think of this as part of the Yes discography, both for its style and its quality.
12) Bridge City Sinners – In the Age of Doubt
Bridge City Sinners is a unique and captivating band hailing from the misty, pine-covered hills of the Pacific Northwest in America – Portland, Oregon to be precise. They blend a wide range of genres, from prohibition-era jazz to Appalachian death folk, creating a sound that defies traditional classification. Their music is a dark, rowdy mix of folk, punk, and Americana, often described as death folk or neo-folk.
The band started their journey by busking on sidewalks across the country and have since grown to play at major festivals like Punk Rock Bowling, Muddy Roots, and Oregon’s Bluegrass String Summit. They maintain a DIY ethos, releasing their albums on their self-made record label, Flail Records, often shipping them out to fans personally. They were thrilled to send their music to this particular punter in the Norselands.
Bridge City Sinners are known for their talented musicianship and energetic live shows, which are described as “punk as fuck”. Their music often features dark, macabre themes, delivered with a raw and passionate intensity that resonates with audiences.
While this is a great band all around, the star of the show is without a question the amazing Libby Lux. Her powerful and dramatic vocals are a defining feature of the band’s unique sound. There is a lot of raw emotion and theatrical intensity in her delivery, which also contains a very unique style of diaphragmatic vibrato which is extremely effective.
In the Age of Doubt is their fourth album. It is a dark yet enticing journey through the band’s blend of archaic styles and modern woes, creating a sound that is both timeless and contemporary.
One of the noteworthy tracks is album opener Break the Chain, which is a powerful anthem of liberation. It is a good example of the band’s mix of dark folk with punk rock energy, characterised by its dynamic instrumentation and haunting melodies. The use of traditional folk instruments like the banjo and fiddle, combined with that punk energy, creates a fairly unique and compelling sound.
Midnight to Vice is another intriguing track, with an upbeat tempo and infectious rhythms, which explores themes of hedonism and the consequences of indulgence. The lyrics paint a vivid picture of a wild, almost surreal party scene, with likes like “Hot women, cold ice / Get your ticket for the Midnight to Vice” and “Every vice has a price.” Libby shines on this track, with a simply stunning vocal delivery.
The album is drenched with tales of debauchery and degradation, but it also offers moments of self-reflection and introspection. Tracks like Doubt, Shame, and Crawl explore themes of self-doubt and personal struggle, contributing to the album’s central emotional theme.
Doubt seems especially poignant to me, as its mix of haunting melody and intense delivery underpins the battle within the mind, illustrated with lines like “I’ve become lost within my mind” and “A heartfelt war waged within / Consumed by doubtful thoughts and sin.” Libby delivers some incredible growl vocals in this song, representing the voice of doubt. The overall performance is chilling, but so, so good.
Bridge City Sinners have crafted an album that is both a tribute to their diverse influences and a testament to their unique vision. In the Age of Doubt is their most ambitious album yet. Listening to it is an experience – a journey through the dark and enchanting world of Bridge City Sinners. It is certainly not the most “metal” entry on this list, but few bands are more boundary-pushing and defiant in their attitude. Albeit, defiant with a smile, courtesy of Libby.
11) Viima – Väistyy Mielen Yö
Viima is a Finnish progressive rock band in the most classic sense of the word. They blend vintage prog as it was in the 1970s with folk influences and intricate compositions, creating wonderous and adventurous soundscapes.
They were formed in Turku, Finland in 1998, originally under the name Lost Spectacles (as the name indicates, they started as a Jethro Tull cover band). Over the years they have developed their own unique sound, characterised by the use of Finnish lyrics and a rich mix of classic prog rock elements.
The album does a tremendous job of balancing more technical passages with more restrained, melodic passages. The support that the band members give each other can be felt, as they take great care in ensuring that no single instrument is overpowering the others. The instrumental passages flow along like water, with vibrant elegance.
The 19-minute epic Äiti Maan Lapset (Children of Mother Earth) delves into themes of nature and mythology, creating a rich tapestry of sound – including layered keyboards and particularly intricate drumming. The track is dynamic and elegant, offering several dynamic shifts and delicate passages.
Each song is a journey through the Finnish wilderness, where you might stumble upon a bear playing the accordion or a fox leading a conga line. The melodies are so enchanting that even the most stoic of reindeer would tap their hooves in approval.
The music is simply speaking a pleasure to listen to. It has a pastoral delicacy, reminiscent of the softer end of the progressive rock spectrum. The use of mellotron and organ adds a retro feel, and while there are many relaxed moments, the instrumentation and arrangements are engaging and always playful, keeping your attention throughout.
The vocals are just lovely. And the lyrics? I won’t pretend to understand them all, but even through online translation engines they come across as thoughtful and adventurous. They match the soft and somewhat melancholic tone of the album.
Väistyy Mielen Yö is Viima’s third album, and long-time fans were probably wondering if it was ever going to arrive. It is the band’s first release in 15 years, making this a wonderful comeback and a lovely surprise for fans of their music. Hopefully the wait for a potential fourth album won’t be qually long.
10) Los Bitchos – Talkie Talkie
Los Bitchos is a London-based band, with its members hailing from as varied countries as England, Uruguay, Turkey, and Sweden.
The ladies play sassy instrumental music with a vintage 1970s/80s flair. It’s hard not to love these women and their shenanigans. They are the embodiment of fun times and parties, showing us that tushies can be shook as long as there is a cool groove. Admittedly this type of music has its time and place, but I can’t think of anyone who has hit this particular spot better at the right time.
Rolling Stone Magazine has described their style as “a globe-trotting psychedelic surf-disco safari,” while the band describe their music as “instrumental psychedelic sunshine cumbia.” Who knows if descriptions like these even makes sense – perhaps it’s best just to listen.
Mrs. Norselands is still trying to come up with ways of joining Los Bitchos as an honorary member. She looks forward to your suggestions.
Los Bitchos’ second album Talkie Talkie is like a wild, sun-soaked beach party where surf rock meets disco and everyone is invited. The band, known for their eclectic mix of influences, has delivered a vibrant and infectious follow-up to the impressive debut Let’s Get the Party Started (2022).
The opening track Hi! is like being greeted by an enthusiastic friend who just can’t wait to show you the dance floor. With its upbeat tempo and shouted exclamations, it’s the perfect way to kick off the album and get everyone in the mood to groove.
Talkie Talkie, Charlie Charlie is an instrumental gem with a tasty guitar riff worthy of the Doobie Brothers. It’s quirky, catchy, and is the type of song that will spin on repeat in your brain if you let it in. Elsewhere, Don’t Change is where Chic meets The Boys of Summer, creating a track that’s both nostalgic and fresh. It’s like finding a vintage Hawaiian shirt in your parent’s closet and realizing it’s back in style. You can wear that shirt for Kiki, You Complete Me, which is the summer rock anthem you didn’t know you needed. It’s smooth, sweet, and has just the right amount of spy movie intrigue to keep things interesting. The music video sees the bitchos become video game characters doing a drive-off in-game, and the music suits that mood perfectly.
The album’s journey continues with Road, a track with fabulous bass lines, snaking guitar leads, and interesting tempo changes. 1K! is a particular delight, bringing back the surf vibes with a tremolo-heavy rhythm that’s soaked in reverb and missing the ocean. It’s the perfect soundtrack for a daydream about catching waves.
La Bomba was the album’s first single, and a very suitable one for its high energy that also brings a burst of Latin flair to the album. The rhythms are infectious and the meodies vibrant. The groovy beat continues on Open the Bunny, Wasting My Time, which combines quirky melodies with a playful vibe. It’s About Time is a longer track that see them go through various musical landscapes, including rock, funk, and even psychedelia.
Towards the end of the album, Naughty Little Clove is a cheeky and upbeat track with catchy hooks and a playful rhythm. Tango & Twirl captures the spirit of Los Bitchos’ live performances, being energetic and fun with a solid groove. The album closes on an energetic note with Let Me Cook You, a fun track designed to leave you with a smile – and even with the desire to hit the replay button.
Talkie Talkie is a delightful, genre-blending ride that showcases Los Bitchos’ ability to create fun, danceable music with a unique twist. It’s the perfect album to play at your next barbecue or spontaneous dance party. Admittedly it may not be the perfect companion on the dark winter days we are currently enjoying in the Norselands, but as I said earlier in the text: everything has its time and place.
9) Lovelorn Dolls – Deadtime Stories
Lovelorn Dolls is a Belgian goth metal-pop duo known for their unique blend of dark melodies, industrial tones, and catchy synthpop elements. They consist of Kristell Lowagie (vocals, composer, and visuals) and Bernard Deubresse (guitars, keyboards, composer, and production).
Their latest album Deadtime Stories is like stepping into a dark, enchanted forest where gothic rock meets electronic beats and fairy tales take a sinister turn. The band has crafted a record that’s both haunting and mesmerizing, perfect for those who love a touch of the macabre with their music.
The album marks their return after a five-year break and features a stronger identity with a “creepy cute” ambience and Tim Burton-esque scenes. The mood is set with the chilling intro Once Upon A Time, complete with a creepy Vincent Price-esque narration that warns of the wonderful nightmares ahead. It leads into the opening track A Heart Cries, about the sorrow of a broken heart. It feels like entering a haunted carnival. The eerie melodies set the stage for a journey through the unknown, where every corner holds a new surprise.
The album’s journey continues with Death & Glory, which features Vvitchboy on rap vocals. Not a welcome element by me, and neither is the song’s industrial beats, but there is something absurd about having these elements in a song that is so obviously gothic and dark. These elements are pulled into Lovelorn Dolls’ universe, not the other way around.
My favourite song from the album may be Beautiful Chaos. From its opening notes, the listener is drawn into a world where melancholy and melody dance in a delicate waltz. This track thrusts the tiny girl protagonist into a descent towards a darker world, trapping her in an asylum padded room haunted by beautifully chaotic characters. Kristell’s ethereal vocals, reminiscent of a siren’s call, guide us through the labyrinthine corridors of the song, where each note echoes with the sorrow of lost love and forgotten memories.
So sleep with your snakes and enjoy their viper’s kiss
I want you know there’s nothing about that I miss
I don’t wish you any pain
But I don’t ever want to see you again
Broken Dreams takes a more introspective turn, describing a melancholic journey through the corridors of lost love and forgotten memories. The raw vocals and melancholic melody tugs at your heartstrings. It’s like a lullaby for lost souls, offering a moment of reflection amidst the chaos. Elsewhere, Another Night On Earth captures the essence of loneliness and despair, with its haunting melodies and somber lyrics, being a reflection on the darker side of existence.
Dreamworld (Dancing Alone) is a dreamy yet eerie track that transports the listener to a surreal realm where reality and fantasy blur. The ethereal vocals and forlorn synths create a mesmerising atmosphere, with the track feeling like a mournful waltz through a graveyard. The spooky piano and ethereal vocals create an effective sense of longing and sorrow.
Continuing the dancing theme, Dancing At Your Funeral is a chilling requiem for the living and the dead alike. The interpley of voices creates a chilling harmony, adding layers of depth and darkness. The juxtaposition of sweet lyrics and sinister undertones also creates a captivating contrast that’s both unsettling and beautiful.
Things do not lighten up on Diary of Nothing, which stands out as a poignant exploration of emptiness and despair. The song delves into themes of death, loss, and the dark side of fame, capturing the essence of a life filled with unfulfilled dreams and silent screams. The chilling atmosphere created by the haunting melodies and somber lyrics lingers long after the final note.
The album ends with the brief yet poignant outro The Journey Will Not End, which serves as a final whisper – a reminder that the shadows will always linger, even as the music fades. Lovelorn Dolls have crafted an album that is both a tribute to the gothic genre and a testament to their unique vision. It is good to have them back.
Deadtime Stories is not just an album; it is an experience – a descent into the beautiful abyss where light and darkness coexist in perfect harmony. For those who dare to listen, it promises a journey that will linger long after the final note has faded into the night.
8) All For Metal – Gods of Metal (Year of the Dragon)
All For Metal is a classic heavy metal band formed as recently as 2022 by musicians from Germany and Italy. The frontmen Tetzel (vocals, growling register) and Antonio Calanna (vocals, ‘soar with the eagles’-register) were inspired by classic, epic bands like Manowar, and wanted to be that type of band for a new generation. This means a focus on muscles and might, going out to battle to defend the glory of metal, and making sure that every song is anthemic. Thematically, All For Metal is inspired by the same things as Manowar, too: mythology (predominantly Norse), epic battles, and heavy metal. No surprises there, then.
Gods of Metal is their second album in just as many years, and there is no real change of direction compared with the first. The album is filled with classic, epic, melodic metal. It is energetic and powerful, with an enjoyable and positive energy. Like the best 1980s metal, a lot of it features accessible singalong choruses and songs with plenty of melodic hooks.
All for Metal’s approach does not come with a high difficulty rating, so the quality of the songs, and not the least their execution, is of the utmost importance. They absolutely delivered on their debut album Legends (2023), and while I wasn’t sure they could do it again so soon after that album, Gods of Metal turned out to be exactly the album I hoped it would be.
Anthemic metal songs get even better with intros, and the cimenatic spoken word intro Cry For Help perfectly sets the stage for the album’s epic journey as it leads into the real opening track Gods of Metal. This is an explosive start, and a suitable one as it pays tribute to the metal gods who came before. The growling vocals of Tetzel and the soaring voice of Calanna also sets the tone for the album, and I can’t think of a metal band fronted by such a diverse vocal duo as these two. They are different in almost every way, but the pairing makes perfect sense.
Epic battles can be fought around the world, and the band look to Japan and the legends of the samurais on Year of the Dragon, as well as Way of the Samurai. The musical nods to Japanese culture are subtle, yet effective.
It’s not full bombast from beginning to end. Songs like Temple of Silence and Who Wants To Live Forever slows the pace slightly, offering a more atmospheric and melodic experience. The best song of this ilk is however Path of the Brave. Every true metal album needs to have an anthem where our fallen brethren and sisters are honoured and remembered. The ballad shows great versatility, having an acoustic expression and a heartfelt performance by Antonio Calanna. He carries the song on his shoulders with his touching and shining vocals.
The shieldmaiden Laura Guldemond from Burning Witches is guesting on the album, appearing on Valkyries In the Sky. She adds a lot to the song, making it clear that female vocals work really well in this band. Hmm! The track is another epic that combines catchy choruses with memorable melodies, once again inspired by the mythic Valkyries of Norse mythology.
After the lovely outro titled The Journey Will Not End has faded away, the album is over but the feelings is has stirred up in me remain. And I find myself… happy! Gods of Metal is a sensational album that reminds me of why I fell in love with metal music to begin with. The album contains hard-hitting heavy metal, anthemic choruses, and infectious energy. Most of all, though, the album leaves me with encouragement and positive energy. It is a fun and passionate tribute to old-school heavy metal, with a few modern twists that fit perfectly well and are welcome.
The band’s popularity is on the rise, and it’s easy to see why: they play positive, empowering songs, and have made metal fun again. They are not a humour band, but they are very much a band with a glint in their eye. That is an important distinction, and it serves them well because they are serious about what counts.
Their first album Legends (2023) was all about establishing their identity and setting the tone for their sound. Gods of Metal takes that foundation and builds on it, delivering even more powerful and polished tracks that proves that the first album wasn’t just a happy accident.
Gods of Metal celebrates the spirit of metal in all its glory. The gods of metal were pleased, and all was well.
7) Saxon – Hell, Fire, And Damnation
2024 started really well, with the British metal legends Saxon firing up the new year with Hell, Fire, And Damnation. It is a fantastic effort, with an added element of intrigue as it was the first album without founding member Paul Quinn. The guitarist left in 2023, and was replaced by Brian Tatler from NWOBHM legends Diamond Head. That turned out to be an inspired choice.
I have really enjoyed every Saxon album of recent years. In fact, they have been great. Still, there is a feeling that something has really clicked this time, and I’m thinking that Tatler is a factor here. The riffs are more in-your-face, direct, and old-school than in a long time. The new album feels like a time machine that takes you back to the heyday of British 1980s heavy metal. Only one of their legs are planted in their legacy, though, with the other one representing the strides they have taken towards more grandiose songwriting than they did in the early days. The balance between the two seems more even than in a long time.
Biff Byford sounds as vital (and ageless!) as ever, as he leads the band through the sounds of heavy metal thunder.
The opening track The Prophecy kicks things off with a dramatic flair, featuring none other than Brian Blessed’s booming voice. It’s like being welcomed to a medieval battle by a very enthusiastic town crier. This marvellous intro leads us into the title track. Hell, Fire And Damnation follows with a classic Saxon sound—crunchy riffs, powerful vocals, and a chorus that’s as catchy as a cold in winter.
Saxon are at any time able to surprise with the complexity of their arrangements, their ability to hit as hard as any band, the epic scopes with sheer orchestral peaks, or the pure source of classic British metal that they have been championing since the late 1970s. Saxon are so damned VITAL.
Madame Guillotine is a standout track, with Biff Byford spinning gruesome tales of the French Revolution set to a superb bedding of riffage. Fire and Steel keeps the energy high, channelling the spirit of Judas Priest’s Rapid Fire with its relentless pace and fiery guitar work. The album’s journey continues with There’s Something in Roswell, a track that delves into the mysteries of alien encounters. I quite enjoy this metal version of X-Files, complete with eerie melodies and a sense of otherworldly intrigue.
Kubla Khan and the Merchant of Venice is a particular highlight, telling the story of Marco Polo’s legendary travels along the Silk Road. The song weaves a tale of adventure, exploration and discovery, highlighting Marco Polo’s encounters with the Mongol emperor Kublai Khan. Elsewhere, 1066 tells us about the Battle of Hastings. These historical epics are genuine showcases of Saxon’s knack for storytelling.
Towards the end of the album, Witches of Salem explores the infamous Salem witch trials, blending riffs that are just so irresistably Saxon with screams and haunting lyrics. It all ends with Super Charger, which thematically is the more energetic cousin of Wheels of Steel, delving once again into themes of burning rubber and feeling the engine roar. The band have moved on from the motorcycle to drag racing, though, reflecting the adrenaline-fueled excitement of racing.
Mrs. Norselands mentioned that listening to a Saxon album almost felt like a history lesson, and past history definitely continues to be a source of inspiration that the band puts to good use. Historic battles (of Hastings, which I will forever now know happened 1066!), medieval executions, ancient prophecies, witch trials, historic figures and legendary travels all feature on the album. Uncle Biff will make sure you are kept up to date on history.
Hell, Fire and Damnation is a triumphant album that celebrates the spirit of classic metal in all its present-day glory.
6) Infected Rain – Time
If you ever see a picture or video featuring Infected Rain’s vocalist Lena Scissorhands (the professional name of Moldivian singer Elena Cataraga), she won’t be easily forgotten. She has a striking appearance to begin with, and even more so as a very high percentage of her body skin is covered with tattoos. Her voice is another striking attribute, covering versatile vocal styles and an uncanny ability to effortlessly switch back and forth between them.
The Las Vegas-based singer released an album with her side project Death Dealer Union in 2023, but Infected Rain is her first and main band. Scissorhands and guitarist Vadim Ojog are founding members, with long-standing drummer Eugene Voluta joining within the first year. The Italian bassist Alice Lane is a new recruit, joining the band ahead of the sessions for their sixth studio album Time which was released in February 2024. They have pretty much toured the globe ever since, continuously working to spread their music as far and wide as possible.
Time is without question their best album. It is diverse and multi-faceted, with strong thematic depth related to the passages of time, self-discovery, and societal issues.
It starts with a bang with Because I Let You which is an aggressive, metalcore-inspired track. It is a cool opener, followed by the significantly stronger track Dying Light which incorporates electronic passages and heavy, djent-y riffs. Lena puts down some particularly incredible and varied vocal styles on this track.
Never To Return continues the trend of showcasing the album’s variety of styles and even instruments. The sitar riffs and Far Eastern instrumentation gives an exotic touch to the band on this track about irreversible change and the journey of no return. Lighthouse is a particular album highlight with its juxtaposition of soft, melodic verses with intense, heavy sections. It ends up being quite the emotional rollercoaster musically as well as lyrically, where Lena sings about guidance and finding one’s way through darkness.
The Answer Is You delves back into metalcore aggression with melodic hooks, as does the track Pandemonium, living up to its title as it explores themes of chaos and disorder.
Some tracks are Tracks like Vivarum adds to this by warning about fleeting freedoms and the constraints of modern society, whereas Paura urges listeners to overcome their fears, set to a variety of musical styles as well as different languages, in sum creating a sense of mystery and even fear.
Enmity has a heavy and aggressive instrumentation, reflecting the song’s themes of conflict and animosity. Unpredictable contains several dynamic shifts between heavy and melodic sections, and Game of Blame provides interesting mix-ups of metalcore and electronic elements, with lyrics that delve into accountability and the blame game in relationships.
It all ends with the impressive track A Second Or A Thousand Years, which provides a calm, ambient ending to the album, showing a willingness to experiment with different sounds and ideas. In keeping with the album title and one of its overarching themes, the song reflects on the passage of time and the fleeting nature of moments.
One of Scissorhands’ distinctive features is her ability to seamlessly switch singing techniques. She moves from guttural to clean vocals seamlessly, often within the same verse. Her clean vocals are melodic with an emotional quality. Her guttural vocals, including growling and screaming, are no less impressive, with a surprisingly intense and emotional delivery for that style as well. Her vocals consequently always convey some form of emotion, from anger and frustration to vulnerability and introspection.
There’s been a trend in recent years for bands to have several vocalists, where some provide clean vocals parts while others sing harshly. If you have a Lena Scissorhands in your band, one vocalist is enough.
5) Mick Mars – The Other Side of Mars
And so, after many years of waiting, Mick Mars finally released his first solo album, at the tender age of 73. I have been eagerly waiting for this one since it was first mentioned in 2014. It has been many things over the years: a collaboration with John Corabi, an instrumental guitar album, an album with several guest vocalists, and who knows what else. At times I have even wondered whether it would actually end up coming out.
It is here now, though, and it is glorious. But it doesn’t sound like I expected.
Upon first listens, I was struck by the album’s sound. It is heavy and dark with a mix of aggressive riffs and brooding melodies. Some tracks have an instrumental vibe, with clanking sounds and robotic vocals. Having said that, there is a variety of styles on display within these expressions, from headbanging tracks to ballads.
The music and lyrics reflect Mick’s personal struggles, including his battle with ankylosing spondylitis (Broken On the Inside), the saga around his departure from Mötley Crüe (Alone, Loyal To the Lie and Right Side of Wrong), as well as his thoughts on mortality (Ready To Roll). There is also room for a lone beam of sunlight in the form of Memories – a poignant, piano-led ballad which nostalgically looks back on a younger life, past experiences, and relationships.
Mick performs all the guitars and most of the bass on the album, having assembled a good band to help out with the rest. The vocals are primarily handled by Jacob Bunton, with Brion Gamboa singing two songs. Paul Taylor plays keyboards, and also has co-writer credit on several tracks. Ray Luzier from Korn contributes the drums, with Chris Collier performing bass on several tracks.
Some tracks stand out, with Alone in particular being an incredible song. The ballad features the usual wall of guitars, which on this track is set against an intensely emotional slow-burn feel. This is just incredible songwriting handiwork. The song has an irresistible quality, yet it carries an intense sadness in it as Mick Mars put in his raw emotions from his sense of betrayal and anger over the situation with his previous band.
I did not expect the album to feel as heavy as it does. If anything, I assumed it would take a step away from the hard rock/metal sound he was known for with the Crüe and be more directly inspired by people like Jeff Beck, who Mick Mars has named his all-time guitar hero. And maybe in the end that’s still in there somewhere, but it only comes to the fore on one song: the album-closing instrumental LA Noir, which feels like a love letter to Beck – and like the heaviest song Beck ever recorded.
In the end, the music on the album feels very real and honest, matching the heavy subjects. Given what he had on his mind, this is what had to come out at this point. A next album could sound very different, but I fear that time won’t be on Mick Mars’ side if he wants to spend equally long on that one.
4) Ritual – The Story of Mr. Bogd, part 1
One of the very best and most enduring albums from 2007 was Ritual’s The Hemulic Voluntary Band. The Moomin-loving Swedes from Stockholm had created a wonderful progressive concept album set in Tove Jansson’s world, with songs about the Moomins, friendships, farewells, reunions, the Groke, and a long, epic track about a cat who got lost and ended up having quite an adventure just trying to find his way back home.
Then things got quiet. What was next for Ritual? Was there anything else going on at all?
As it turned out, they were working on a follow-up. In their spare time. I learned that Ritual is not a professional band. They all have jobs, and devote whatever time they can manage to rehearsal, writing, recording, and an occasional live performance. I guess I should not have been as shocked to learn this as I was, but it was a surprise, just given the talent of these musicians and the incredible quality of the material from a composition and performance point of view. I consider them world-class, yet they are too off-kilter, quirky, and non-mainstream to make a living off their work. This saddens me.
At the very least they were still active, but it took a long time for a follow up to the Hemulic album to appear. For a while, on average one brief piece of news would appear every year. “We are writing new songs!” Great! “We have started the recording process!” Great! “We are taking a break this year to rehearse for a live tour!” Okay. “We have written so much material that the next album might be a double album!” Wow, awesome! You get the picture. And then… several years with nothing, as they struggled to fit album sessions into busy lives filled with work, family life, and things that just happen. I know exactly how that is.
The first sample came in 2020. Who knows if the pandemic had given them an opportunity to push ahead, but on 30 October, the taster EP Glimpses From the Story of Mr Bogd was released, containing four tracks from the sessions. The album itself was “around the corner”. It still took nearly four years for the actual album The Story of Mr. Bogd, Part 1 to appear.
As the album title alludes to, there will be another album coming. There was talk of a double album at some point, but releasing the story in two parts is likely more manageable to the band. At least this gives us a strong indication that the band isn’t done quite yet; that the new album is not intended to be the last hurrah.
The new album is a concept affair, telling the story of the well-to-do titular character who, realising he is leading an unsatisfactory life, turns his back on all he knows. In short, a story about forsaking what we know, what is safe, and what is all mapped out, in favour of an ideal of what constitutes the natural world.
The album kicks off with A Hasty Departure which sets the tone for the journey ahead. It is catchy with plenty of hooks and addictive melodies, yet with clear progressive qualities and a suitably pompous sound, similar to Yes in their heyday.
The journey continues with The Inn of the Haunted Owl, a haunting and intense track with rounded edge hooks and addictive rhythms. The folky segment Dreams in a Brougham showcases the band’s ability to craft exquisite Scandinavian instrumental folk, while Chichikov Bogd delivers modern progressive rock bliss, reminiscent of Big Big Train and Gentle Giant.
The conceptual narrative reaches its peak with Mr. Tilly and his Gang, a corky and clownish musical interlude that presents a traveling circus-like entertainment. The journey continues through Through a Rural Landscape, an instrumental section that builds a bridge to The Feline Companion, a haunting and hypnotic track with dark and twisted melodies.
The album’s end section features Read All About It, a heavy, Yes-sounding track with chaotic progressive rock and outstanding vocal harmonies, followed by the beautiful acoustic song Forgotten Qualities, which invites the listener to relax and enjoy the view. Finally, The Three Heads of the Well goes deeper into minstrel-style music, folky and menacing
The album is an extraordinary journey both musically and conceptually. It will delight those with the disposition to seek out such experiences. I can’t wait for part 2, but at least part 1 has finally arrived now, and will last us a while while we wait. It better not take another 17 years.
3) Deep Purple – =1
Deep Purple is one of the best bands in the world. This statement is, of course, totally objective. They are among the oldest still active bands that I follow, and by far the most prolific of them. None of their peers come close. Just since these yearly countdowns started on Rocking In the Norselands in 2017, Purple have released four studio albums and numerous live ones. And, most importantly, they have all been really great.
All of these albums have been in the mix and very near the top of the end-of-year lists, yet none have been placed on the coveted #1 spot. And here they are missing out again. Always the bridesmaid, never the bride? Putting aside mental images of Ian Gillan in a bridal dress, what this primarily tells me is that in my ears, no other band has been as consistent as Deep Purple during this time. No one.
=1 (pronounced ‘Equals One’) is the band’s 23rd studio album. The huge deal about this album is that it is the first one in over a quarter of a century that doesn’t feature Steve Morse as the band’s guitarist. Morse stepped back from the band in 2022 to look after his wife who was battling cancer. Simon McBride initially stepped in as a temporary replacement, but when Morse’s departure became permanent, so was McBride’s position, leading to Deep Purple Mark 9.
The new line-up started work on the album in March 2023. Just like they did for their 2020 album Whoosh!, they set up base at Nashville’s Sound Emporium Studios for writing and recording of the album, with Bob Ezrin producing as he had the four previous albums.
Deep Purple’s songwriting process has always been collaborative, with the entire band writing together in the same room. Nobody ever brings in songs for the others to consider. Instead, they jam, exchange ideas, and develop interesting musical moments into songs with everybody in the same room, sharing songwriting credits equally.
Ian Gillan humorously calls Deep Purple “an instrumental band with song accompaniment,” reflecting their improvisational style and extensive instrumental sections, especially in live performances. The singer is still quite involved in the album’s creation, jotting down lyrics and ad-libbing to things that are being played, homing in on the parts that he feels work.
While Deep Purple have evolved over the decades, they have always remained true to their 1970s guitar/organ-dominated hard rock sound. Since working with Bob Ezrin in the early 2010s, they’ve increasingly composed more reflective and thoughtful material, fitting their status as elder statemen of rock, but without letting go of what makes them Deep Purple. The new album is like a fine wine – just spiked with a shot of adrenaline and served in a leather jacket.
Several reviewers have pointed out that having a British guitarist in the band again makes a difference. McBride certainly has a different style than Morse, which delves deeper into a blues-based hard rock territory. Purple was never much of a bluesy band with Gillan at the helm, and that hasn’t changed, but there’s more of a straightforwardness, as well as a contemporary feel, that makes the overall approach feel very fresh.
This is evident right from the intro of the album opener Show Me, which features simple, energetic chugging riffs that demands attention. The whole band locks in and the song – and album – is off to a very good start. I’m sure I don’t need to point out that we don’t expect Gillan to sound the same at age 80 that he did at age 24, but he delivers a commanding vocal here, as he sings “You never know who might be listening / And think we’re up to something else” on this track about the complexities of relationships.
It is followed by the cheeky A Bit on the Side, which is a catchy track with a playful vibe and memorable hooks. The groove is seductive and infectious, which is fitting for a song delving into the complications of infidelity. Gillan croons “I don’t want no left or right / I want in-n-out, Back-n-front, Up-n-down / And a little bit o’ lovin’ on the side” and has us all nodding along and tapping our feet to his wet dreams.
Things continue with the fast-paced and intense Sharp Shooter, which is a good showcase for McBride’s impressive guitar work. Portable Door was the album’s first single, with a strong melody and engaging if whimsical lyrics about the desire to find a way out of difficult situations. Old-Fangled Thing is nostalgic yet fresh, blending classic rock elements with modern flair. I really enjoy If I Were You, which is reflective and melodic, featuring beautiful orchestral arrangements as well as hummable and lovely guitar leads.
The second single and one of the highlights on the album is Pictures of You. Simply speaking, this song is a giant and one of the best songs the band has been involved with for some time. It is a heartfelt song which builds and ends up sounding huge, with McBride provides a guitar bridge (I can’t quite call it a solo in conventional terms) that gives the song a huge emotional lift. It soars, it wails, it is filled with melancholy, which combines heartfelt lyrics with a memorable chorus. The song deals with memories of a past relationship, and perhaps Gillan is describing the moment when one is ready to move on again when he sings “These pictures of you / Are too good to be true / I’m using my eyes again / These cameras never lie.”
The track leads almost directly into I’m Saying Nothin’, which is a laid-back track with a groovy rhythm and smooth vocals. “Silence speaks louder than words.” It is followed by the third and final single from the album. Lazy Sod is upbeat and fun, although not as strong as the previous singles. I primarily blame its non-imaginative chorus, but the song still has a groove that I find myself getting sucked into, particularly in the verses. “Living easy, taking it slow, that’s the way to go” sings Gillan in a track that clearly isn’t very autobiographical.
Now You’re Talkin’ is an upbeat, dynamic song. The instrumentation is lively and the vocal delivery engaging. No Money to Burn is more of a short and punchy track, delivering a strong message with some attitude. “Rich in spirit, though pockets are bare,” Gillan complains in this tale of financial troubles.
I’ll Catch You is the secret weapon on this album. It is a heartfelt ballad with emotional depth and beautiful melodies, but most of all, a reassuring, supportive song (“My bags are always ready / My keys are in the car / Anytime you want to jump / I’ll catch you in my arms”) with a gentle melody and soothing instrumental arrangement. Gillan really is present in this song, with a lovely and downright touching vocal delivery. This is not the track that will jump out at you first, but once the album has established itself, this song will slowly but surely start to shine. Check out the dedicated article written about this track not too long after the album came out:
RELATED ARTICLE: The story behind the song: «I’ll Catch You» by Deep Purple
This only leaves the grand finale Bleeding Obvious. The album’s longest track is a nearly six-minute epic which features intricate musical arrangements with a progressive rock influence and a very present vocal from Gillan. On this track, Deep Purple delves into the paradox of the obvious and how often it can be overlooked or misunderstood. The song starts with a seemingly simple situation that becomes increasingly complicated, with the lyrics highlighting the frustration of trying to communicate something clear only to have it ignored or misinterpreted. At the end, Gillan lets out a frustrated “It’s bleeding obvious if what you’re trying to say’s / The same as all the rest of us in quite another way.” It’s a glorious song; the musical equivalent of a mic drop.
=1 was produced by the legendary Bob Ezrin, who once again made sure that we’re getting a nostalgic yet fresh journey through Deep Purple’s classic sound. The album title reveals its loose concept, based on the idea that everything eventually simplifies down to a single, unified essence. In the end, everything equals one.
Even after 60 years, the band feels the pressure of expectations, especially with a new member on board. Don Airey takes a light-hearted view, focusing on the invigorating effect that a new band member can bring. “He has brought our average age down to 72!” he beams in the bonus documentary that came with certain editions of the album.
Still, the band knows they have recorded a very good album. “In a long career, this particular one is a bit special,” Ian Gillan says in the official album trailer on YouTube. “But I’m still nervous.”
No need to be nervous, sir – this particular one is indeed a bit special.
When a band reaches a certain vintage, there is an increasing obsession with whether an album is the final album, whether a tour is a final tour. Every album released by Deep Purple for the past 10-15 years has been followed by that question. Nobody can go on forever, but given how vital and creative the band is right now it is almost unthinkable – certainly unbearable – to consider that this might be the final album. Some bands peter out, others just keep on delivering the goods. Deep Purple have done just that once again. There’s just no stopping them.
2) Beastö Blancö – Kinetica
Beasto Blanco are known for their raw, powerful hard rock sound, blending theatrical elements with high-energy performances. They were formed in 2012, and are led by Chuck Garric (bass/vocals, part of Alice Cooper’s band since 2002, and previously in Dio, Eric Singer Project and LA Guns) and Calico Cooper (singer, dancer, stage performer, actor, choreographer, and Alice Cooper’s daughter).
Kinetica is the band’s fourth studio album and their first release in five years. It is more majestically dark and theatrical than their earlier work, and crucially, Calico has been given more space. This album is without question the best marriage of Garric and Cooper’s voices so far, which gives a dynamic that other albums would have benefitted from. They both also have several individual lead vocals on the album.
As always, Beasto Blanco play a mix of gritty, classic hard rock with industrial elements and gothic undertones. Their grooves are thick and mighty, and the next catchy hook or memorable vocal melody is never far away. Simply speaking, they sound cool. They are cool. This is a cool band, and Kinetica is a very cool record.
More than that, it is a superbly great record. They always had it in them to be truly great. On Kinetica, they have finally surpassed themselves.
The album opens with the adrenaline-pumping track Run For Your Life, immediately establishing that the high-octane riffs and powerful vocals are still intact. This song, like many others on the album, is a showcase of Beasto Blanco’s ability to blend raw power with infectious melodies. The production, handled by Chris Harms of Lord of the Lost, ensures that each track hits hard while maintaining a polished sound.
The album features a variety of musical styles, from the hard-hitting Nobody Move to the more reflective Lowlands. Each song offers something unique, while still sounding like Beasto. This versatility makes for a very satisfying listening experience. Diamond In the Dirt, for example, which was the album’s lead single, stands out with its explosive energy and apocalyptic themes, perfectly capturing the essence of Beasto Blanco’s sound.
Lyrically, Kinetica delves into themes of survival, resilience, and rebellion. Tracks like Run For Your Life and Nobody Move explore the fight for survival in a hostile world, while Lowlands offers a more introspective look at personal struggles. The lyrics are both thought-provoking and relatable, adding depth to the album’s powerful sound.
One particular favourite of mine is Unreal, where Calico delivers a captivating lead vocal backed by producer Chris Harms. The song delves into themes of illusion and reality, exploring the blurred lines between what is real and what is perceived. It is decidedly mid-tempo and not really a ballad, but it frequently takes on those qualities due to the sensitive and melodic performances. I just LOVE this song, which has been a huge earworm in 2024 for sure!
Beasto Blanco are known for their captivating live performances, and Kinetica is designed to translate seamlessly to the stage. Video clips from their North American tour, supporting Lord of the Lost, showed that they managed to bring the new songs to life with the same intensity and energy found on the album. Additionally, the band’s visual appearance is extremely effective. Music videos and live clips give a taste of the overall experience of seeing this band live. Kinetica is designed to be as much a visual spectacle as auditory.
As Garric and Cooper are members of Alice Cooper’s live entourage, there are (and have been) limits on how much Beasto Blanco is able to be active. They have taken strides since their debut, which was already very promising. At this point, they should be considered a major player on the scene musically, if not commercially. I would love for Alice Cooper to be active as long as possible, but I would also love for Beasto Blanco to be able to be a bit more active than they have been of late.
In any case, Kinetica will happily do for now. Kinetica is an extremely bold statement from Beasto Blanco. With its blend of powerful riffs, melodic hooks, and lyrical depth, the album is simply speaking a must-listen for fans of hard rock and metal. As the band continues to evolve, Kinetica shows enormous creative vitality. I continue to be genuinely excited about this album, and especially about what might be next from them.
1) Bruce Dickinson – The Mandrake Project
When Bruce Dickinson launched a proper solo career after he left Iron Maiden in the 1990s, it was clear that he took it very seriously. He wanted his releases to convey something, and for them to be extraordinary and special. He frequently dove into deep concepts and did things others would not consider doing.
This included travelling to war-torn Sarajevo in 1994 to perform a show for people in a war zone. He wanted to provide something positive and hopeful in desperate circumstances, but he had no idea how profound the experience would be. It left a deep impression on him and would colour a lot of his following output.
His artistic journey has taken him through several projects and collaborations, from the haunting melodies and profound themes of the William Blake-inspired The Chemical Wedding (1988) to the multifaceted Tyranny of Souls (2005), which explores historical and philosophical themes as well as science fiction elements.
Dickinson has explored deeper and more complex themes with every passing album, frequently delving into themes of spiritualty, transformation, and existentialism. This is hardly your average heavy metal song material, but then Bruce Dickinson has never been your average heavy metal song composer.
His return to solo material 19 years after the previous album was always going to be interesting. The question was not whether he would dive into yet another concept or extraordinary subject matter, it was more a question of what it would be.
The Mandrake Project is a narrative concept album that explores themes of power, abuse, and identity, set against a backdrop of scientific and occult genius. The story revolves around two main characters: Dr. Necropolis, who represents the darker side, driven by greed and power, and Professor Lazarus who embodies humanity and ethical science. They are both involved in a project to transfer human souls at the point of death into new vessels.
Musically it blends elements of heavy metal, hard rock, and 70s progressive rock, albeit with a gothic, atmospheric darkness always permeating everything. While the album is somewhat doomy, the music is more often than not energetic and charged. Dickinson delivers a powerful and dynamic performance, demonstrating that in his mid-60s, his voice remains one of the best in the genre.
Each song contributes to the overall narrative. Opening track and first single Afterglow of Ragnarok spends some time establishing a gothic atmosphere before it gradually builds into a brooding, gargantuan beast. It sets a powerful tone, and the track just clicks right away. It features an unusual and intriguing chorus and overall dynamic instrumentation that sounds unmistakenly like Dickinson, but feels fresh.
It is brilliantly followed by the delightfully Deep Purple-ish Many Doors To Hell, which weaves intriguing melody lines with aggressive guitar riffs and a driving rhythm. The lyrics explore themes of choice and consequence, adding a philosophical layer to the album. So does the second single Rain On the Graves, which manages to be both haunting and soaring at the same time. It carries a nice melody as it combines somber lyrics with atmospheric music. The song reflects on loss and remembrance, carrying significant emotional depth.
Resurrection Men is energetic and fast-paced, with a narrative about grave robbers in the 19th century. Fingers In the Wounds is a slower, more introspective song, featuring reflective lyrics about healing and forgiveness. The melody is melancholic and beautiful – simply speaking one of the best tracks Dickinson has created for some time, but so good are the songs surrounding it that this can be hard to notice. Especially the phenomenal Eternity Has Failed, which blends the complex time signatures and extended instrumental sections of progressive rock with grandiose heavy metal. It is an ‘everything’ track, featuring sections that rock out, lovely intermissions with intricate instrumentations, and more epic sections featuring choirs and layered vocals. The lyrics ponder nothing less than the nature of time and existence.
Mistress of Mercy is a mid-tempo rocker, but with so much urgency in its delivery and expression that it feels like a faster rocker than it is. It is a good showcase of Dickinson’s vocal range and emotional delivery, as he sings a story of love and betrayal set to a dramatic musical backdrop.
Dickinson has revealed that he put the first slower track pretty late on the album on purpose, as he wanted it to have as much effect as possible. It certainly gives the album a change of pace at this point. Face In the Mirror is an introspective and contemplative track with a more acoustic expression, with lyrics that explore self-identity and inner conflict. This is a gorgeous track, where the haunting melodies found in the music perfectly complements the theme. Songs like this bring out a different timbre in Dickinson’s voice, and his lower-to-mid-range voice is also extremely pleasant to listen to. The high-range wails added as backing vocals towards the end of the song are incredibly effective.
Shadow of the Gods continues the album’s ballad section. It is still a change of pace as it is much more of a grand and epic piece, combining orchestral elements with electric instruments. You’d almost expect it to build up to become a powerful metal power ballad, but Dickinson does not take obvious choices. The song changes gear completely, becoming more of a hard rock track, which later on becomes very melodic and harmonic. This is a bit of a musical chameleon, which changes its colours as needed to match the song’s narrative as it tells a cosmic Romeo and Juliet story about two star-crossed lovers crossing paths in eternity, hoping to meet again in the future. It is nothing less than a mini-prog-metal epic.
The closing track Sonata (Immortal Beloved) is nearly 10 minutes long and a mighty end to the album. It is a beautiful and intricate composition, blending classical influences with rock. The lyrics are poetic and introspective, reflecting on love and eternity. Dickinson has described the song as a twisted version of the Sleeping Beauty fairy tale. The song is set in a dark forest where a king finds the body of his frozen queen. He kisses her, hoping to revive her, but the outcome is not what he expects. The song incorporates a sample of Beethoven’s Moonlight Sonata, adding to its haunting atmosphere.
As with most of his other solo albums, Dickinson once again struck up a fruitful partnership with Roy Z for The Mandrake Project. He is a co-writer on most of the tracks in addition to being the album’s guitarist and producer.
Bruce Dickinson’s mastery in blending musical elements continues to shine as he effortlessly merges genres and themes, creating an album that resonates deeply. His ability to craft intricate narratives within each song, coupled with his powerful vocal delivery, ensures that every track stands out as a unique piece of art.
A breathtaking achievement!
And that’s all, folks!
Thanks for following me to the very end of the countdown. If you did more than skim all of this, I am impressed! This has surely been an undertaking for all of us, but hopefully worthwhile. I wanted to make it a good one, as after many years of doing it I am ready to close the book on doing countdowns.
To me, the ranking itself is less important than the fact that we have arrived at a list of 100 albums with information, cover art, and videos which makes them very easy to check out. I hope the countdown has contributed to some new discoveries, and that some of you might check back for titles that will inevitably have slipped you by.
Find the other parts here:
Top 100 Album Countdown 2024 – Part 1: 100-81
Top 100 Album Countdown 2024 – Part 2: 80-61
Top 100 Album Countdown 2024 – Part 3: 60-41
Top 100 Album Countdown 2024 – Part 4: 40-21
When you have read through everything that the 2024 countdown has to offer, why not revisit the 2023 one? It starts here: The Top 100 Album Countdown of 2023 – Part 1: 100-76
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