Power Up - AC/DC

When I started this blog back in March, it never once entered my mind that I might have a new AC/DC record to review. To think I would still be in my first year of blogging when I got the opportunity to do a new AC/DC record... honestly it is like a dream come true.

Power Up came at a time when the world needed it most. The US is still being royally buttfucked by COVID-19, kids are being locked in cages, the list goes on. But the tides are changing, folks. The recent election offers a glimmer of hope, a hint of a better future. After the proverbial dumpster fire of 2020, it really is nice to be able to come home, take the mask off, and put the headphones on and unwind with a brand new offering from the thunder from down under: AC/DC.

It is no secret to my friends, family, and loyal readers that AC/DC is my all-time favorite band. And Power Up is a prime example as to why that is. Recorded entirely using recycled and previously unused riffs from throughout their career, the 12 tracks on Power Up feature the musical genius of late rhythm guitarist and founding member Malcolm Young. It was said by Angus himself that as Back In Black was a tribute to the late frontman Bon Scott, Power Up is likewise a tribute to his fallen brother Malcolm.

Using previously written riffs provided Power Up with a refreshing return-to-form sound for the band. If I were to blindly listen to all of AC/DC's studio material, without already knowing everything there is to know about their records, you could have told me that Power Up was released anytime between 1985 and 2020 and I would have believed you. Each track is like a sonic spotlight, with reminiscent riffs and that signature AC/DC sound that takes you right back and shines on a different year throughout their history. Also featured on the record, something that you don't often hear about when talking about AC/DC, is the backing vocals. Throughout all the line-up changes in their almost 50 year long career, one of the most consistent elements of their sound was their backing harmonies, and those harmonies are as strong on this album as they ever were. There is something so unique, so AC/DC about those backing vocals, like you could grab any random singer in the world and slap them into the studio with the band, but the harmony wouldn't change. There's something masterful in this, as the harsh mob-like chants of the band match and compliment the abrasive bluesy falsetto of Brian Johnson perfectly.

The leading single from the record, "Shot In The Dark," is arguably the best song the band has released in 20+ years. It has everything you would expect from a classic AC/DC headbanger. Driving rhythm section, simple-yet-memorable riff, catchy tongue-in-cheek lyrics, and a bluesy swing. This is a song whose riff could certainly have come from the 80s. The following track, "Through The Mists Of Time," slows things down a bit, in a style that reminds me of 2008's Black Ice, with songs like "Rocking All The Way," and "Rock And Roll Dream."

The next tracks, "Kick You When You're Down," "Witch's Spell," and "Demon Fire" are a triple threat of the classic blues-rock sound that I know and love from AC/DC. These songs remind me of the best of the 2000's Stiff Upper Lip era. Stiff Upper Lip is often regarded as the band's "worst" album, but that is a title I strongly disagree with. It is heavily misunderstood and criminally under appreciated. It is their bluesiest and jazziest record to date, and it will always hold a special place in my heart for that exact reason.

Many critics and music listeners have said over the years that AC/DC is overrated, as "all their songs sound exactly the same." But I tell these people to shove it, because isn't consistency what you would want from a band? If it ain't broke, don't fix it, right? If you love one album, you'll love the next album, and the next, and the next. Well AC/DC just put out their 17th studio album, and this blogger loves each and every one of those 17 albums.

Truth be told, when I first heard that AC/DC were recording a new album, of course I was ecstatic, but I wasn't prepared to have my mind blown by it. I was expecting Rock Or Bust 2. But the more I read about the album, the more excited I got. Longtime bassist Cliff Williams was back. Longtime drummer Phil Rudd was back. They were using Malcolm Young's previously recorded rhythms and riffs from throughout the band's career. This was the dream album. After the nightmarish Rock Or Bust Tour, my expectations were low. But holy hell is this album better than anything I would have imagined. That said, I don't want you to go into this album expecting another Back In Black. But they didn't need to write another BIB. Their legacy was already written, their reputation as one of the all-time great rock bands (my opinion is irrelevant here, as this is a known fact) was already proven time and time again. What we needed from Power Up is a good time when the world needed it most, some new-old-stock AC/DC, some reminiscent rock and roll for all AC/DC fans new and old to enjoy, and that is exactly what we got. While many would argue that rock and roll music is dead, I would argue that for as long as Angus Young is still wearing shorts and a tie, rock and roll is alive and well.

Power Up - AC/DC

11 - 13 - 2020

1. Realize

2. Rejection

3. Shot In The Dark

4. Through The Mists Of Time

5. Kick You When You're Down

6. Witch's Spell

7. Demon Fire

8. Wild Reputation

9. No Man's Land

10. Systems Down

11. Money Shot

12. Code Red

Favorite Track: Kick You When You're Down

Least Favorite Track: Realize

Rating: 9.8/10

Chromatica - Lady Gaga

 Yeah, I know. The last artist you would ever expect me to ever talk about. Okay, maybe not the last, but certainly among the bottom of the list. But before getting into this, let me be clear about something: I respect Lady Gaga. She is truly a tremendous talent. I find it a shame that she wastes her talents on pop music, rather than directing her time toward a more metal outlet, but it is what it is, and it certainly has worked out for her so far.

Today's post is a special one for me, as it allows me to discuss an artist I normally never would, and it allows me to also bring in another guest writer, one of the biggest Gaga fans (or monsters, if you're down to clown) that I know: my sister. She'll make her grand Synic Spins debut in just a moment, after I give my 2 cents.

Chromatica opens with an electronic interlude, which some of my long-time readers may recall from my earlier post about In This Moment's newest album, I'm not a huge fan of interludes. They're wasted on me. Sorry. However, after that intro comes the first real track of the disc, "Alice." This track showcases the surprisingly deep and meaningful lyrics that I respect Lady Gaga so heavily for. From what I have heard about this record, many of the tracks are focused on Gaga's own battle with abuse and mental illness. "Alice" is the first track on the disc, and the first to make Gaga's message clear. Strong start, Germanotta.

"Stupid Love" was the big radio single, and my first exposure to the new record. Right off the bat, I was disappointed, and was turned off to the idea of sitting through the whole album. It was exactly what I expected from a radio hit today; mindless, dumb, repetitive, and danceable. Listening to it a second time with the rest of the songs around it, my feelings have not changed. Interludes aside, to me "Stupid Love" is the most bland and forgettable track on the LP.

Skipping ahead, listeners will find "911" and "Plastic Doll," two songs which act as a double-header, a one-two-punch if you will, that further illustrates the tone of the record. When I heard "Stupid Love," I was disappointed. I wanted the strength of writing that came from early Gaga, where was "Bad Romance?" Well, here it is. This is the shit I was looking for. 

After the peak of "911" and "Plastic Doll," we plummet into a hard valley of "Sour Candy," featuring a sonically confusing collaboration between Gaga and South Korean girl group BLACKPINK. This is certainly not a collaboration I ever would have wanted. Leaving aside the fact that I've never even HEARD of BLACKPINK, the sporadic changes in vocal tone and style which may have been designed to keep listeners interested, leaves me confused and desperate for the track to end.

Scratch what I said before. "911" and "Plastic Doll," while very strong tracks in their own right, are not the "Bad Romance" of Chromatica. That title, hands down, belongs to "Replay." Look up the lyrics, and consider Gaga's past of an abusive relationship and you will absolutely see what I mean. Holy hell.

Coming later is "Sine from Above," a beautifully immersive collaboration between Gaga and Sir Elton John. Here is a moving metaphor relating to the healing power of music. Without going too deep into it, just look at the spelling: SINE. like the curve. Like a sound wave. BRILLIANT. The track is deep and completely tragically relatable, and it has me reeled in right until the odd and seemingly out of place percussive breakdown at the end.

"1000 Doves," is a nice track to help wind down the album, sonically it is somewhat forgettable compared to the others, however Lady Gaga does not hold back on her lyrics. Seriously guys, I cannot stress enough how much I love her songwriting ability. The ending track of the disc is "Babylon," a song which, admittedly, I want to like, but I'm not sure its within me to actually enjoy it. The chorus sounds very reminiscent to 80's new wave, or brit-pop/punk. Wanna hear it for yourself? Listen to "Babylon," then follow it with Pet Shop Boys' "West End Girls," and Madonna's "Vogue."

And now, we hear from one of my favorite people in the world, for now let's call her Sister Synic.

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During the height of quarantine-induced hysteria, Lady Gaga released her 6th Album, Chromatica. And for this long-time “little Monster”, it simply could not have come a better time. 

Throughout her career, Gaga has been very candid about her own experience with her mental and physical health; these experiences are always so deeply evident in the art she creates both musically and onscreen, as well as in her advocacy work. It is the way that Gaga continues to pour these experiences into her works that makes Chromatica a particularly important album, especially in the times that we currently find ourselves in globally.

Each of Lady Gaga’s albums are vastly different in style and content, however each are laden with clear meaning and significance to the writer, each song so uniquely her. Gaga’s unparalleled tenaciousness, passion and ability to pour herself into every track married with her undeniable versatility, allows us all to enter her world and go through life’s trials and tribulations with her; and Chromatica is no exception to that rule.

Stylistically, Chromatica can best be described as a melding of the heart and passion of “Born This Way” with the dance hall style of “Art Pop”. This melding provides a “return to her roots” feeling of clubby chart toppers, while still nourishing us listeners with tracks that hold clear meaning not only to Gaga, but can easily be related to by the listener. What makes this album particularly exciting for me as a listener is that throughout the work, there is a clear juxtaposition of fun, catchy beats with lyrics that are emotional, and impactful and raw. This duality is something that I feel is not often enough explored in music, especially in the realm of Pop. 

While in my opinion there is no “flop” on the album and every track can shine on its own, Chromatica was crafted in such a way where it is best appreciated when listened to in order seamlessly. The album contains three short instrumental pieces (Chromatica I,II and III) that serve as transitions into different portions of the track list, acting as a sort of musical “palate cleanser” if you will. As a listener, I feel a very distinct shift in tone and intent as we move through the album’s different sections. The first section following the introduction provided by Chromatica I provides us with the tracks Alice, Stupid Love, Rain on Me, Free Woman and Fun Tonight. Now while I cannot speak for Gaga or any other listener, this section of the album to me speaks very much about ending of relationships, and the search for meaningful connections. “Alice” starts the album off strong, an upbeat tempo paired with lyrics highlighting the on-going search for connection, and the desperation that comes along with it. Alice also introduces the ongoing line of mental health and its impact, effectively setting the stage for the rest of the album.  Following Alice, we are provided with the first two radio singles, Stupid Love and Rain On Me (feat. Ariana Grande). These tracks are, to put it simply, fun. Both are high tempo with a simple hook and catchy lyrics, essentially fitting the mold for a radio hit. While not the most “meaningful lyrically” per se, these two tracks are certainly not to be discounted.  Closing out this first third of the album are Free Woman and Fun tonight. Free Woman is an anthem of strength and self-confidence, whereas Fun Tonight is more somber in intent, but not execution. Fun tonight is one of my favorite tracks for this reason, and is my favorite track in this portion of the album. It has been rumored that Fun Tonight is about the ending of her most recent engagement, but for me the lyrics speak more to an overall loss of sense of self within the context of a relationship, and the moment you begin to realize that the situation you are in is not the one for you.

The second portion of the album consists of Chromatica II, 911, Plastic Doll, Sour Candy (with BLACKPINK), Enigma and Replay. In my opinion this is the portion of the album where the theme of mental health takes center stage and is overall my favorite portion of the album as a whole. 911 and Replay are two of the of the more personally impactful tracks for me. Both of these tracks have clear and significant mentions of where Gaga was mentally ill while working on this album, speaking about her own demons, while maintaining fast, house beats that can easily be found on any dance floor again speaking to the overall duality of the album. The push and pull of raw emotion versus party “bops”. While not as personally impactful to me, Plastic Doll continues to be a clear look into self-confidence and self image, while remaining just an overall catchy and just plain “singable” experience. Sour Candy and Enigma provide some respite from more tender subject matter, and re-invoke the sexy confidence that Lady Gaga is known for. 

The final leg of Chromatica closes with tracks that inspire a sense of hope and better times to come. Sine from Above (featuring Elton John), 1000 Doves and Babylon round the album out from the earlier, heavier tracks found in the first sections of the album. Sine from Above has some of the most impressive musical prowess on the album. Often tracks with high profile features can cause the artist to be out-shown, that simply does not happen here. Gaga and Elton John work on this piece as one, creating harmonies that are so natural and moving it as if they sing with one passion, one voice. 1000 Doves, while a beautiful song in its own right, is not my favorite. Vocally I don’t feel that it’s Gaga’s best work, but is not “bad” by any stretch of the imagination.  Babylon, the closing track is in my opinion, an odd fit. While the song itself is enjoyable and can easily be imagined blaring in any bar, it overall does not seem to fit the album of Chromatica as a whole. Babylon could easily have found a home on almost any of Gaga’s earlier albums, and would have made equal sense contextually. 

Overall, Chromatica is a triumphant return for Mother Monster, and is an album that I am thankful for on a personal level. Gaga has the ability to share her story through her music in such a way that makes the listener feel that their story is also being sung back to them. A gift that has been missing from popular music for far too long, in my opinion. 

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Chromatica - Lady Gaga

5 - 29 - 2020

1. Chromatica I

2. Alice

3. Stupid Love

4. Rain On Me

5. Free Woman

6. Fun Tonight

7. Chromatica II

8. 911

9. Plastic Doll

10. Sour Candy

11. Enigma

12. Replay

13. Chromatica III

14. Sine From Above

15. 1000 Doves

16. Babylon

Favorite Track: Replay

Least Favorite Track: Sour Candy

Rating: 7.8/10

Sister Synic's Favorite Track: Replay

Sister Synic's Least Favorite Track: 1000 Doves

Sister Synic's Rating: 9.5/10