Rivers of Nihil – The Work (2021)

Rivers of Nihil were one of the American technical death metal bands that seemed to be a direct response to the tech death bands from before (the early 2000s to 2010) switching gears from more traditional death metal or metalcore to space themes and ambient moments, such as The Faceless and Obscura. Those bands in turn made their change in response to the originators of tech death changing to more philosophical themes such as Cynic and Atheist. And around this time, it wasn’t just death metal, but Prog as well, as Devin Townsend and Opeth finding their softer sides. So with this line of bands following each other footsteps, was it surprising that Rivers of Nihil would change from their tradition death metal to incorporating psychedelic elements on 2018’s Owls Know My Name?

The simple answer is no. By then, saxophone had well found it’s way into tech death, including on albums by The Faceless. But aside from what some might dismiss as a gimmick, the songwriting on that album was absolutely solid, and it was a joy of an album to explore. Their follow-up however, surprised even me, not only how good it was, but also how much ground they explore and territory they masterfully cover. Let’s dig in to 2021’s The Work.

Between the release of their of previous album, three major things (that I know of) happened for the band:

1. The release of Owls helped the band get to a point where they could tour for a living.

2. The success of Owls created a pressure for the band’s follow up, something they had not experienced at this kind of level before.

3. The COVID 19 Pandemic put all of that to a halt, much like it did for the rest of the world.

These newfound experiences put the idea of “work” into context for the band, something they explore thoroughly over the course of this 64+ minute record. Without going too much into the concept, it’s not just the actual work we go to in order to support ourselves and our families, but the work our body does everyday to keep us alive, the work we put into relationships, all the work that goes on in our world and in ourselves every second of every day. The band chooses to start this album on a theatrical note. The soft opening is not surprising, and it brings up memories of Autotheism by The Faceless. But what it lacks in memorability as opposed to that one, it makes up for setting the stage for this dramatic endeavor. The subtle change from major to minor key, the background vocals, and train like sound effects all help the song build up to a huge climax. The song comes back down, only to go straight into………

The huge and heavy riffs of “Dreaming Black Clockwork”. This song is equal parts djent from Meshuggah, industrial elements and vocals like Devin Townsend, and “black jazz” like the band Shining, thanks to the comping style of the saxophone. It has a soft and mysterious middle section that only returns to the heavy riffs. This is a great introductory track to the mechanical tones of this album in comparison to their previous ones. It also shows how the band break away from the saxophone as a soloing instrument, and instead as a flowing and continuous part of the ambiance of the album.

If the previous song reminded me of Devin Townsend at his heavier moments, “Wait” reminds me of some of his more tender moments. It is an odd follow up to have a softer song immediately after the previous one, but I think that jarring transition is exactly what the band was going for. After some screams in the middle and a classic rock climax with a bluesy solo, and transitions into the darker “Focus”. I love the dynamics in this song, from the bass heavy verse, to the middle eastern sounding guitar riff of the chorus.

“Clean” has some memorable heavy riffs and screamed vocal lines, but the star of the show is a psychedelic synth solo and bluesy guitar solo that comes perfectly in the middle of it all.“The Void From Which No Sound Comes” combines the industrial and ambient elements of “Focus” with a massive chorus and a perfectly executed saxophone solo. “MORE?” Is the most aggressive song on the album musically, lyrically, and vocally, and it interestingly transitions to a reprise of the intro track, appropriately named “Tower 2”.

“Episode” starts off like doom metal you’d expect from the band Swallow the Sun, and is greatly contrasted with its heavy parts that sound more like the band Behemoth. It has a few masterful guitar solos as well as an emotional climax with the repeated lyrics “Do the Work”. They close the album out with a pair of epic tracks. The first is the gorgeous 7 minutes ballad “Maybe One Day” which is simultaneously hopeful and questioning, climaxing with a slide guitar solo and the repeated lyrics “Is this the only way?”. The last song is the progressive metal masterpiece “Terrestria IV: Work” which weaves through so many twists and turns, finally culminating with our familiar lyric, “Do the work”.

Overall, some transitions from heavy songs to soft songs may be questionable, but they were definitely the intent of the band nonetheless. It with everything else on this album meticulously crafted, it would be hard to imagine that wasn’t the case. Still, it is a small gripe if I had to choose gripes. The album is an incredible experience from start to finish. Every song has merit and memorable sequences. I may have gotten around to this album late, but it has been one of my favorite recent experiences, and I would highly recommend it to any fan of metal, Prog, tech death, or even jazz, as it will surely be one of those albums that bridges the gap for listeners who are typically not into extreme metal, much like Cynic and Meshuggah have done.

Porcupine Tree – Closure / Continuation (2022)

This was perhaps one of my most anticipated albums in quite sometime. However, as a Steven Wilson fan, I also knew not to expect an album like anything that came before it. This is a review of thee long awaited reunion album of one of the most loved Prog bands.

Porcupine Tree went on hiatus in 2010, at the height of their popularity, so that founding member/singer/songwriter Steven Wilson could focus on his solo career. Much has been said over the years, and without turning this into a “he said/he said”, let’s just focus on 2022. The band announced a new album, without the inclusion of former bassist Colin Edwin. The trio (Gavin Harrison on drums, Richard Barbieri along with Steven also fulfilling bass duties) have left their fate open to interpretation. Is this the swan song PT fans never got, or a sign that there’s more PT to come? I think the upcoming tour will determine that. But in the meantime, let’s talk about the new music!

4 tracks were released ahead of times as singles. I listened to the first two (the first two tracks on the album), before waiting to hear the rest in one sitting. Hearing songs out of context can always be underwhelming, and with so much riding on this album in my mind, I was already feeling that way about the first two. I wanted to give the rest a fair chance. I’m happy to say that doing so has changed my mind about these tracks.

The album starts with “Harridan”. This 8 minute song begins with a funky bass riff, similar to Primus. This style of bass playing already clashes with the soft full tone you would expect from Colin, but is more in line with Nick Beggs work on “Luminol” from Steven’s solo album The Raven That Refused to Sing. Gavin and Richard’s style are immediately evident. Gavin’s complex yet clear and precise drumming suiting the groove, and Richard’s ambient keyboard tones filling in the empty space. It is an upbeat and driving tune, with a very quick chorus. Tonal wise I loved it, but felt like it didn’t have a hook. Steven’s distorted vocals was a welcome return, and it has a wonderful soft middle section for contrast. Upon repeated listens, I realized the chorus had a better hook than I initially realized, and as an opener and reintroduction to the band, it is a definite success.

“Of the New Day” was the second single released and while it showed the ballad style that Porcupine Tree has always incorporated into their albums, having it second after such a big opener seemed like a drop in momentum. Also, the quick changing of odd time signatures seemed to make the pace more frantic, for what could have been a simple and beautiful song. The time changes become second nature with repeated listenings, and an upbeat middle section makes it so that you have already covered a lot of ground with these two tracks alone. I still would have loved to have seen a more stripped down version of this song later in the track list personally, but I can easily see it becoming a fan favorite.

“Rats Return” is one of my favorite tracks on the album. While the band has walked the line between Prog Rock and Prog Metal (starting with In Absentia in 2001), this song sees the band at their most full on Prog Metal. Starting with a riff worthy of Dream Theater or Haken, it quiets during the verse to the strange and ambient sound we know and love from Porcupine Tree, especially on the Fear of a Blank Planet album. While the riffs and dynamic transitions give the impression of complexity, the structure itself is very simple, and it includes all three members doing with they do best which is why I love it so much.

“Dignity” is kind of what I wanted “Of the New Day” to be as the second track, though it works quite well in the middle of the album as well. It is a delicate and beautiful song, that takes its time to build up, and has some wonderful harmonies, melodies, and lyrics. I especially love the classic rock riff after the chorus. It blends old and new quite well with the mellotron sound of the 60s meeting Muse like keyboard sounds in its bridge. It also has one of Steven’s best guitar solos over an electronic drum beat before returning to the song, and the huge finish at the very end is an added bonus. This song will sound massive live.

“Herd Culling” has similar issues for me as “Of the New Day”. It is a heavy track with glimpses of the last two songs of Fear of a Blank Planet, and should be on the same level as “Rats Return” for me in theory. But these two songs are some of the rare occasions where I feel like the band focused more on odd time signatures than suiting the song (something, Steven has often said is never his focus). The time signatures in my opinion make the song too frantic (something that is obviously it’s intention), but take away from the heavy riffs, throughout or the great vocal melodies in the middle of the song. Maybe it’s just my ear struggling to hear the rhythm, but as a fan of lots of complex bands and songs, these gripes are not something I expected to have on this record.

“Walk the Plank” is possibly the most straight forward song on the album, but it’s also very effective because of that. It incorporates the electronic and industrial elements of “Bonnie the Cat” and the title track off of The Incident with the funky grooves of “Eminent Sleaze” off of Steven’s most recent solo album The Future Bites. It is a great song to place on the second half of the album because it is amongst the darker and more complex tracks, but it does not lose the overall feeling of them.

“Chimera’s Wreck” is the epic closer, clocking in at 9 minutes and 40 seconds. If “Dignity” was the more uplifting counterpart of the 1960s Prog inspired songs on the album, “Chrimera’s” is the sadder and darker tune. With a Genesis like arpeggiated guitar intro and an ethereal call and response during the verses, the lyrics are amongst the saddest lyrics; a bold statement for a man who has made a career exploring that side of the spectrum. The main hook contains the lyrics, “I’m afraid to be happy and I couldn’t care less if I was to die”. This hook builds up with great bass playing and Gentle Giant like wordless vocals. This is followed by great riffing, a guitar, falsettos, and an abrupt ending.

Every song on this album has merit, and in total, it is probably the band’s most progressive AND most metal album. However, the flow of the album is not nearly is good as that of the last few releases by the band, and once it is over, you struggle to remember exactly what it is that you have listened to. Repeated listens will obviously help with this, and every song would be amazing to see live. But as a complete album, I have trouble seeing it in the same realm as Fear of a Blank Planet or even The Incident. Plus, some of the bonus tracks from the deluxe edition were great and could have helped the album with flow and pacing. And as a fan, I’m tired of dishing out $100+ for a few extra tracks that should have been on the finished product. But with all my complaints, it is wonderful to have new PT in the world, and I’m hoping it won’t be the last.

Coheed and Cambria – Vaxis Act II: Window of the Waking Mind (2022)

Coheed and Cambria became a household name a few times in their career. Their hits “A Favor House Atlantic” in 2003, “Welcome Home” in 2005, the use of the latter in the animated movie “9”. And their diehard fan base of the music as well as the graphic novel never let them fade away. But the band is enjoying a bit of a resurgence as each tour brings bigger venues and more acclaim. The 2018 release of Vaxis I introduced a new story in the so called “Amory Wars” universe the band is famous for, and it’s sprawling 15 song (almost a full 80 minutes of music) was a bit much to digest, even for diehards. A new concept and some memorable hooks, but a lot of the vibe was set creating this prison planet known as “The Dark Sentencer”, and setting up the story of our two characters and their son. Now out imprisonment and on the run, the music was ready to soar along with them.

Vaxis II returns 4 years later, not only at a different place in the story, but in the world in general. COVID hit, as well as political turmoil, and personal growth in main songwriter Claudio’s own life as a father. It’s impossible for all these elements to not get put into this album. But Claudio alongside the other three members have created an album that seems more than ready to be unleashed upon live audiences who are ready to mosh and sing their hearts out.

The album starts with an orchestral reprisal of “Old Flames” from the previous album. From here the album charges through a whopping 9 songs all under 4 minutes long. These songs are quick, upbeat, well produced, layered, and straightforward. In other words, modern pop/rock. But that’s no surprise from a band that started in a pop punk style and added the progressive elements over time. It is almost an attack of catchy choruses, the antithesis of Part 1’s more brooding and atmospheric approach.

From the big anthemic chorus of “Beautiful Losers”, to the almost In Keeping Secrets feel of “Comatose”. It pushes through to the extremely heavy verse riffs of “Shoulders” before dropping another ear candy chorus your way. “A Disappearing Act” has a wonderful electronic element throughout, reminiscent of Muse or later Depeche Mode. It’s a slow and subtle transition as the mood of the album changes without you even knowing it, but this is followed by the equally electronic “Love Murder One”. Instead of bluesy hard rock riffs of “Shoulders”, we’re now treated to funky bass in the background. But be clear, if I spent the whole time talking about all the subtleties of every instrument, this would be a much longer review than it already is!

“Blood” slows things down a bit and has that perfect industrial influence that Year of the Black Rainbow had on its ballads as well. But this is quickly picked back up with “The Liar’s Club” which has the best parts of Vaxis I with it. “Bad Man” goes back to that modern electronic vibe combined with Claudio’s soulful vocal styles of the Afterman albums.

“Our Love” is a beautiful ballad that showcases Claudio’s voice, before electronics come in towards the end. This downtime makes way for the triple threat that closes out the album. “Ladders of Supremacy” is the first long song, and has a very progressive feel to it, seemingly returning to the style of “The Willing Well” and “The End Complete” for the first time since those albums. For Prog fans like me, it’s a welcome track that could have honestly been longer, but should make for an excellent addition in the live set.

“Rise, Naianasha” returns to upbeat and catchy style of the earlier songs on the album, but has some progressive and dissonant tendencies during the chorus. But the title track “Window of the Waking Mind“ goes full progressive again, with 5 very different sections, including an orchestral reprise of the “Old Flames” theme, perfectly bookending the album, as well as allowing the story to continue.

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For a band who had made nine albums that were all very good and very different, it should be no surprise at this stage that they’re going to keep pushing themselves, try new things, and put out great records. But for me to like this one so much more than it’s predecessor is a testament to Claudio’s sense of storytelling, and the band’s continued inspiration with all styles of music. It’s clear they listen to heavy metal, blues, pop, electronic, and listen to their producers for new ideas (the one who worked on this one has worked with countless major artists as well).

All in all, this is an infectious album that will be great on your first listen, as well as on repeated listens as you continue to discover all the layering and tones. Good for a musician or fan of music alike!

Cult of Luna – The Long Road North (2022)

Cult of Luna by the time of this release had already established themselves as one of the “big three” of Post Metal alongside legendary bands Isis and Neurosis. They are known for their consistency and forward thinking approach. For me, they had already been a part of two of my favorite albums of all time, with Vertikal and Mariner (alongside American vocalist Julie Christmas). But their previous albums were no slouch either.

Following those two albums couldn’t have been easy, and I may have been tough on reviewing the follow up, 2019’s A Dawn to Fear and the companion EP, 2021’s The Raging River, which both did grow on me with repeated listens. But sometimes the biggest problem with ambient types of music is that it can get lost in the ambience, and forget about the song at its core. This is not the case with the shorter songs with clean vocals the band has every release for some time now, but some of the longer songs that have great riffs, but ultimately sound very similar.

Following quickly after those two releases, I hoped that this one would have a little more diversity, and while that’s not exactly what I found, I did connect with it a bit faster than with the previous two releases.

First and foremost, the album name, track listing, and album art are quintessential Cult of Luna atmosphere, so much so that you can’t believe it already hadn’t happened. For a band who has traveled musically and lyrically through countryside, cities, and even space, a journey through snow and barren lands is the perfect setting for their cold, dark, moody feel.

“Cold Burn” opens the album much like “The Silent Man” did for A Dawn to Fear and “Three Bridges” for The Raging River. It’s a driving song with brief melodic moments. But what they brilliantly do here is lull you into a false sense of security. When “The Silver Arc” comes in right after with a similar sense of urgency, you think it’s gonna be more of the same. But when it’s beautiful droning middle section complete with a bright bass tone you would hear on a record by The Cure or Tool appears, it hypnotizes you.

“Beyond I” the first surprise of the album comes at the perfect time. I shouldn’t say surprise since soft songs on their album are becoming expected, as well as guest vocalists, but they are what I look forward to since they provide so much needed contrast. Mariam Wallentin’s voice is haunting on this keyboard driven track with no drums. It reminds me of AA Williams, especially on her split with Mono. The band intelligently follow this up with the slow building “An Offering to the Wind”. With the tension and atmosphere of a Western film, the flow of the album starts to take shape, with its peaks and valleys mimicking the very landscape it describes.

After it’s epic climax, the album brings itself down again with the ballad “Into the Night”. Whereas “Beyond I” was more electronic and industrial driven, this one continues the country and western feel the band started on the previous track. It starts slow and brooding, building half way in to a full band ballad, with very unusual chord progressions. It reminds me of Radiohead almost, due to a mellotron keyboard tone, and a crooning vocal style. It is a different style for the band. Very ambient, and it shows their continued confidence in the variety of clean vocals. And while the sporadic appearances on these track listings don’t signify a complete change, this middle dip of forward thinking songs bookended by the heavier, driving tracks is what gives this album its wonderful and consistent flow.

Continuing with this thought process, the band does not just randomly pick it back up with immediate heaviness and urgency. They slowly build it up once more time with the short instrumental “Full Moon”, a beautiful blend of the country and western feel of the last two songs, with the electronic/industrial keyboard heavy tones of “Beyond I” all mixed together. The subtle changes of tone yet constant flashbacks to past themes gives this album cohesion, and flows perfect into “The Long Road Home”, which starts with some incredible slide guitar work.

Eventually the title track brings that intensity felt on the first two songs. The band really take their time on this album, in the best possible way. The title track is filled with fantastic dynamics and the production really shines on this one as you hear layering that simultaneously make you think of the cityscapes of Vertikal, the space of Mariner, and the countryside of Somewhere Along the Highway. Aside from obvious post metal references, bands and projects like Agalloch, NIN, Author and Punisher also come to mind.

“Blood Upon the Stone” the last real song and second longest song, acts as an epic closer, and doesn’t take as long as “An Offering to the Wild” to get going. Using the momentum from the previous track, it gets right into it. The extended middle section with delayed guitars, consistent drumming and subtle keyboard tones turns into an explosion of dissonant and post rock goodness. The vocals return over a repeated melody a builds to an incredible climax worthy of finishing off this group of songs. But Cult of Luna don’t leave you hanging.

The album officially closes with “Beyond II”, which is an ambient piece of drone, classical, and industrial, all mixed together. It was created alongside Colin Stetson who also helped provide soundscapes on “An Offering to the Wild”. Normally I’m not the biggest fan of instrumental ambient noise closing out an album. But after such a massive track and complete journey, I can see the need for it here. It eventually fades out, and leaves you ready to re-experience it all.

It’s always hard for a band to live up to a fan favorite. And while Cult of Luna might be in the fortunate position to not have one distinct one, they have certainly created a mountain for themselves to climb over on each new release. But the band gives off the impression that they don’t care… in the sense that they have nothing to prove, and aren’t making albums for anyone in particular. They do what they want to. Some aspects of that are new, some are what they do best. But they’re not going to completely change over night for new fans, nor are they going to stay the same for the old ones. And each new release has something new to give, but it will always sound like Cult of Luna. It’s up to you how much you want to invest in finding the differences. But don’t expect to write it off entirely as just another new album by them.

Kowloon Walled City – Piecework (2021)

Kowloon Walled City blew me away when I saw them two nights in a row. Once at a small dive bar in Long Beach. The next in front of about 1,000 people opening for Neurosis. In both shows, their demeanor was almost identical. They are a very unassuming band. But this simplicity is also part of their brilliance. I wrote a review of their previous release Grievances. And when it came time to write a new review for one of their albums, I was shocked that it had been 6 years. A very quiet six years, with scattered shows.

This silence was in part to an uncertainty of the band’s future, which tends to happen when your main songwriter has writer’s block. And with the release coming when it did, it is possible to assume that the pandemic/lockdown could have played the role of the muse, like it did for so many others. If that is the case, I wouldn’t know. Because unlike many bands who came back flashy, swinging, inspired to try a new sound…. Kowloon came back exactly as before.

This new release contains 7 songs that could have been on either of their previous two albums. No clean vocals added, or female vocals…. No crazy times or song structures….no blatant song lyrics calling out specific people or events. It was as if everything we had been through in life had never happened. Just like it didn’t matter to them whether they played in front of 10 people or 1,000. They give you their sound. And that’s not such a bad thing.

In my previous review I explained what makes their sound so unique. Punk sensibility with a sludge/doom/post metal (whatever you want to call it) sound. No crazy light shows or song lengths. No endless tunnels of reverb and delay. And yet, despite their simple arrangements (2 guitars and bass playing slightly different things at the same time, they way Slint did on Spiderland), it is there unique use of space between notes that creates the atmosphere. Even though all the instruments are dry, you still feel like you could be falling as you wait for the next hit.

The title tracks opens by trudging along, as if the chugging were to mimic the lyrics of just passing through life (I don’t have the lyrics written down anywhere so my interpretations could be flawed). Though after a minute, it quickly rushes you to your first bit of soft guitars, a dynamic that despite how often it gets used, never overstays its welcome. Dynamics are after all what this band is all about. That if anything, is their only flex.

“Utopia” is a darker tune with its incredible bass tone, apocalyptic/lost in the wilderness like lyrics, and use of occasional feedback. After a brief soft section, it hits with an epic ending. “Oxygen Tank” on the other hand takes its time to build up, showing off the wonderful DIY production. Punchy drums, upfront bass, just enough room to breathe on the guitars so they don’t muddle the mix, and vocals that always feel on the brink of distorting right out of the speaker. The build up payoffs off with the closest the band has gotten to a normal chorus (“you never wanted to escape!”). Definitely a highlight.

“You Had a Plan” is the closest the band has come to a ballad. Heavy guitars don’t come in until around the 3:30 mark, the music takes over from there, and then the vocals throw in some powerful lines at the end. The song shows the band’s restraint while never conforming to singing when it gets soft.

“Splicing” might be my favorite from the album with its simple but effective bass lines, lyrics, and melodic (while still slightly dissonant) guitar lines. It has a standout lyric “through the haze, like a pulse, you sang”, a build up in an odd time signature, and an abrupt ending.

“When We Fall Through the Floor” musically might feel like more of the same by this point, but it makes up for it with so many memorable lyrics, so you can’t help but headbang as Scott yells, “What’s hidden in the floor?!”

“Lampblack” is a great closer, starting off with the lyric “One last thought” before closing with the line “You want to feel like you’re going home”. There is very little fluctuation in this song and is probably the most jam-like song they’ve done. Aside from the soft breaks, it stays on its main riff before the song ends and fades away.

Like their stage presence, very little attention is forced towards the album. It comes, it goes, and doesn’t over stay it’s welcome. In fact, after 6 years, a 32 minute album is kind of surprising. Most bands would feel obligated to switch things up, so something big, surprise their fans.

But Kowloon Walled City is perfectly happy to do what they’ve been doing. And their fans are perfectly happy to hear more of that. It was almost underwhelming upon first listen, but I should have seen that it’s not about what’s expected. And upon my third listen, I knew it was exactly what it was needed to be. Great lyrics. Great music. And a band that sounds like no other. Why then, would you want them to conform to the trends? Doesn’t matter anyway.

They won’t.

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(All pictures curtesy of the band’s social media pages, and websites selling their merch. If you like the album, support the band by purchasing a physical copy of it!)

Between the Buried and Me – Colors II

Between the Buried and Me (BTBAM) released Colors in 2007, an album that would change my life and the way I thought about music. It also changed a lot for the band, helping them away from the metalcore scene they were forged in, to opening slots in Amphitheaters with the likes of Dream Theater and Opeth. Those who were brave enough to get past their long name knew of their progressive tendencies, and on this album, it was on full force, like nothing before it, and in my mind since it.

My love for that albums lies in its balance. Balance between heavy and soft sections. Balance between knowing when to take itself seriously and knowing when to surprise its audience. Balance on knowing how long to stay on a riff or a grove. Balance in its transitions. Perfect balance in its 8 unique and equally important parts, that flow through as one. A balance, that I search for in all albums, but is very rare to find.

So when BTBAM announce a sequel to this album, I don’t take it lightly. This album has a lot of weight on its shoulders, and I don’t want a quick and easy cash grab.

The first single “Fix the Error” immediately left a bad taste in my mouth, aside from some Colors like arpeggios and some drum solos (that I did not yet know were 4 different drummers). It was quirky. It was punk like. And it had a vocal part that continues to grind at me after many listens.

Not at all what I think of when I think of Colors.

“Revolution in Limbo” was the next single, and this one blew me away. It sounded like old BTBAM. As if I could have been on the original Colors album. With brief moments that sounded like Alaska as well as ones that could have been on The Great Misdirect. The balance was back. Metalcore riffs, sweeping guitar licks, transitions that made sense, a confidence in its sense of melody, and a 9 minute runtime that just flew by.

Now I was confused. And the next single didn’t help me out either! A keyboard driven proggy/funky, technical death metal song that sounded more like the bands BTBAM inspired rather than themselves. Something that could have been done by The Contortionist or White Arms of Athena, while still fitting right at home on a Tommy (vocalist) solo record. Now I have three very different songs and no clue, how it all comes together.

On my first listen to the whole album, I’ll be honest. I didn’t think it did. It felt like a bunch of different eras of BTBAM all fighting for seniority. I knew there were good moments and songs, but was ready to write a review about how the balance and melodies were severally lacking.

And then I listened to it some more.

And this long overwhelming album started making sense. Not only that, but it was flying by. And just because it didn’t have the same kind of standout melodies that the first Colors had, didn’t mean it didn’t have flow.

Flow became the word of the album, because I hadn’t realized until that point how much the flow was lacking on Automata and Coma Ecliptic. I’m not saying BTBAM forgot how to write an album. They’re obviously masters of that. But it wasn’t just songs connected by lyrics anymore. Musically, this album was making sense.

From the soft intro of “Monochrome” that we know to expect from them (starting with “Foam Born (A)” from Colors, to the subtle hints and similarities of “The Double Helix of Extinction” to “Foam Born B”. This song snd “Revolution in Limbo” are a ferocious double punch with drumming and guitar chugging that feels like an old friend returning, even though they’ve made a career out of it. Soon you start hearing references to all kinds of BTBAM songs. Is the drumming a reference to “Ants of the Sky”? The vocals a reference to “Lay Your Ghosts to Rest”? The melodic lines a reference to “Informal Gluttony” or “Extremophile Elite”? You start to wonder if they were intended or not. Standouts of the song are the growls (curtesy of drummer Blake), and Ants of the Sky saloon reference.

In the context of the record, “Fix the Error” comes at a perfect spot. Now that they’ve reintroduced the modern life and isolation themes of the first album, the theme of upbringing and revolution makes more sense. It truly becomes a time to celebrate (though I still hate the “if you see the rainbow” part).

“Never Seen/Future Shock” is an 11 minute epic with “Telos” like riffs, melodies, random medical sounding sections, but it also demonstrates something on this album. Not only their confidence, but their sense of fun is really blending so well here. Maybe cause they could reference themselves so much, or maybe cause the songwriting came more naturally. But these long songs with twists and turns don’t feel like they’re dragging on. Even after a section with crazy timing, it pays off with about 4 minutes of beauty.

“Stare into the Abyss” is a keyboard driven electronic track that we’ve come to expect from them, but it provides necessary breathing room and has a post-rock climax. This before the chaos of “Prehistory”, with its video game/cartoon sounds. It follows in the footsteps of “Bloom”, “Voice of Trespass”, and “The Ectopic Stroll”, for the fun section of the album.

If the first half of the album showed they could still pull up their older and heavier style at will, this second half shows their arsenal of tricks aren’t just gimmicks, and the transitions are phenomenal. “Bad Habits” is one of the most interesting tracks in my opinion because it’s got a strong old school Prog vibe. Hints of King Crimson, Genesis, even Gentle Giant scattered throughout their aggressive delivery. From the keyboard tones, jazz, folk, and classical, it is definitely a Dan (bassist) song, it brings out the best in Tommy, especially with its emotional delivery of lyrics like the return of “sleep on, fly on” from “Ants of the Sky”.

Then comes the aforementioned “The Future is Behind Us” which sounds so fun and welcoming in comparison, before moving on to “Turbulent”, which actually doesn’t live up to its name. In actuality, it is another moment of simplistic electronic keyboard parts, continuing what the previous track started while making references to other songs, bringing different ideas together. It just lets you get to the music while building up for what is to come. But before they do that, they actually drop out for a bit with “Sfumato”.

Like “Viridian” before it, the band provides breathing room before the epic closing track. It introduces what will be a main theme on the keyboard while giving off serious David Gilmour vibes, which you can never have enough off. This just leaves…

“Human is Hell”, which acts as the “White Walls” of the album. Starts off similar with a driving riff they actually borrow from The Great Misdirect. It follows a similar trajectory as “White Walls” but not without its surprises! The title of the song is said in a part that reminds me of “Digging the Graves” by The Faceless. The first few minutes are almost punishing in how heavy it comes off, and then the melodic chorus comes out of nowhere, almost bittersweet.

It’s impossible to say everything that happens in the song, let alone all the references. Halfway through the melodic melody from “Sfumato” comes back and introduces an extended soft section with beautiful lyrics, melodies, and solos. Then a familiar chord progression leads to a keyboard build up, similar to build ups we’ve seen in their epics before. You can already imagine the audience getting pumped up at this part for the big finish.

After a “Swim to the Moon” nod, a “Prequel to the Sequel” like breakdown, and mini drum solo, we have a brief soft part, before the final chorus. Once this ends, we have the brief major key guitar solo like seen on “Goodby to Everything (Reprise) and “The Grid”. This gives it a classical finale ending, as opposed the sorrowful one of “White Walls”. This is one of my few gripes because it feels like band is relying on it too much, but it is a short gripe for such a triumphant album.

It is so hard to condense writing about this long album with all its references, all it twists and turns, all its technicality, and all its musical sensibility. I fear this review might already be as long as the album itself. But to try and summarize, for someone who was so worried about a sequel to something they loved so much, it wasn’t quite what I was expecting. Then again, how do you expect a sequel to something that was so unexpected in the first place. But the band passed the test with flying colors, finding a confident way to pick and choose the best parts of their career without completely redoing it.

BTBAM has always had the unique ability of sounding like everyone other band and yet only like themselves at the same time. There wasn’t much they needed to prove to their fans at this point, but their impressive talent to continue challenging themselves while playing some of the most challenging music out there is nothing short of inspiring.

Pain of Salvation – Panther (2020)

This album came over a year ago. So why am I just talking about it now? Maybe it was because a recent conversation reminded me that I had not done so yet. Maybe it was because I wanted to write about something but was struggling with what to write about. Maybe it’s because a year later, this album’s brilliance shines brighter as the world trudges along through another year of the pandemic, and the feeling of isolation grows.

Whatever reason, I’ll try to keep my gushing of this album brief. There are many great reviews of it, so I hope this one is unique.

Pain of Salvation has always been a Prog band in the true sense of the word. Where other “Prog” bands find a groove and stick to it, Daniel and company love to keep us guessing. From rock opera’s, to acoustic albums, the 70s blues rock worship, and back to the Prog metal that made them famous, Daniel wears his love for Mike Patton as he traverses different styles, musically and vocally.

Panther conceptually fits this theme, an album about the outcasts of the world. Those who take the road less traveled. A metaphor for the band themselves, while perfectly coming during the COVID lockdown. Musically, it’s darker, heavier, and almost industrial style gave that “noir city” vibe, or as we like to say in my band, “coldly calculated”.

The first song “Accelerator” lives up to its name. A driving syncopated rhythm, with the timing of Meshuggah, the warm guitar and drum tones from the Road Salt albums, and a nostalgic keyboard tone from 90s R+B, with just enough catchiness in the vocals. “Unfuture” is a groovier track with industrial and bluesy elements, conjuring up the heavy moments of Remedy Lane, Be, and Scarsick. Its “welcome to the new world” hook is sure to get stuck in your brain.

“Restless Boy” starts off as an trip hop like song, complete with vocoder style vocals. It’s chill groove lulls you in so it’s second half catches you completely off guard. The syncopated Meshuggah like rhythms of the first song return, this time of steroids. It is one of the craziest moments for a band who has made a career of interesting transitions.

“Wait” is the beautiful ballad we know to expect for POS, and yet catches us off guard every time. combining the theatrical elements of Be, the classic rock/folk sound of Road Salt, and the pure emotion of their previous album, it is lush, gorgeous, perfect.

“Keen to a Fault” is an interesting combination of late 70s and 80s electronic keyboard tones with some ferocious fingerpicking on an acoustic guitar. Interestingly the feelings of isolation Daniel described in the hospital room on their previous release feels similar to these lyrics of feeling isolated in the world. Songs like this one as well as “Wait” could very well have fit on it, and some songs from In the Passing Light of Day could have fit well here.

I say that with no disrespect to either album. They are both brilliant in their own ways.

“Fur” is a short instrumental interlude that provides some necessary breathing room before one of the album highlights, the title track. The track that embraces Daniel’s rap/hip hop style the most since the Scarsick album, these songs are always controversial in the POS fanbase. I personally think it’s brilliant, with lots of groove, attitude, and a simple chorus perfect for singing along to.

“Species” is a very simple song, but in doing so, really showcases a perfect blend of past Pain of Salvations combined. The anger of Scarsick. The classic rock feel of Road Salt. The melodic tendencies of their early albums. It shows a band aware of the past, not afraid to say what they have to say, and continuing to push on. I wouldn’t even say it’s one of their best songs, but that’s how good this band is if this is a weaker track on the album.

The album finishes with a epic that acts similarly as the closer of their previous album. When Prog fans see long songs, we expect to hear as many notes crammed in as possible. When POS has long songs, they usually have the opposite effect. They take their time, and provide some beautiful and introspective moments. After a piano melody and a deceptive heavy riff, it comes back down for a soft verse and chorus. It teases breaking out into chaos many times, but never loses sight of its few simple melodies. This provides an excellent guitar solo, something that seems to be rarer on their albums, so that the band can deliver their best ones rather than their flashiest.

Daniel’s soulful delivery towards the end of the song is nothing short of spectacular. It will please the old school fans of the band and give them lots of nostalgia. The band have become masters of looking back and foreword at the same time. Always evolving but never losing themselves completely. Panther is another stellar release from a band who may have briefly isolated their fan base from Be to Falling Home. But they gladly came back to prove that they never lost their heaviness, experimental tendencies, but most of all their songwriting abilities. This album is a joy to return to, and makes me so excited for what comes next.

My Current State (An Intro of Sorts)

The open mind appears on the page

The shattered glass that represents my current state.

Will you stay here to see if I just get through?

Will you be happy if that does not come true?

My 50 Favorite Movies that I’ve Seen in the Year 2020.

Part 2 of 2.

I explained this list in part 1, so there’s not much more to add. I would like to put a quick reminder that this is a “Favorites” list, not a “Best” list. And while how good a movie is has a lot to do with its placement, I’m also biased, and take cultural significance and current events into consideration, in addition to how much I actually enjoyed it.

The purpose of this list is to share and discover, more than to actually say what movies are better than other ones.

That being said, let’s get right to it. Starting at #22 and going down to #1.

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22. Amores Perros (2000)

The first full length film by Iñárritu, and first film in his “trilogy of death” sets the stage beautifully. A fine example of hyperlink cinema, we see three separate stories interconnected, each with their own hardships and heartbreaks. It is a masterful demonstrations of the skills he has utilized his whole career.

21. Borat Subsequentfilm (2020)

Now I know what you’re thinking. Yes, this one is not better than the first one. Yes this is not better than many of the other films it’s above. That being said, this movie was so needed in the year 2020, to draw attention to how much the country had changed in 14 years. To draw attention to how ridiculous American politics had become. To remind us of a time when we used to laugh and PC culture hadn’t gone gone to its full extreme. In other words, this film was necessary.

20. Tie – In the Mood For Love (2000)

Considered one of the greatest movies of all time, it’s simple premise and compact running time allows all the focus and attention to be on the emotional state and passing glances of its two main characters. Combine that with some of the smartest cinematography I’ve seen in a while and you’ve got a love story for the ages.

20 Tie – Portrait of a Lady on Fire (2019)

I had to put these two movies together. If you’ve seen them, you’ll understand why. This recent French film has become a modern classic and fan favorite. An unlikely love story filled with subtle gazes and emotional weight. Great scenic views and matching music.

19. The Ballad of Gregorio Cortez (1982)

A young Edward James Olmos plays the titular character, based on the true story of a man who became a folk hero after a misunderstanding with the law. From the chase to the trial, this is a well-made piece of cinema, and the deliberate lack of translations to put you in the shoes of the characters was a brilliant choice.

18. The Cabinet of Dr. Caligari (1920)

The oldest film on this list, and one of the most important horror films of all time, it is known for its extensive use of German Expressionism (a style that Tim Burton was inspired by) and its unique narrative structure that has inspired legions of copycats. Still brilliant to watch all these years later.

17. The Irishman (2019)

Martin Scorsese returned to his award winning formula of Goodfellas and Casino, this time at a running time of 3 and 1/2 hours, and the inclusion of Al Pacino with Pesci and De Nero. And while the movie didn’t receive the awards to show it (unfortunately competing in the year of Joker and Parasite), it might be the quickest 3 and a 1/2 hour movie ever. I even watched it again a few days later!

16. ¡Alambrista! (1977)

The second film by Robert M Young (Gregorio Cortez) to be on this list, and another eye opening story. And while this one isn’t based on one true story, it is a story we see every day. Following a young man who crosses the border in search of a better life, it shows examples of bias, stereotypes, bilingual challenges, and occasional human kindness. Enhanced only by watching it with a woman who encountered a very similar journey in her life.

15. Shoplifters (2018)

Winner of the 2018 Palm d’Or at Cannes, this film covers many themes later explored in Parasite. But this movie doesn’t go the thriller route. Instead, this drama about family brings up many questions about the word and if “blood” is really thicker than water. Some moments of light-heartedness, some moments of tragedy. Worth every bit of praise.

14. Angst (1983)

This film was banned in Europe for extreme violence. Thankfully, it got a bit of a resurgence due to Gaspar Noe’s recommendation. Watching it, you can see many of his trademarks in it. The dark humor, the camera angels, the storytelling, the pacing. Following a recently released serial killer, we are constantly on edge waiting for him to kill again.

13. Les Diaboliques (1955)

Hitchcock fought for the rights to make the novel into a movie, but lost out to Henri-George’s Clouzot. In turn, this film adaptation actually inspired Hitchcock in the making of Psycho. And it can be felt when watching this. It is a classy, stylish thriller with elements of psychological horror that keep you guessing all the way until it’s dramatic ending. Fun for any fan of films like Vertigo.

12. The Night Porter (1974)

Twelve years after WWII, a former SS Officer and a woman who was a teenage girl in a concentration camp cross paths. What results is a movie that blends erotic drama and psychological thriller. With flashbacks to the war intercut with a country still trying to recover all those years later, it has strong political messages. It also has a lot to say about S+M, guilt, regret, and Stockholm Syndrome.

11. Knife in the Water (1962)

Roman Polanski’s first feature length film is a subtle game of cat and mouse between two men and a woman. A married couple bring a hitchhiker on board their boat for a night at sea. These are the only three characters in the film, and all the action takes place on a boat. It is a mental game and the tone changes slowly over time. And the ending leaves off with a question. Lots to say about expectations of people’s roles in life, as well as brain vs brawn.

10. Canoa: A Shameful History (1976)

Like Gregorio Cortez, Japon, and ¡Alambrista!, one of the biggest discoveries of the year for me was emotional charged and devastating movies from or dealing with Mexico. Canoa is based on a true story about students who were attacked in a small village due to fear and stereotypes. Shot in a documentary style, it is brutally raw, feels extremely real, and says a lot about politics, religion, and how blindly following can lead to massacres such as the Holocaust.

9. The Man Who Laughs (1928)

Perhaps best known as the inspiration for the Joker’s smile, it is an adaptation of a Victor Hugo novel, and feels very much like The Hunchback of Notre Dame. A romance with twinges of German Expressionism (providing elements of horror), drama, and a bit of action. It conveys so much emotion despite being a silent film. A lot of that is from the eyes of Conrad Veidt, which show joy and fear even when you can’t see his mouth.

8. Y Tu Mamá También (2001)

Alfonso Cuarón had already made three films by the time this one got released, but it quickly became his signature film. It’s blend of a road movie and a coming of age story paired with its depiction of sex helped issue in a new generation of Mexican directors that were getting attention from around the world. Some great performances including a young Diego Luba. Gorgeous cinematography and a look into gender roles as well as finding yourself.

7. Wait Until Dark (1967)

I had been wanting to watch this one forever. It was well worth the wait. A thriller featuring Audrey Hepburn as a blind woman trying to outsmart thieves in her home. Most of the action takes place in the apartment and feels like watching a play, but it keeps you on the edge of your seat the entire time. Contains one of my favorite movie moments of all time.

6. Burning (2018)

This movie messed with my head for a while after watching it. After 8 years, acclaimed South Korean director Lee Chang-dong returned with what is arguable his masterpiece. A blend of romance, psychological thriller, mystery, and drama, we follow a young man who quickly falls for a girl and fights for her attention. The pacing is outstanding, it’s well acted, has beautiful cinematography, and changes tone like it’s nobody’s business.

5. La Haine (1995)

One of the most intense films I watched this year felt right at home in the political turmoil of 2020. Following a group of friends the day after riots over the shooting of a Middle Eastern, everything is touched upon. From racism to sexism, to politics, religion, classism, age-ism. Gender gaps, gentrification, media control. From movie references to great music. You can break down every scene of this movie and find something incredible, but most of all, you can also find something current/relevant.

4. Belle de Jour (1967)

Luis Buñuel accomplished something amazing when he created a film about a sexually-repressed woman with masochistic fantasies who toys with the idea of working at a high-class brothel, and didn’t do it in a trashy way. Even at its most perverse moments, class oozes out of every scene. The dream sequences blend in a gorgeous/surreal fashion, and it is another perfect performance from Catherine Deneuve.

3. Blind Chance (1987)

I haven’t delved into Krystof Kieślowski’s crowning achievements (Dekalog/Three Colors Trilogy) yet, but after The Double Life of Veronique, I had high hopes. This brilliantly structured film introduces you to a character, shows an event, and then shows three different possible/potential outcomes. Each one has its own trials and consequences. Whether politics or religion, or love or self discovery, it challenges the ideas of fate with simple differences and simple crossovers. Would this have made a difference? What about that? Who’s to say for sure.

2. Carnival of Souls (1962)

The sole movie directed by Herk Harvey (who also plays the all-important ghoulish figure), a man more known for his work in making instructional films. And what a legacy he left. This low budget, independent horror film has inspired countless directors, especially those that have mimicked its ending. But up until that point, you are subjected to wonderful imagery, use of music, use of location, use of film techniques all whirled up in a style of a constant dream-like state. Blending shadows and nightmarish images with its simple concept, it has quickly become one of my favorite films of all time.

1. The Night and the Hunter (1955)

Putting these movies in an order of some kind proved to be a challenge. But from the start, no film could convince me to change my mind about what would be #1. As much as I loved every movie in the top 10, and especially that tight-nit top 5, this movie blew me away. The ultimate battle of good and evil, accentuated not only by the haunting performance Robert Mitchum, but by German Expressionistic influence. There are some shots in this movie that could never be replicated. Some of the most beautiful frames I’ve ever seen lie in this film. On top of the cinematography, it is smart, intense, and timeless. One of the most underrated films of all time, even despite its acclaim from people in the indus

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A special shoutout to directors Ingmar Bergman (Hour of the Wolf, Wild Strawberries, Cries and Whispers, The Virgin Spring, Winter Light, The Magician, The Silence, Through a Glass Darkly), Dario Argento (Phenomena, The Bird with the Crystal Plumage, Deep Red, Tenebre), Yorgos Lanthimos (Dogtooth, The Lobster, The Killing of a Sacred Deer), Michael Haneke (Cache, Funny Games (1997), Code Unknown, The Piano Teacher), and Nicholas Winding Refn (Bronson, Only God Forgives, Pusher 1 – 3) whose films I deliberately left off to keep this list fair and even. I didn’t want to overcrowd it with too many films from the same directors, and many of them would have overtaken the top slots. I recommend checking the movies mentioned here, as some of them are incredible and worth it.

My 50 Favorite Movies That I’ve Seen in the Year 2020.

Part 1 of 2.

It’s no surprise that 2020 was a hard year on the film industry. Unlike many bands who had to option to rearrange touring plans in order to hurry up a new release during the lockdown, movies (like concert venues) came to a complete standstill. Everyone from the film studios themselves to the people running the concession stands at movie theaters felt the effects of COVID.

So, in the worst year for movies since, possibly during WWII (just a guess), this year’s end of year list is going to be different.

Instead of naming my favorite films released this year, here is my list of my favorite films that I saw for the first time this year. Over the lockdown, I had more time than ever before in my love to sit around and watch movies. I got the chance to watch many movies I had been wanting to see for a long time. And because of it, the amount of great movies I saw this year is an impressive list in of itself. Here are a list of my favorites:

Honorable Mentions:

Host (2020)

One of the few entries on this list actually from 2020 wastes no time getting to the point, and is legitimately full of well thought out and timely scares. The perfect horror movie while the lockdown was still new to us.

His House (2020)

A rare Netflix horror movie that was smart and meaningful. This horror movie doubles as a metaphor for political refugees, and hit home in a year of much turmoil involving racism. An easy but memorable watch.

Ready or Not (2019)

A fun game of cat-and-mouse with a unique twist and one of the most surprising endings on this list. A nice surprise from a pair of directors that are more well-known for their work in the horror genre.

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The Top 50:

50. Night and Fog (1956)

Starting this off with the sole documentary on this list. Usually I wouldn’t include them, but this is a must. A 30 minute look at the concentration camps 10 years after the grisly events took place. A look at the unspeakable horrors that humans can inflict and a desperate reminder to never let by it happen again.

49. Watership Down (1978)

An animated film based on a book of the same name. Featuring classic British actors providing voices, an allegorical look at the hostile life of rabbits, and also humans for that matter, and even a song by Art Garfunkel, it has remained a popular film in British cinema for families.

48. Beyond the Black Rainbow (2010)

A slow burn with a style and pacing all its own. This film from the director of Mandy may not be everyone’s cup of tea, but there’s no denying it’s visuals and soundtrack that harken back to the time of Tangerine Dream and 2001: A Space Odyssey.

47. Fantastic Planet (1973)

One of the most well-known animated films of all time. This allegorical film depicts a race of aliens that treat humans how humans treat animals. Stylish, moralistic, and unforgettable.

46. Demolition Man (1993)

This futuristic action film might be as cheesy as you remember it, but it’s also way funnier than you remember it to be. Filled with cameos, references, and quotable moments, it’s worth a revisit, or a first watch.

45. A Monster Calls (2016)

This adaption of the novel of the same name by the director of The Orphanage is as beautiful as you’re imagining it to be. Unfortunately it under performed at the theaters, but it is touching in all the right ways.

44. Blue Valentine (2010)

An emotional journey through the early happy days of a couple to the sad reality where they are now. Ryan Gosling and Michelle Williams give some of the best performances of their careers.

43. The Uninvited (1944)

This film is considered the turning point for when ghosts became something to be feared in Hollywood cinema, rather than for comedic effect. The plot can be a bit tough to follow but the special effects are great for their time!

42. Tetsuo: The Iron Man (1989)

Considered the Japanese Eraserhead, this surrealistic film combines cyberpunk and body horror. The lack of dialogue is carried by the abundance of unique imagery.

41. Baskin (2015)

This Turkish horror film is a master class in patience. The deceptive slow build leaves you unprepared for its dark and brutal decent. Some of the imagery is like Jacob’s Ladder on steroids. Brilliant film.

40. Black KKKlansman (2018)

My favorite Spike Lee film in quite some time. Fueled by the racial tensions in the country during the Trump administration, it was only appropriate to have seen it during the George Floyd protests of 2020. Fun, well acted, and inspiring when we needed it most.

39. The Devil’s Advocate (1997)

Heard about this movie my whole life, so I was aware of many aspects of it. That being said, this is still an exciting movie with great performances by Keanu Reeves and Al Pacino. Like a time machine to the 90s.

38. Dog Day Afternoon (1975)

I knew the name but not the plot. And the fact that this is so low on the list is only a testament to how good these movies are. This was a pleasant surprise. Interesting and full of surprises. I was on the edge of my bed the whole time! “Attica! Attica!”

37. Japón (2002)

Watched on a whim, and impossible to forget. Works at its own pace, it follows a man who journeys to the spot he has chosen to commit suicide. A spiritual and emotional film that questions purpose and mortality.

36. The Treatment (2014)

Shoutout to Shudder for introducing me to this one. This film from Belgian is based on a best selling novel and feels similar to The Girl with the Dragon Tattoo. Dark, intense, and so good that I had to watch it twice in two days.

35. Tigers Are Not Afraid (2017)

I’m a simple man. I see Guillermo Del Toro praises a movie, I watch that movie. Combining fantasy elements and ghostly figures with the real world horrors of cities affected by the cartel and other assorted drug gangs, this is a heartbreaking look, drawing attention to those that suffer the most (the children).

34. Attack of the Killer Tomatoes (1978)

I put off watching this movie for years, expecting just a bad horror movie. I never expected it to contain so much Airplane-style humor. The second half does drag on but it contains some of the best comedic gags I’ve seen in a long time.

33. The Poughkeepsie Tapes (2007)

This movie became the stuff of legends for 10 years of delays before it finally got its wide spread release. In 2007, it would have been perfectly in time with the “found-footage” boom. Still, 13 years later, it is a dark, uncomfortable, and well-made horror film that feels very real. Like watching “true crime”.

32. The Phantom Carriage (1921)

One of Ingmar Bergman’s favorite films and name to a local brewery, this early Swedish silent film is similar in idea to A Christmas Carol. It was advanced at its time for narrative structure and special effects, and is still a delight almost 100 years later!

31. Eyes Without a Face (1960)

A classic French horror film that has inspired everything from the look of Michael Myers to Billy Idol songs. Ambient, subtle, and haunting. It should have never taken me this long to see it, but doing so made me go out and get the Criterion version so I could see it again right away!

30. The Foul King (2000)

The second film by South Korean director Kim Ji-won is also an early leading role for superstar Song Kang-Ho. A hilarious film reminiscent of Fight Club and Office Space, with hints of Dodgeball and Ready 2 Rumble.

29. La Llorona (2020)

After the abysmal depiction of a such an iconic person of Latin American folklore in the “Conjuring Universe” Guatemalan director Jayro Bustamante created what is arguably La Llorona’s best depiction so far. Capturing the sadness with a backdrop of the crimes of war, this movie is a step in the right direction for horror in general.

28. Possession (1981)

A movie about a marriage in ruins, which would be enough for other directors. But this one constantly keeps you guessing about potentially sinister forces at work until the final reveal. Dramatic, intense, and memorable. Great performances and great effects.

27. Insomnia (1997)

Before it became a 2002 film directed by Christopher Nolan starring Robin Williams and Al Pacino, it was a Swedish film with the always incredible Stellan Skarsgård. While both versions have merit, this one feels colder and bleaker. A unique murder mystery in constant daylight.

26. The Club (2015)

A Chilean film about a group of “disgraced priests” living quiet lives so the Church can go on with their secrets. Took me a bit to get into but it is an unflinching look at the lengths organized religions will go to in order to keep their power. A must watch.

25. Border (2018)

This Swedish film from 2018 is a modern day adaptation of a dark fantasy. A woman, who looks different and has always felt different meets a mysterious stranger who might have the answers she’s been looking for. The name implies the borders between people, as well as a metaphor for countries and immigrants.

24. Tenet (2020)

The big release of 2020, but don’t be surprised to see it so far down. It’s not fair to compare it to so many classics from all these other years. With delays working against it, and an intricate plot/storyline, many were disappointed. But this movie will be a puzzle to dissect for years to come, and I’m sure I’ll enjoy it more and more each and every time.

23. A Taxi Driver (2017)

Based on the amazing true story of a taxi driver and a journalist during time of political turmoil, Song Kang-Ho utilizes all his emotional talents to make you laugh, cry, fearful, and hopeful. Equal parts action and comedy, and an unforgettable ending.

Part 2 (with movies 1 -22) will be posted soon. In the meantime, let me know what you think of the list so far in the comments.