In This Moment, I Lost Track of Where My Point Was Headed (Ritual review)

The weaker connection may have been due to the expectations left unmet, in spite of some of the songs arousing an adrenaline and or blood rush, while others just becoming noise. Judging by Brink on voice alone, she sounds like she is dirty pretty, a sex metal barbie, and she is no red riding hood, unless its of blood, and the role as a ruse, because she can also be the "Big Bad Wolf." She takes on other roles, and while the title track is appreciated, its the final quarter and other end of the spectrum that regains that connection. Bible verse John 8:7 introduces what becomes an aggro-declaration of Brink's status as a "Natural Born Sinner" and owning up to it; her decision to be who she is, and let those believe what they wilt, just because of how she looks, or what she does.
Trekking "Into The Darkness" can be jarring, and especially in a literal one, fumbling and falling is much easier, but what may sound like self-indulgent and extraneous, sets the tone for that journey "Out of Hell." 

The last few tracks playing as minopera where introspection was utilized, fostering self growth and self worth, testing her strength of spirit and heart; she is still not one to messed with.

Returning to the silk, willingly, I found that I initially judged the album too harshly in comparison with its predecessor several years ago, but it seems that the creative blood is still flowing. The first track continues the ritual of a more instrumentally based tune, that has initiated the past three records. While some may equate the first full track with an eye roll or an "Oh Lord" unenthused, it improves. The consecutive punch of coloring in an original tune and then covering another may release some serotonin. Their reworking of Idol's "White Wedding" and Collins' "In The Air Tonight" revitalizes anticipation. However, the iconic drum fill of the original is muted, so much of a knockout that it revved up Tyson to knock out Alan. You may have heard the following songs before, but are still good in their own right, "River of Fire" would be preferred over the second track. I'm not reviewing this in the "Witching Hour" but the whole beat might is what is alluring. "Half God Half Devil" may be half-right, but which half is predominant is partially up to anyone that associates with Madame Brink. As for gratitude, especially when it comes to success, it is important to return, or even pay tribute to your roots.

Dusted Off A "What Makes You Country" Review

The debate and question of what defines a genre is rather transcendant of any, and no artist is safe from the debate of whether they even "belong" in their presumed genre, media. Traditional country Bryan is not, not even close, and this is not the audible clarification of What Makes You Country that I initially assumed it was at first glance, but a question. listening to the title track, it was clear that it was not in the plan to list all of the factors that make you a country artist, but a song that may urge introspection, and inquires people to be proud of who they are, and if interested, what "gives 'em the right to wear a pair of beat up boots." In a cowboy boot, or out of one, a song of self acceptance that scores the first point.
Does that mean its country? It has a nice message, as well as a few others that utilize some country boy charm. I agree with sentiments in "Most People Are Good," and that it does remind me of a earlier tune from Bryan, but it doesn't assist in the point. "Like You Say You Do" follows through with a simple yet elegant truth, that actions speak louder than words, and that one can only accrue so much belief in "I Love You" before they need a confirmation by action. The song is a gentler way of calling out, and even challenging the suitor to the woman of his dreams; to side with truth may not be appear to be the easiest, but it is the better of choices.
The message? I was able to "Pick It Up." I love that the song is illustrating one of the ways you can not only be a good parent, but a good person. 
There are parents that aim to live and succeed vicariously through their children, because they had failed or would simply like to continue the tradition, and those children are lead to believe that the talents their parents may or may not exploit, are their only avenue to a better future.  Here, Bryan hypothetically and indirectly shares some of his interests with his progeny and then gives them the chance to decide what they would like to do; it may be in the blood, but if there is no passion, then I'll leave it up to you. Being someone to look up to can be one way of reinforcing the best elements in a person, and inspire them to be the best person they can be, which is also illustrated.
People often have a dual nature, and I am not calling it a dark side, no, but while a role model has certain standards to uphold (general sense) they can still party, and it wouldn't be the same if there weren't songs about the less reserved aspects of Bryan's persona. A feel good sing along  about "Drinking Again?" I'll toast to that, but no alcohol. It may sound excessive when it lists all of the scenarios that instigate the act, but it can be a year long time frame.
Songs about relationships are ubiquitous. There are a few here that I don't mind listening to, and while "Hungover in a Hotel Room" is subtle duet, not nearly as catchy as hit duet on Kill The Lights with Karen Fairchild, it is a good one. There is that ode to the hot mess, yes, but "Nowhere Girl" sounds like a hit; the delivery outside the chorus fishes for association words like 'samba' and 'flamenco.' It is a good song to countrock out to, and nearly as smooth as a precedent hit from KTL. I cannot really mention songs concerning relationships, without mentioning the most well known of these newbies, "Light It Up."
At the end, this album did not set guidelines or give instructions on how to "be country," or even tips on how to be the next country star. However, it did give us soundbites found on  Bryan's expanding audible playbook on how to "Win Life."

Ded "Misanthrope"

All that aggression with a DED connection. After a while, depending upon frequency of engagement in aggro-metal, and any other sub-genre of the aural element, the scream can become what vocalizing in death metal is to its own, not that I listen to much, but that perception can become reality, to which we are our own architect of.
While anthems are meant to be uplifting, it's good to have listening options when you're in the mood to break stuff or songs to listen to when you're mad at the world, and while there are plenty of songs that fit the bill, this appears to be more of an anthem for those feeling "Anti-Eveything" with just enough aggression for some vicarious catharsis, and a chorus to give you that extra bite you might need to avoid becoming a snack.
 Yes, I am aware of the similarities between Jonathan Davis and lead vocalist Joe Cotella, including the ferocity and passion, especially in the days of Korn yore. The Serenity of Suffering is a jarring concept, but the album was surprising, or merely cyclical; the band has been effective in shifting and switching up its sound the last decade and a half.
This subgenre and its unfortunate negative connotations wouldn't be the same without its fair share of songs concerning a funeral of feelings for someone, like "Dead to Me," or a declaration of detestation, where to "Disassociate" from that source of that hatred will be the healthiest of options before you reach the end of your toleration rope; which still exists in the latter.
You can "Hate Me" for saying that differentiation between tunes can be difficult at times, but detecting that passion is not at the same level. The childlike catchiness of the chorus and defiance of the sheeple mentality stand out in the latter.
Add unrequited  love to the mix; the treacherous, frayed sanity, recurring torment and self-loathing variety with a "less is more" mentality when it comes to the vocabulary, but who needs verbosity when there is elegance in simplicity.

 "I Exist" whether your hate does not, and again, this can serve as a different classification of anthem, but one that can still uplift, isn't that a twist? That sinking feeling, it urges you to resist. Its probably another one of my favorites.
As difficult as it can be for some who have yet to believe, the value of beauty is worth more if it's on the inside than what you can see. It stands out, not only for its lack of aggression, but for its tone and delivery ; previously we have heard the vocal protagonist at his most defiant and self-assured, yet now that confidence has shifted to the pessimistic and engaged in that self loathing that tends to arise in times of an identity crisis, or when mistakes and wrong choices can be confused with vices, or when we compare our achievements and skills to those of others' and believe we're better or worse. That in spite of our personal scars we can be still be "Beautiful" as long as that hate does not cement and contort our hearts.