It’s that time of year again, and we’re not talking about Christmas. With just over a month to go, the Grammy nominations are out and will undoubtedly cause some consternation, particularly in the hotly contested field of Best Rock Album. Bizarrely overlooking Tool, Korn, Fever 333, Opeth and Cult of Luna, the awards continue to play it safe, offering nominations for Bring Me The Horizon, Cage The Elephant, The Cranberries, I Prevail and Rival Sons. It’s hard not to feel disheartened looking at such a list, with the emphasis largely on commercial viability over artistic integrity.
From what’s on offer, the most promising release (musically) is indisuptably Rival Sons’ excellent Feral Roots, a typically bombastic mix of huge, hook-driven anthems (witness the insane drumming that opens Back In The Woods) and rootsy blues (the beautiful title track). The Rival Sons are one of those rare bands that seem to exist in a world of their own, kicking out the jams with irrepressible energy, entirely unmindful of what’s going on in the musical world around them. Their single-minded focus on their own art is commendable and the band deserve a Grammy for the efforts.
Almost entirely predictable is the addition of Bring Me The Horizon’s Amo. An admittedly eclectic outing, although only tangentially linked to metal these days, highlights include the massive single, Mantra, and the exceptional Grimes collaboration, Nihilist Blues; although it’s the Dani Filth-featuring Wonderful Life that sticks in most people’s minds. However, other experiments across the album are less successful, and Medicine, despite its popularity in some quarters, is almost painfully mainstream. Nevertheless, Bring Me The Horizon deserve credit for having moved out of their comfort zone on this one and they seem to have gained ten fans for every one that they lose.
While there’s little doubt that the Cranberries paid impressive tribute to their late singer with In the End, the album is somewhat patchy (as is common with posthumously- completed records) and it is slightly surprising to see it listed among the best albums of the year. Emotionally powerful and cathartic, it certainly has its merits, and the single of the same name is a powerful piece that captures shots of the band in happier times.
One of the biggest surprises is the pair of nominations for I Prevail, whose Trauma album does little to enhance the metalcore cause, relying on the tired formula of screamed verses and soaring choruses. It sold by the bucketload, mind, but if SportsBettingDime.com is to be believed, their odds are not promising.
So, what does that leave? According to a number of estimates the Best Rock Album may well go to Cage the Elephant’s Social Cues. Despite being by far the blandest record on offer, Cage The Elephant’s focus on branding and commercial success, may well see the band take home the award. It would certainly fit with the Grammy’s long history of snubbing heavier (and better acts) in favour of less challenging material and it seems that 2020 will be no exception.
What do you think of the artists on offer this year? Thoughts on the nominees (and your own lists) would be welcome below.
Leave a Reply