It has got to be said - I have been far too hard on "Another Perfect Day" for far too many years. Motörhead were one of my absolute favourites in the late 70's, probably even more so than Sabbath, so when the 'classic' lineup split and Fast Eddie moved on, I wasn't really prepared for what came next. Sure, I quite liked "Robbo" when he was with Thin Lizzy, but Motörhead were a whole different kettle of fish. Consequently, the release of "Another Perfect Day" saw me turning away from Lemmy and the guys for the very first time. The situation was exacerbated by my discovery of thrash metal shortly after and for a very long time I didn't really give The 'Head much thought. Time has seen my attitude change and I have really dug on a few of the later albums, yet I stubbornly refused to give much eartime to "Another Perfect Day". So now, over the last few days whilst I have been compiling my favourites of '83 list, I have spent a fair bit of time with this misfit of a record and, you know what, I have really enjoyed the experience and I keep coming back to it for just one more spin. It is almost like I am hearing it for the first time. Brian Robertson's more expansive guitar style actually complements Lemmy's thundering basslines and gruff vocal delivery beautifully and his soaring soloing is a whole lot better and more expressive than I ever gave it credit for.

On the downside, I am not so sure that there are any real standouts like "Overkill", "Stone Dead Forever", "(We Are) the Roadcrew" or "(Don't Need) Religion", but there are some solid tracks here and the soloing on a track like "One Track Mind" give the band a fresh dimension and dynamic. I guess it is better late than never but I was a pig-headed little fucker when I was younger (what do you mean I still am?) and I guess I have missed out on some good stuff over the years because of it. Remember, though, that I couldn't just bang this on a streaming platform to allow me time to get into it, I would have had to shell out hard-earned cash for an LP and from what I had heard of it at the time I wasn't prepared to do so. I am glad I got there in the end though.

I've checked out both releases by Excessive Force before when they were a German industrial band. But did you know that they relocated to California and switched to early straight edge metalcore? It's hard to imagine a band changing from industrial to metalcore in the 90s. Probably because I'M KIDDING!!! That's not really what happened! This is an entirely different band with a similar name. There are already a few bands out there named Excessive Force, one other being a white supremacist band.

The 90s straight edge metalcore band Excessive Force made one of the heaviest albums of the scene at that time. It's all within the vocal fury, riffing punches, and drumming assault. And that drumming style would plant the seed for later bands of that genre and maybe even, dare I say it, nu metal.

"Those Who Were" already shows the drumming wrath by Justin McMahon, with the groove and the guitar riffing going well together. The instrumentation is definitely worth moshing to, including the audible yet dirty bass and abrasive vocals. Now for "Distress"... As of writing this review, I've watched Zootopia 2 yesterday and an outside-world friend of mine told me about how dark and violent it is for a Disney movie. Sorry but he's wrong. There's far more darkness and violence in this track, in both the music and lyrics ("I'm breaking the chain and I can hear the bones breaking"). An anthemic mosher! Next, "From Within" is a shorter track that adds some deathly riffing to the metalcore. Proto-deathcore!? Then we have the more hardcore "Backtrack" that ends with a crushing breakdown.

We're already approaching the second half of the album as "Vengeance" makes its mysterious entrance, leading into solid riffing. Vocalist Dan Gump repeatedly declares "Never will I follow blindly!", and some Sabbath-like sections are in great balance with the faster parts. Well done! Then "Misfortune" is one of, if not THE best track here. It's quite strong in the lyrical message of self-reflection and the kick-A riffing. The heavy drumming is also irresistible. Heading deeper in the lyrics is "Judgement Day". Here the music is more melodic while still dark and heavy.

The title track is interestingly the shortest one in the album and placed towards the end while not being the final track. The music and lyrics are absolutely earth-shattering and make another brutal highlight. "No Excuses" actually doesn't sound too far off from Underoath's earlier more extreme material, though don't expect any of the more blackened aspects. "Forwarned" is an unlisted hidden track which has some of the melodic yet brutal riffing later used by As I Lay Dying and For the Fallen Dreams.

I think I would appreciate it more if that hidden track was listed and placed before that 5-minute epic. That would really make In Your Blood the awesome offering that is has potential to be. It's sad that both this band and the German industrial band Excessive Force are no longer active beyond a couple releases, but let's enjoy them while we can!

Favorites: "Those Who Were", "Distress", "Vengeance", "Misfortune", "In Your Blood"

Baphomet released this in 1992 then changed name to Banished to avoid confusion with the german death thrashers of the same name before promptly splitting in 1993. They did reform in 2013, but so what. Luckily they left The Dead Shall Inherit as their legacy and this is a great example of Nineties' death metal that sits between the cavernousness of Autopsy or Asphyx and the brutality of Cannibal Corpse and Suffocation and that really hits the mark for me. There is no technical wizardry or songwriting complexity on show here, this is unadulterated OSDM filthiness and menace that appeals to the animal, not the cerebral. Now that isn't enough for some metalheads I am sure, but when a band does these things right then there isn't much better in the death metal world as far as I am concerned - and Baphomet most definitely do it right here.

For those of you not familiar with Circle of Dust, their best album Brainchild wasn't originally made under that moniker. In 1992, founder Klayton worked with Doug Mann on a different project Brainchild, releasing their sole album Mindwarp. The next year, R.E.X. wanted another album by Circle of Dust, but because most of the money was already used for the Brainchild project, Klayton decided to have Mindwarp re-released in 1994 as that second Circle of Dust release, with Brainchild becoming the album title.

Upon coming across this album when it got added to this site, I knew I had to check it out to put my Circle of Just journey in full circle. Mindwarp is an excellent album that I love almost as much as the Circle of Dust one! The only differences are in 3 tracks. Two of them are better here, and the other one is not bad but could've been improved.

We're already getting into the band's different heavier sound in "Cranial Tyrant" which is like a more upbeat Godflesh. "Telltale Crime" is a highlight a lot more people need to hear more of. This edition has an audio sample from Geraldo Rivera in the intro that was then removed for the Circle of Dust album. That actually makes it more eerie, and I love it! "Prayers of a Dead Man" is not as great or metal as the Circle of Dust version. That's the track that I wish could've been improved. "Regressor (Aggressive Mix)" has many audio samples like this one from Robocop 2, "HE'S A KILLER, I SAW IT!" Anyone more familiar with Klayton's current more famous project Celldweller can be pleasantly surprised by his work in Circle of Dust. There's also a remix of that track by Battlejuice.

"Enshrined" is more industrial, way different from the heavier modern metal bands I enjoy like Imminence and Sylosis. Then there's "Course of Ruin", a highlight of heartful aggression. Klayton made quite a brave statement for America in this highlight "Descent". The future of America is the country citizen's hands...

"Deviate" I dig much more, probably even more than how Circle of Dust has done it, sounding strong, even without the midsection commentary. Klayton has done an amazing job combining the industrial metal and samples of Ministry with Slayer-like thrash. The remastered version gives the song fresher dynamic. You can headbang while playing the air-guitar and starting a mosh pit! The "DON'T MAKE ME USE THIS!! ONE STEP CLOSER, I'M WARNING YA!" part is from Ren and Stimpy. It's a little shocking that this band is of Christian background, though I'm speaking as someone who is not Christian. This is more for those who want to destroy everything in sight, in video games, of course. "Who's got the shotgun!?" Another superb track is "Pale Reflection" if you're up for some loud distortion and Blade Runner samples. I just love the gothic-ish industrial metal finale "Aggressor (Regressive Mix)", especially the whispered screams and samples, "Behave yourself!"

So how does Mindwarp compare to the Circle of Dust album? I say it probably would've made more sense if Klayton re-recorded the entire album instead of just 3 tracks, because then the two albums would've sounded more like separate entities rather than one album credited as two artists. But since I absolutely love the Circle of Dust album, I can't really complain about this one. Though if "Prayers of a Dead Man" was made as metal as the Circle of Dust version, the Mindwarp album would've been perfect as well. Still it's worth checking out for all Klayton fans!

Favorites: "Telltale Crime", "Course of Ruin", "Descent", "Deviate", "Aggressor (Regressive Mix)"

1992 was around the time I was in my death metal heyday, although looking back I was still working with a very limited repertoire. I had discovered the terrifying sounds of Obituary’s Slowly We Rot some years prior and so it had begun. After devouring Deicide, Morbid Angel, Bolt Thrower and Carcass I was off onto thrash metal for a few years in all honesty and so a lot of the classics from the 90’s (and the hidden gems) death metal peak were to become later discoveries for me. Some of them falling well into the 2010’s even before I had heard the likes of Immolation and a full-length from Death even. At some point in that period, Baphomet’s sophomore came through my grubby little mitts as I played a major game of catch up on death metal releases, by that point some of them being from over twenty years ago. The Dead Shall Inherit is not a record I would ever give the accolade of “classic” or even “hidden gem” to, but it has worn well over the years still.

Now plying their trade as Banished due to some German band of the same original name, back in 1992 the band’s sound seemed to fit into that cross-section of “also-rans” in the death metal scene like Morta Skuld and Sinister. Listening through The Dead Shall Inherit for this review it is not difficult to spot the likes of Immolation, Deicide or even Incantation in their sound, with perhaps even a smattering of a much less technical or brutal Suffocation also. It was clear that when they put their mind to it, this record could punch with the heavyweights, for a couple of rounds at least. With the grisly artwork for the record done by former Sadus guitarist (and band co-founder), Rob Moore, Baphomet had the component parts for a good death metal record. A riffy affair overall, The Dead Shall Inherit has a strong likeness to early Cannibal Corpse, another band who were in their prime at the time of this release also.

Whilst it is hard to find specific criticism of the record, it is still not a record that I find massively exciting either. Whether it is because I came to it late and had already ingested a lot of death metal from this era by that point, or maybe because I am still not all that interested in death metal nowadays like I used to be, but there is just no spark overall for me here. The album is consistent and has ear-catching (but not catchy by any means) moments most certainly, but it never goes off on a solid run of tracks to bring it up to the standard of other releases of the time. My go to records of 1992 are very well-established albums in the genre, with The IVth Crusade, Onward to Golgotha, Legion, Tomb of the Mutilated and Slumber of Sullen Eyes already hogging the limelight. Baphomet really do no wrong with this album in some regards. They fall foul of death metals saturated state I guess whether generally or just with my tastes of the time.