Protest the Hero return with just their sixth full length studio album and it left me feeling strange at first. I, like many of the early returns of Within, was entirely shocked by the bluntness and profanity ladened first two tracks "Mouthpiece" and "Fishhook". PtH (Protest the Hero) are a band well known for their flowery language and poetry on Keiza and Fortress that sounds very professional and thoughtful, whereas this sounds like it was written from the perspective of an eighteen year old who just attended their first political science course in university.

All that being said, something about Within really grips me on repeated playthroughs. It sounds more human and grounded in a real place rather than an imagined one. It reminds me in a way of two of my favourite records from 2020: Katie Pruitt's Expectations and Spanish Love Songs Brave Faces Everyone (quite the ironic comparison since PtH dropped undoubtedly their least juvenile record Palimpsest in the same year).

Within does become less vulgar as the record progresses, which does help it a little bit more. While later songs such as "Liberty Spike" and "The Mariner" also have the added benefit of reverting back to a nostalgic sound for PtH, its the middle section that stands out to me. "Grandfather's Axe" is quite the fun romp for a progressive metal band. And then there is "The Orchard", which also has nostalgic references to previous PtH material, but it's the lyrics that bring this song, as well as the entirety of Within together. Rody sings:

It may be hard to gauge this stanza under context, since PtH are a progressive metal band and not the easiest of music to digest. But many great political albums over the last five years have been excruciatingly challenging to approach and appreciate for how simple they are (basically the entirety of Tool's discography).

Thankfully PtH have made listening to this album a breeze with their compositions and production. "Mouthpiece" opens up the album angry and the vocal olympics being done here are superb, as well as on "Liberty Spike". The riffing in the guitar sounds epic and heavy without shifting too far away from the melody. "Grandfather's Axe" is another romp where the drumming of Mike Ieradi takes control. All the while Rody Walker's vocals adds some flare that sounds reminiscent of Daron Malakian. While the tracks "The Orchard" and "The Mariner" are more calm, they can still hit thanks to some marvelous mixing of the guitars and bass, which allows for those calming breakdowns at the end feel so much more rewarding.

What is found Within might be a shock for longtime fans of this band, or progressive metal in general. But given how juvenile the current state of affairs is, perhaps PtH are on to something here. People praise Rage Against the Machine for their raw and vicious approach to songwriting, why can't others do the same?

Best Songs: Grandfather's Axe, The Orchard, The Mariner, Mouthpiece

For Fans Of: The Dillinger Escape Plan, The Human Abstract, System of a Down

Melbourne four-piece Fair Warning played a short but valuable role in the early Australian metal story, shining brightly in the underground during the middle of the 1980's before unceremoniously disappearing along with so many others in a local scene that suffered from being so isolated from the rest of the world. Perhaps unsurprisingly given their moniker, Fair Warning began life as a Van Halen cover band in 1983, mainly in order to showcase the talents of guitarist Simon Hosford. They'd become a regular on the local live circuit but would only go on to produce a couple of demos/promos & this short four-song E.P. before calling it quits in 1987.

The "Love to Rock 'n Roll" E.P. is a familiar yet generally enjoyable listen. Much like Tasmania's Tyrant who were also floating around at the time, Fair Warning's sound sits right in the middle between the classic Aussie hard rock sound & a more shreddy 80's heavy metal one. It's fairly well produced for the time with all of the band members proving themselves to be quite capable musicians. The opening title track is the clear highlight & sees the boys having a crack at the classic AC/DC stadium hard rock sound with front man Bob Topping (S.A.S.) doing a great Brian Johnson impression & bass player Harold (Tyrus) maintaining a lumbering mid-paced thump throughout. "Too Late for Love" seems to be a more metal attempt at David Lee Roth-era Van Halen while up-tempo burner "All's Quiet" is the most metal of the four songs on offer & reeks of Judas Priest. The fairly dull "Pass This Way" is the only disappointment as it doesn't quite pull off the AC/DC feel they were going for.

I didn't get around to checking out "Love to Rock 'n Roll" until early this decade but, while I'm not gonna claim that I'd been missing out to any major extent, it's definitely worth a listen & compares fairly well with some of the international heavy rock outfits that were applying their trade on a much grander scale at the time.

For fans of AC/DC, Van Halen & Judas Priest.

This is pure steel — the blueprint for European speed metal and a perfect fit for my lane. The tone is dry, the riffs are tight, and the energy is mechanical from start to finish. Udo’s vocal attack is razor‑sharp.  No warmth, no gloss — just precision, aggression, and structure. It’s one of my most important records for the cold‑drive heavy metal aesthetic.

Fast As A Shark *****

Demon's Night *****

Flash Rockin' Man *****

A cold, occult NWOBHM classic that fits my lane almost perfectly. The tone is dry, the riffs are sharp, and the atmosphere stays dark without drifting into warmth or gloss. It’s melodic in places, but the production keeps it raw and metallic. The record feels haunted and mechanical — exactly the kind of early heavy metal that shaped the cold‑drive aesthetic I look for. 

Angel Witch ****

Sorcerers ***** 

Gorgan *****

I lose track of Gorgoroth very easily I find. The early movement of vocalists proper gets confusing for me and by the time we get to this record there’s three of them doing the vocals. There are also four different drummers (albeit one of them only does track three – and it is the mighty Frost). Taking time to bring myself up to speed on Gorgoroth goings on, I can see legal battles, prison sentences, court appearances, trademark registration challenges, firings and assaults of band members. No wonder the line up appears to stick in my mind as being unstable then.

Aside from the fact that most people involved sound like abhorrent individuals, Gorgoroth have always managed to make vicious and scathing black metal that is pleasing to my ear. Aside from the fact that this album has a stupid title that screams immaturity, the content itself is most entertaining. Anyone who thinks that Gorgoroth are smash and grab, one blistering pace of black metal in the vein of Marduk style of band, will find evidence to the contrary on their fourth full length offering. There is variety of pace and tempo on this album and tracks like ‘The Virginborn’ employ a much more exploratory style of writing than I was expecting going into the record.

At the same time, there is still enough necro to keep the kvlt crew happy. Album closer ‘Slottet i det fjerne’ (a Darkthrone cover) caters for this element perfectly, awash with feedback and production values straight from 1994. Similarly, opening track, ‘Destroyer’ makes no bones about the lack of pleasantries to begin the album. Whilst I accept discomfort as being expected and acceptable on a Gorogorth record, there is elements of a little overkill here. It could be my subconscious playing with me a little, knowing that there are multiple different performers on a revolving platter contributing to the record, but the album at times does sound like it may be two different albums put together. Not in terms of the pace and tempos, just more in terms of the content of the album overall.

I cannot say it is a fault, or a criticism as such even, yet there is a sense of layering being applied that sort of catches me off-guard. ‘The Devil, The Sinner and His Journey’ is a bit of a weird track for inclusion in my book and I would argue that the album is at its strongest in terms of consistency through the middle section of the record onwards. There is also a tendency for a crooning, folk-tinged vocal effect to creep into tracks at times, which sounds a bit amateur in all honesty. Still, it is distinctly a Gorgoroth record at the end of the day so there is still plenty to enjoy overall, despite my little niggles with it.