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Seemingly at odds with the rest of the metal world, I have never really got on board the Anathema train, being a little bemused at the exalted status they seem to hold in the metal community. This, of course, may be down to the fact that I was out of the metal loop during their earlier days, so I have only ever viewed their metal phase from a retrospective viewpoint, thus being unaware of the contemporary impact of their music and being personally uninvested in their work, a phenomena whose effect is a big influence on what does and does not resonate with us.

The first thing that baffles me about Eternity is it's doom metal tag. I can't hear a whole lot of what I understand as doom metal here, but I do think it leans towards gothic metal. The bass sound in particular comes straight from The Sisters of Mercy, the jangling nature of a lot of the guitar work owes much to The Mission or the early sound of The Cult's Billy Duffy and "Cries on the Wind" even sees vocalist Vincent Cavanagh aping Aaron Stainthorpe's gothic delivery. So I would tag this as gothic rather than doom metal, although that in itself doesn't tell the whole story of Eternity as it also has a very progressive feel and enters into dalliances with alternative metal.

Most of the reviews I have read of the album refer to it as a transitionary album for the band and I get that, because it feels like an album by a band who have found the constraints of the metal sphere too restrictive to allow them to express the emotions and ideas that they wish to convey and who are testing the restraints that bind them. Initially I was underwhelmed by Eternity and felt it lacked bite, but having lived with it for three or four days now and having got underneath it's bodywork, allowing my preconceptions to fall away, it has revealed itself to be quite the tour de force, albeit with a major caveat that I will get to shortly. The songwriting is excellent and is filled with melodious hooks and pensive, reflectively atmospheric moments. The instrumentation is high calibre with a couple of impressive solos that sound restrained and yet still soar majestically over the on point rhythm work in a style not entirely dissimilar to that of Pink Floyd's Dave Gilmour. In fact The Wall-era Pink Floyd crept unbidden into my mind on more than one occasion as brief snippets seemed to be eerily similar to parts of Floyd's 1979 concept album meisterwork, Eternity Pt.2 bearing a particular point of reference.

And so to that caveat I mentioned which is a major stumbling block to me dishing out a top tier rating. The issue that ultimately left me feeling slightly disappointed is the vocal performance of Vincent Cavanagh, which I don't think is sufficiently proficient to express the emotional heft that the material required, robbing it of a lot of it's poignancy as a result. Vincent seems to be struggling at times and is helped out more than once by backing vocals that cover up for some of his shortcomings, but is still a little jarring in places which led to me being snapped out of the spell that the music had been weaving. With a top-drawer vocalist then I would have had no problem dishing out a 4.5 or 5 star rating, because songwriting and instrumental performance-wise this is an album that worms it's way into even my jaded and cynical psyche, providing a melancholic, yet uplifting, sensation that has been artfully crafted, but sadly left bereft by one important aspect falling short. Maybe a further passage of time will see me warming to the vocals, but for now to me this is a classic that got away.

I'd not heard much about Californian five-piece Toadliquor before now. They've kind of existed on their own underground plane for the last few decades, always steering well clear of the mass popularity contest that is the commercial metal scene in the United States. Hell, they've always flatly refused to release their most popular record (i.e. this one) on CD, instead choosing to offer it up on vinyl only which should tell you a little bit about the band themselves who have largely remained fairly anonymous with none of the five members being associated with other acts. But people seem to have picked up on Toadliquor fairly organically over the years & we now see their 1993 debut album "Feel My Hate - The Power Is the Weight - R.I.P. Cain" being held up as a minor classic in some parts of the more well-informed metal demographic. As you all well & truly know by now, I need to know why in these cases so this week I've decided to explore Toadliquor for the very first time to see what the hell all the buzz is about. I'm glad I did too because it's a very rewarding record indeed.

"Feel My Hate - The Power Is the Weight - R.I.P. Cain" is a 42-minute album that includes seven songs with all of them being well & truly worth your time. It's an unapologetically sludge metal record too it has to be said. Other websites like Metal Archives & RateYourMusic will always award releases like this one a dual tag with doom metal but, in reality, there's really no need to if you have any idea as to what the sludge genre is all about it because it inherently implies the inclusion of doom tempos & riffs. As with a lot of good doom metal though, there's no necessity for Toadliquor to reinvent any wheels as far as their sound goes because good doom riffs are timeless & Toadliquor are too in many respects because this album could just as easily have been released today as 31 years ago. There are loads of bands that sound like this but very few deliver their product with this level of conviction. It's interesting that some RYMers are tending to reach for drone metal secondaries for this release though. Just where they're finding those associations is beyond me as I simply don't see it. 

I wouldn't say that Toadliquor's sound is quite as dark, drug-fueled & desolate as an Eyehategod whose highly regarded sophomore album I reviewed only yesterday but I would suggest that it's slightly more consistent in its overall heaviness & I tend to favour it over "Take as Needed for Pain" for that reason, particularly given that it doesn't revert to groovier stoner metal riffs like Eyehategod have a tendency to do.  The most significant & divisive element of their sound though is quite clearly the vocals of front man Rex whose delivery comes in the form of a tortured howl more than a masculine hardcore grunt or psychotic scream. I have to say that I do struggle with him a little bit at times & I can't deny that his inclusion has limited just how high my rating has the potential to go because I can't deny that Toadliquor would have been much better served with a more traditional sludge metal vocalist. Perhaps they wouldn't have been able to separate themselves from the huge swarming mass of American sludge bands if they had of gone that way though as Rex is certainly the main talking point when discussing the album. I just wish he didn't sound as phoned-in as he does at times because the effort doesn't always seem to be there.

The tracklisting is brilliantly consistent with the instrumentalists all having a fantastic understanding of the sludge metal medium & of dynamics in general. It's really very hard to pick out highlights as every song has excellent instrumentation with Rex's contribution tending to hold me back from being able to claim many of them as genuine classics. I do think that the crushingly immense heaviness of "Fratricide: A Requiem" manages to overcome those limitations & I can see it going on to become a genre favourite for me in the future. Outside of that, I'd probably suggest that the two tracks that precede it in "Gnaw" & & "Charred" make for an excellent trio that represent somewhat of a sweet spot for the album overall. The rest of the record isn't much different though & if you like one Toadliquor song then you'll no doubt dig everything they bludgeon you with here. Be warned though, this record isn't for the faint-hearted or the casual sludge listener. It's a wall-to-wall sludge-a-thon.

"Feel My Hate - The Power Is the Weight - R.I.P. Cain" was a very easy one to come up with a rating for really. I clearly couldn't afford it an elite score as Rex's vocals simply don't leave that as an available option but, at the same time, the instrumentation is so well written & executed that it was never going to score less than four stars either. I feel that I can easily see a) why Toadliquor as so highly regarded in underground circles & b) why they've never managed to break out of those circles for more mainstream appeal. They're very much a sludge band for sludge fanatics only &, thankfully, I just happen to be one of those so this has been a very worthwhile experience that I'd recommend to others who fall into that category.

For fans of Meth Drinker, Nightstick & Grief.

It's been just over two years since I finally decided to take the plunge with New Orleans sludge metal phenomenon Eyehategod through their very solid 1996 third album "Dopesick". I found that I really enjoyed their drug-fueled, desolation-inducing brand of sludge at the time & wondered why it'd taken me so long to get them given their stature in the scene, even if some of the more groovy stoner inspired moments weren't particularly to my taste. I subsequently added Eyehategod's other supposed classic in 1993's "Take as Needed for Pain" to my to-do list but it's probably more of a reflection of just how greedy I am for quality metal to find that it's taken me this long for that investigation to actually come to fruition. I'm glad it has though as the effort was certainly paid off.

After reading my review of "Dopesick", I've almost decided that there's no need to review "Take as Needed for Pain" given just how similarly I feel about it. In fact, that review perfectly describes what I've been thinking of writing for this one so I'd suggest that "Dopesick" was very much "Take as Needed for Pain Part II". There's nothing particularly fresh or new about Eyehategod's second full-length either though. It's simply a highly effective sneak-peak into the mind of a down & out drug addict, living in redneck America with a level of pent-up anger that would seem ready to explode into violence at any moment. What we have here is some crushingly heavy sludge metal riffs of pure doom, taking the occasional groovy stoner metal direction to break up the misery, & with a super-pissed & vicious front man who does his very best to make sure that your attention doesn't deviate from the horrifying human car crash he's describing in great detail.

As expected, I'm nowhere near as big a fan of the stoner parts as I am the remainder of the album but I can accept that this element is a part of Eyehategod's identity & move on to the more attractive (yet equally repulsive) darker shit, even if my scoring has been capped a little as I don't think I could consider my more elite ratings for a record like this one where none of the twelve tracks reach classic status for me. There are a couple of moments across the fifty minute run time where the album temporarily loses my interest too with the more stoner-inspired "Sister Fucker (Part I)" not being to my taste & closing tape music interlude "Laugh It Off" being pretty much a waste of space. It's hard to pick out the highlight tracks from this lot as the stronger moments tend to have a lot in common with each other but, if pushed, I'd probably mention songs like opener "Blank" (my personal favourite), "Shop Lift" & the bravely-titled "White Nigger". There's a clear correlation between the increase in stoner & my scoring dropping off a touch though which I could have told you would be a problem.

It's really very hard to pick a winner between Eyehategod's two most widely celebrated album "Take as Needed for Pain" & "Dopesick" as there's nothing between them as far as I can see. Perhaps the fact that I've now spent a fair bit of time with "Dopesick" is seeing me just leaning towards it by the slightest of margins but if you enjoy one then you'll no doubt really dig the other too. Is this the pinnacle of the sludge movement? Nah... I don't think so personally but I'll be damned if it's not a worthwhile exercise in general discomfort & depravity though. As will all good sludge metal, the world that Eyehategod depict isn't a pleasant one but there's a twisted part of my brain that craves this sort of misery. Perhaps my wife is right & I've simply taken too many drugs in my life. Personally, I'd suggest that I haven't taken enough of the good ones but that's just me. Regardless, all druggy sludge metal devotees will likely want to ensure that they acquaint themselves with "Take as Needed for Pain" as it's a high-quality & undeniably important release for the genre.

For fans of Acid Bath, Iron Monkey & Crowbar.

It took a while for us to get here, but we finally have the debut full length record from US Power Metal's Savage Oath. 

Now I might have said sometime ago that the American strain of Power Metal does not provide the same kind of positive reaction as the European counterpart. Something about it being super derivative and not doing much in the way of standing out from its influences. Power metal in the United States became much better when it dropped the cheesy pretense and became speed/thrash metal. But Savage Oath are trying to be a fading spark in a genre that is now almost exclusively carried by legacy acts.

In a way, Divine Battles reminds me of the newest releases by Cirith Ungol. The mixing is very underappreciated with how it sounds modern while also feeling deeply nostalgic. Guitars are not the focal point of this mix and that allows for the tasteful bass lines to give the album some dynamic weight. The percussion is pretty solid, if a little overbearing. But that only seems to be the case early on in the album on "Knight of the Night" and "Wings of Vengeance."

With such a solid foundation, it really pushes the vocals to the front and they sound excellent. Brendan Radigan has a varied vocal timbre and fits the landscape of this project quite well. There is quite a bit of influence from the power metal great vocalists, but also provides his own style and personality to the performance. That said, I feel like the variety in the vocals is a double edged sword; for example, while "Wings of Vengeance" has a wild timbre and can even be reminiscent of classic Rob Halford, songs like "Madness of the Crowd" have passages that sound deeply out of tune. It just sounds bad and gives me the feeling of sky high aspirations by the group that were just not met.

But beyond that, I don't see much else in the way of obvious criticisms. The album can run a little bit too long at times, but that feels like an issue for a handful of songs instead of a critique of the entire album. If you like power metal in the 21st century, but would like to hear something that isn't directly related to the past (i.e. Blind Guardian, Helloween, Metal Church), then Savage Oath might just be your next favourite band. Just hoping that the next album does something new and different.

Best Songs: Wings of Vengeance, Blood for the King, Savage Oath

I have no idea who Juie Christmas is, or what her work outside of this collaboration may sound like, but one thing is for sure, she has certainly brought an additional dimension to CoL's sound, without nudging it too far from what we have come to expect from the swedish atmo-sludge crew. I went into Mariner expecting it to be Cult of Luna with ethereal female vocals, presuming Julie Christmas to have come from a darkwave or gothic background similar to Chelsea Wolfe, but that isn't what she brings to the table at all. In fact, there is a quite a variation in her vocal styles, ranging from a quite twee-sounding, young girl-like voice to a snarling, sharp-edged sludgy shriek. I must admit that it is the more aggressive latter style which I found most appealing, such as she uses on "The Wreck of S.S. Needle" alongside a clean style that reminded me of SubRosa's Rebecca Vernon. I can see that Julie's vocals may be divisive among CoL fans and I feel that it may take me a few more listens to be completely at home with them myself, but she does help to revitalise a band that was getting maybe a little too comfortable in it's own skin.

Of course, this being Cult of Luna, the instrumentation is impeccable and the songs are multi-textured affairs, but they feel less reliant on the build-and-release trope that has become the main feature of atmospheric sludge in general and CoL in particular over the years. I think this may be down to the flexibility of Julie Christmas's vocals which bring wider textural variety to the vocal aspect of Mariner's sound and makes it less reliant on the building of instrumental tension and the subsequent payoff of it's release that the genre has stereotypically come to rely on. This fundamental aspect of Cult of Luna's sound isn't completely absent of course and is very much still in evidence in a song like "Approaching Transition" which, tellingly, Julie is less involved in and as such sounds more like the CoL we are all used to.

Whilst the album as a whole is a very solid and interesting affair, for me it is at it's best when JC is given free rein and utilises all the vocal tricks in her toolbox, with the closer "Cygnus" and the afrementioned, "The Wreck of S.S. Needle", being the two standouts as her vocals weave in and around the band's searing and soaring instrumentation in a quite sublime dance of musical dexterity and creativity. The songwriting on these two tracks is quite exceptional and feels extremely natural, as if the sounds these two entities have ended up producing are the only feasible outcome of their inevitable collaboration.

I must admit, before listening to Mariner, I thought that Cult of Luna no longer really had the ability to surprise me. Entertain and delight me, for sure, but to make me do a double-take and really sit up and take notice of a newly-heard release, no those days were gone. I was wrong for sure and I can't really explain why it has taken me so long to get around to checking this collaboration out, other than I already thought I knew what to expect. Well bigger fool me, because this is not at all that thing, but rather an invigorating and special slab of atmospheric sludge that stands up to scrutiny against all but the absolute best that the genre has to offer. Maybe you can teach an old dog new tricks after all.

Warning! Warning! Fucking monster influence alert! Immense masses of fanboyism will likely ensue in the paragraphs that follow ladies & gentlemen! You see, I was already a big fan of Canada's Gorguts when their 1993 sophomore album "The Erosion of Sanity" landed on the shelves. I'd purchased their 1991 debut "Considered Dead" on CD a year or two earlier & it had left me thoroughly impressed, perhaps not with the originality in Gorguts' sound as that release wasn't exactly groundbreaking however its execution was top notch & it showcased an outstanding pedigree in classic death metal. By 1993 though, I'd become obsessed with the more brutal end of the genre & had also developed a fascination with the more technically proficient bands in the scene so it came as a wonderful surprise to hear my brand-new copy of Gorguts second full-length upping the ante in both departments. "The Erosion of Sanity" would go on to play a major role in the direction of my own band Neuropath over the next few years so it's always maintained a special place in my heart. This week I decided to give it a more critical investigation than I'd ever done before in order to see where it rightfully should sit in the star-studded Gorguts back-catalogue.

While "Considered Dead" was extremely proficient at what it attempted & delivered a very solid meat-&-potatoes brand of death metal, I don't think I ever thought of it as any sort of classic as it simply came a little too late in the game for that with the bands & records it was trying to emulate already having produced the elite releases for its old-school death metal sound & occasionally even doing it better too. "The Erosion of Sanity" saw Gorguts taking a new direction though. The early Death influence that dominated "Considered Dead" had been replaced by a more modern & sophisticated compositional approach that was much closer to Death's "Human" than it was Chuck Schuldiner's earlier works while the riff structures had been boosted by a significant amount of complexity & technicality, not to mention having been beefed up by the influence of brutal death metal pioneers Suffocation whose debut album "Effigy of the Forgotten" had clearly been in high rotation in the Gorguts rehearsal studio. This time the band had opted not to record at Florida's legendary Morrisound Studios with its equally notorious producer Scott Burns, instead staying home in Quebec where they worked with Englishman Steve Harris (no, not that one) who had previously worked with extreme metal bands like Acid Reign, Lawnmower Deth, Fear Factory & Bolt Thrower which has resulted in a seriously chunky & quite dense production job that perfectly highlights Gorguts' strengths, even if it can leave things sounding a little samey if you're not paying close attention.

Gorguts' had maintained the same lineup that produced "Considered Dead" which certainly helped their cause but, as we now know, it's always been guitarist Luc Lemay's (Negativa) project & his vocals are a major highlight on "The Erosion of Sanity", with his raspy growl rearing up into monstrous territory quite regualarly. Lemay provides the song-writing with the touch of added savagery that was needed to give Gorguts more of an edge & it works very well over the more ambitious instrumentation which sees the album easily managing to differentiate itself from its more than acceptable older sibling. The musicianship on display is nothing short of dazzling at times & I particularly enjoy the bass performance of Eric Giguere who shows himself to be leaps & bounds ahead of most of his contemporaries, buoyed by a nice mix that helps to isolate his basslines from the controlled chaos that surrounds them. There's a spider-fingered feel to the way Gorguts have constructed many of the riffs that leaves me with no doubt whatsoever of the influence of Suffocation, only these lads opt to deliver their assault with more subtlety, if not much more in the way of dynamics.

The tracklisting is particularly consistent with all eight songs showing themselves to offer plenty on the way of thick, heavily palm-muted yet still highly technical death metal riffage. The A side is completely without blemish & leaves the listener with little option but to claim Gorguts as a new member of the tier one death metal players. There are a couple of tracks included on the B side that aren't quite at that level (see "Hideous Infirmity" & closer "Dormant Misery") but the other six songs are simply ooze of class & a feel that's undeniably classic. If I was forced to pick favourites I'd have to go for the first three songs with the title track being perhaps my pick of the bunch.

The Gorguts back catalogue sits amongst the strongest in all of death metal in my opinon so "The Erosion of Sanity" was always gonna have stiff competition in that regard but I'm thrilled to have discovered that it's lost none of its charm over the three decades since I first purchased my CD. Sadly, I'd suggest that it's no longer my absolute favourite Gorguts record though. I think that honour would now have to go to 2013's magnificent comeback album "Colored Sands" while I'd also suggest that I'd place 2001's "From Wisdom to Hate" release slightly ahead of "The Erosion of Sanity" these days. That's not to say that this is not still a classic technical death metal record though & one of the rare tech death releases that has a legitimate claim to the tag too, rather than simply being a mistagged progressive death metal record. After the experience of this weeks revisit, I have no hesitation in claiming that every The Horde member worth their zombie film collection should treat "The Erosion of Sanity" as essential listening.

For fans of Death, Suffocation & Cryptopsy.

I watch a lot of baseball in my spare time. And I always find it unusual when a rookie gets the call who is the son of a former major leaguer. In that moment I can feel the wrinkles on my forehead becoming more dense as it means my youth is getting further away from me. It's even weirder when that father was a really good player; perhaps even a hall of famer. How can your son possibly live up to the enormous standards that you set nearly twenty years ago?

Vended is the musical equivalent of this. Founded by Griffin Taylor, this nu metal act has the insurmountable task of bringing nu metal to a new generation...while also having familial ties to one of its greatest figures: Corey Taylor.

And yes, just like those sons of major leaguers, Griffin Taylor does have many mannerisms that are very similar to his father. Vended sounds like if you combined the aggressive, misanthropic lyricism of early Slipknot and merged it together with the heavier groove aspects of a band like Lamb of God, with just a tiny sprinkling of death metal techniques as well. The percussion of this album is closer to that of later Slipknot records like All Hope Is Gone and We Are Not Your Kind, with a more poppier sound instead of sounding like trash (literally).

Besides these deviations, you already know what to expect once you hear about the relationship between Griffin and Corey Taylor. The album has some solid hooks, but they feel disjointed from one another with plenty of filler. The instrumentals are performed/produced well and the vocals are very indebted to Corey, but they also have some death metal grit that even early Slipknot records could not replicate. The albums short runtime is a bonus, but it still feels like a lack of development is taking place, and is not helped at all by a final three tracks that feel like fragmentary ideas.

A lot of my criticisms can boil down simply to "if you like Slipknot, you'll like this." And as someone who has made their criticisms of Slipknot well known in the past, it should not surprise anyone that this really isn't my cup of tea. I can hear interjections within Vended's music that make me believe that they could have a profitable future, but they first need to step out of the shadow of their idols before that can happen.

Best Songs: Am I The Only One, Nihilism, Serenity

As with Enslaved's "Hordanes Land" E.P. that I reviewed only yesterday, the first proper release from Norwegian symphonic black metal gods Emperor would represent my earliest encounter with them & would come off the back of my having purchased the split CD that included both releases some time towards the end of 1993. You may recall me mentioning that I owned an original copy of Emperor's "Wrath of the Tyrant" demo tape from 1992 but that purchase wouldn't come about until 1994 & was off the back of my having gained a great deal of enjoyment out of the "Emperor" E.P. first. I can still recall my first impressions of Emperor whose sound differed from the rest of the Norwegian scene in several ways, at least it did by the time this E.P. was recorded as you can already hear elements of the symphonic black metal sound they'd pioneer creeping into their sonic arsenal here as well as hints at their later progressive tendencies. I remember being struck by just how classically-inspired their compositional work seemed & how they managed to use melody so well i.e. without losing the inherent darkness that was required for good black metal to work. There was no doubt a romantic element to it that borrowed from the great gothic art of the ages too. It's time to reassess the E.P. with fresh ears now though. Let's see if it's stood up to the test of time.

The "Emperor" E.P. contains just the four tracks & spans just over twenty minutes in duration. I've always loved the cover artwork which went a long way to seeing me purchase the Emperor/Enslaved split CD to begin with to be honest. It's so simple yet so effective as the blood red logo stands out  boldly against the black & white imagery which is nothing short of spooky & represents the majesty of the music contains very well. The band entered Studio S to record the E.P. in December 1992 & I believe this may have been their first time in a studio as the "Wrath of the Tyrant" demo was a home 4-track recording as far as I'm aware. It's interesting that Emperor elected to produce the record themselves then actually but perhaps they couldn't afford to engage a proper producer at the time. The result of those sessions sounds stereotypically Norwegian though which may or may not have been intentional. They achieved that classic higher register guitar tone with all of the bass & mid-range frequencies having been removed, although I do have to admit that I would have liked the guitars to have been higher in the mix. The vocals are also quite low in the mix which would become something of a trademark for Emperor & for a lot of black metal in general as it allows them to appear more otherworldly, almost like they're the cries some sort of demonic entity from the very bowels of Hell itself. The bass & drums are more up-front while the keyboards play a prominent role which would become the key to Emperor's identity over the next few years. In fact, while it may be easy to criticize the fact that the guitars sit a little behind the keyboards & allow them to play the role of the protagonist, it's also worth noting the influence that this had on black metal in general with a huge array of bands appearing who used the guitars in more of a textural way while the symphonics played the starring role.

Emperor's lineup had changed a little from the "Wrath of the Tyrant" demo tape. Samoth (Scum/The Wretched End/Arcturus/Gorgoroth/Satyricon/Thou Shalt Suffer/Zyklon/Zyklon-B) had swapped instruments from drums to guitar which was a positive move as he was hardly a superstar behind the kit & it allowed the band to recruit a more talented performer in the infamous Faust (Blood Tsunami/Djevel/Aborym/Thorns) who would stay with Emperor until his arrest for murder a few months after the release of the EP. By that stage he'd already had the chance to record the stunning "In The Nightside Eclipse" album which would ensure his place in extreme metal folklore. While indulging in the sophistication & creativity of this release it's fairly easy to forget that Emperor were just a bunch of 17 & 18 year olds at the time it was recorded. Just let that sink in for a minute because it's pretty amazing when you take into account the groundbreaking sound they'd created. Love it or hate it, Emperor's sound, even at this early stage, sounds like no one else that came before them & set the tone for an entire strand of the black metal movement that would never manage to equal them in all the years since. Less surprising perhaps is the wide-reaching impact that the various members have had on the international metal scene, particularly front man Ihsahn (Thou Shalt Suffer/Hardingrock/Peccatum/Zyklon-B) who was the clear band leader & mastermind behind Emperor from an extraordinarily young age (note: he was just 17 years old here). Even bassist Mortiis (Cîntecele Diavolui/Fata Morgana/Vond) has gone on to become somewhat of a genre leader for his electronic work under several different guises.

The tracklisting on "Emperor" is generally very solid. "Night of the Graveless Souls" & "Wrath of the Tyrant", that originally appeared on the demo tape, have been revisited here, the former offering a similar level of appeal to the original but the latter sounding significantly improved & possibly representing my favourite cut on the release. The two new songs would both be re-recorded for the classic "In The Nightside Eclipse" debut album only months after this recording & are noticeably more symphonic & expansive with the creativity having been taken to another level. "I Am The Black Wizards" has gone on to become arguably the band's calling card & is probably my favourite track from the album. Here it's a little more restrained & suffers from the wishy washy production job in comparison to the album version with its huge wall of sound. Ihsahn's vocals drift in & out of focus a bit here & I think his delivery would be improved for the album too but this is still a fantastic black metal tune. "Cosmic Keys to My Creations & Times" is an incredibly ambitious piece of work for 1993 too with a number of more progressive passages presented throughout its run time, a concept that Emperor would expand on much more thoroughly in the years to come. The use of keyboards is clearly becoming more prominent with each new song. Personally, I prefer the more straight-forward "Wrath of the Tyrant" (the song, not the release) in this format but things would change once Emperor had received the immense, overblown production job they deserved on "In The Nightside Eclipse". "Night of the Graveless Souls" is the weaker of the four songs quite clearly as it suffers from a bit of cheese in the violin flourishes it attempts but I still quite like it.

Looking back now, I can't say that I regard "Emperor" as an elite black metal release & I didn't do at the time either but there can be no denying its importance to what was to come, not just to the black metal scene but also to me personally as a young fella. Despite it being entirely appropriate for the record itself, I do feel like the production job lets Emperor down a bit here as the material isn't as in-your-face as it should probably have been but it's easy to say that in retrospect now that we're so accustomed to the greater potential some of the songs were afforded on "In The Nightside Eclipse". Unlike Enslaved's "Hordanes Land" with its utterly spectacular opening track, I don't think that any of the four pieces included here have managed to reach classic status for me though which has surprised me a little. For that reason, I do tend to place "Emperor" slightly behind "Hordanes Land" which is in direct contrast to most people I've spoken to about it over the years. Emperor would very quickly surpass their fellow Norwegians with their next release though & it would subsequently see me holding them aloft as the absolute pinnacle of the subgenre they'd created, even a full three decades later. Hell, I was only forced to throw away my "In The Nightside Eclipse" long-sleeve recently after it had developed so many holes that I was embarrassed to wear it any more & I experienced physical pain while separating with it. It's needless to say that "Emperor" should be in every black metal fan's collection because it's simply assumed knowledge at this point.

For fans of Enslaved, Abigor & Satyricon.

This is the point of Nevermore's career where they were mostly focused on the art of their new identity.  Now that they had cemented their sound with the previous album, Dreaming Neon Black, it was time to expand on that.  Dead Heart in a Dead World is exactly that.  This might be a continuation of the darker tone they took with their third album, but this is also the album where Nevermore go back on what made them so good in their early days.  They started out as a band with various types of songs, likely trying to discover who they were.  They found that with the less innovative DNB, and it was time to combine that with the variety of their previous two albums.  As such, this album is much less thrash oriented than the last three.  The album basically goes prog, prog thrash, groove, heavy, prog, power ballad, thrash, proggy groove-thrash (this is the Sound of Silence cover), ballad, heavy semi-ballad, prog-speed.

There's a balance between identity and variety here.  They've never been a favorite of mine, but I always admired their willingness to get creative.  I mean, they covered Sound of Silence in an incredible way that I wouldn't have thought of in a million years, one that works perfectly in the groove and thrash departments, with some of that shifting technical behavior of Metallica's fourth album, And Justice for All.  In fact, I gotta say that the cover is now my favorite Nevermore song out of respect for how well they handled one of the best songs by one of music's greatest geniuses.

As for the delivery, once again we have an album full of impressive melodies, powerful tones and moods, clever shifts and a consistent persona.  It's impossible to skip a song for me this time.  In all respects, this is the strongest of their albums up to that point.  Happy to have finally checked this album out.

It is virtually impossible to underline importance of Obituary in terms of them being my gateway into death metal some thirty plus years ago. If your first taste of a death metal vocalist is John Tardy on Slowly We Rot, a man who rarely used actual words to express his vocals then you were pretty much guaranteed to be either repulsed and run straight back to your Iron Maiden LP’s or be so drawn in that there was soon no way back from the path you had been dragged down. As the years have rolled by, watching other stalwarts of the early nineties’ scene fade away, I would argue that although they do not have a flawless discography, Obituary are still consistent performers of death metal who have a lot more in their arsenal other than those glorious first two records.

Hence my nomination of World Demise for the October feature release. I feel like the internet has talked endlessly about the first two Obituary albums and much of the discography is an almost presumed failure by comparison. Although I accept that World Demise does not match those classic outputs from 1989 and 1990, it still possesses enough identity to standout in the grander scheme of things. This was a slower paced Obituary, shed of its more scathing skin of old with a more socio-political bluntness being deployed instead. When Tardy sneers that he really does not care on the opening track, you believe him, 100%. Backed by his brother’s solid drumming and the superb bass of the late Frank Watkins, John could not ask for a better set of backup weapons to his unique and newly legible vocal attack.

Despite, the slower pace, the more focused lyrics and general stripped back nature of the record, it is still quintessentially Obituary. Those riffs from Peres and West are as familiar as ever and if you allow yourself to get lost in them, you could just as easily be listening to the debut album all over again. World Demise ultimately lacks any truly standout moments though. Despite its solid musicianship and altered direction that they carry off well enough, it does tend to plod in places. The loss of that dense atmosphere left a few cracks uncovered and those snippets don’t land well when they try including them. The best example here being that shifting effect on Splattered which I think is one of the worst errors of judgement in the history of the band.

These quibbles are just that though, nothing earth shattering when taken in the context of the whole record which is a solid slab of death metal. Give me World Demise over Tales From The Thousand Lakes or Blasphemy Made Flesh from the same year.

Voivod is one of those bands that makes a "distinct nature" out of fucking with your preconcieved notions of metal, and they rule at that in various ways.  They're like Melvins and Boris in the sense that they can effectively do whatever they want in their field, and then expand into other territories because you can't stop them.  During their heyday, they released a streing of albums that people keep bickering over their picks for the quintessential Voivod album, a la Beatles.  That's how you know you've got an essential metal band.  There are even defenders of Angel Rat, and when your string stretches five albums, you are essentially a Beatles band for your genre.

The one Voivod album I go back to most often is Dimension Hatross.  As Madonna is the 80's Lady Gaga, these guys are the 80's Vektor.  They pioneered the idea of sci-fi sounds and themes in metal with this highly technical yet highly punkish album, carefully molding the complexities of machinery with the industrial repetition of punk and crossover thrash.  Hell, Snake's got one of THE most punk voices in the world of thrash, and these guys aren't even a crossover band (I kinda wish they were, though, what with another layer being perfect for them).  Now this album doesn't really have the emotional stretches of my favorite metal album, a fellow thrasher album known as Ride the Lightning, but god does this album fuck with your head.  It remains extremely catchy throughout and more intriguing than even the best prog allows for because of it.

There is ONE GRIPE I have with this album.  Like I said, this doesn't have the emotional outstretch of Ride the Lightning.  We've had thrashers, metal bangers and ballads on that album, and when you boil down to it, this album is largely a technical exercise in the same way that Symphony X's Divine Wings of Tragedy and Liu Zhenyang's Paramainomeni is.  Having said that, this is probably the best of the three albums I listed.  The thing is, the thrash, prog, avant-garde and punk are all ingredients for each song, which means the album stays the same.  I think a band that inventive could've taken an extra step forward without screwing with the consistency.

Nevertheless, with how impressive and innovative the technicality is, especially when you have some of the most incredible combinations of timing, melodies and riffs the genre has to offer, I have to consider that this is a more minor gripe than it would typically be on my scale.  If I'm fully honest, the album still doesn't feel as bloated as Master of Puppets does, so I'd say it's in the same league.

Having to complete a book-reading challenge before the end of the year, I've been speedreading roughly a book a day, and listening to albums helps me focus.  So once again I'm going through asstons of music and occasionally checking out some metal.  This time I'm going on a Nevermore marathon.  I've put them off for too long, but I have heard the first two albums before.  So now I begin their heyday with Dreaming Neon Black.  Don't worry.  I can focus on both at the same time, and even absorb both types of vibes when I properly hone my autism.

Looking back on my review for the previous album, The Politics of Ecstasy, I made several comments on their range.  I think there's a bit less of that here, though.  This time, Nevermore's focused on creating a consistent sound for themselves.  Everything is just dark enough to work, except where the singer is concerned.  He's got some serious range and power about him in the melody and metallic energy departments.  The second half of the album has some gothic undertones which match up with his voice even more than before.  There's little variety save a goth rock song at the end and a doom metal song called The Lotus Eaters.  I would prefer more variety, even at the level of The Dreadful Hours or in an extreme case, When the Kite String Pops, so the album risks feeling too long.  There's a deeper groove metal tone in the guitars which manages to put itself in the world of thrash perfectly well, obviously because of the band's previous experience in that world.  But does this make it a unique album?  No, not really.  Thrash and groove have gone hand in hand for a long time, and lots of prog albums of the time were taking a deeper and darker approach.  Add this to the two different songs, it tells me they could've done so much more.

In the end, one factor kind of fails for the genre, despite being new to Nevermore.  So what's left?  Technicality, production, yadda yadda.  And I can't deny that I had fun throughout the whole album.  There wasn't a single melody or riff that I wasn't at least fairly impressed with.  And much of the album's darker tone comes from a more prominent bass, which is extremely easy to hear thanks to the album's production.  Both are going hand in hand perfectly, about as perfectly as I want when you put the two together in any band.  Because you can hear everyone so clearly, this amplifies all the emotional vibes present, in spite of the samey tone of the album.

Basically, every song was great on its own merits, and it's about as proggy as a Rush album, allowing thrash fans an easy yet properly-shifting entry-point to prog.  if you're gonna do an easy-to-digest prog album, this is how to do it.  But its accessibility also gets in the way of maximizing the variety factor, so it's a bit overlong.  They could've done more with this, but it's obvious that they were focusing on their identity, which still succeeds here.  I'm glad I decided to continue on with Nevermore, but contrary to popular opinion, I'd have to say The Politics of Ecstasy is slightly better.

The Norwegian Second Wave of Black Metal hit my teenage life like a tonne of bricks back in 1992. I'd already been a fan of First Wave black metal bands like Bathory, Hellhammer & Sarcofago for some time by that stage but the likes of Darkthrone & Burzum took my fascination with the dark majesty of this sound to an all-new level that compared favourably with my metal genre of choice at time i.e. death metal. I'd soon find myself seeking out the more underground material the black metal scene had to offer & in large quantities too, locking myself away in a completely blackened bedroom with my headphones on while fantasizing about life in an icy forest of trolls. This would be the time that I'd discover the now legendary Enslaved after I picked up their split CD with fellow Norwegian superstars Emperor in late 1993, a release that only increased my appetite for this style of music. Before long I would find myself seeking out Enslaved's early demo recordings in order to further quench my thirst but it would be the "Hordanes Land" E.P. that represented the band's coming of age as artists & would signal the start of their rise to the top of the black metal ranks. I've revisited it many times over the years but this will be the first time I've attempted to rate or review this release which I know so well after all this time.

The "Hordanes Land" E.P. is a three-song affair that spans just over half an hour with each track being of significant length. It was recorded during September & October of 1992 at Lydloftet, Ølen with the assistance of a trio of producers in Reinhardt Toresen, K. B. Bjørkhaug & K. Ulland, none of which had made a name for themselves prior to this release. The result of those sessions is instantly recognizable as the classic Norwegian black metal sound though & it puts Enslaved in the discussion as far as the earlier protagonists of the Norwegian movement. Enslaved's lineup was only a trio at the time but the three pieces they'd produce were all very ambitious & expansive for a group of young musicians, none of them having reached their nineteenth birthday at the time with guitarist Ivar Bjørnson (Ivar Bjørnson & Einar Selvik/Borknagar/Mysticum/Trinacria) amazingly being just fourteen when "Hordanes Land" was recorded. The title of the E.P., which is taken from the old Norwegian language, can be translated as "Land of the Hordes" & is a very good depiction of the adventure & majesty that can be found within.

The early Enslaved sound in much less progressive than the one they'd go on to create in later years but was still highly sophisticated for the early black metal movement with the song structures all taking a number of turns in a variety of different directions. There are a few drastic changes that can feel a little jerky at times but it's not a major issue. The epic thirteen-minute opening track "Slaget i skogen bortenfor" is by far the most significant of the three inclusions & was comfortably my favourite song on the split CD with Emperor that received such regular play time with me as a late teenager. In fact, it's the reason that I've always held the Enslaved side of that split CD in slightly higher regard than the Emperor one, despite it being of a similar quality in many respects. I adore the blasting drums of Trym (Emperor/Zyklon) & their combination with bassist Grutle Kjellson's tortured shrieks & Bjørnson's wonderful use of keyboards was highly influential at the time. It's also a feature of the split release with Emperor employing a similar approach on their self-titled. The use of acoustic guitars gives this track an organic feel that simply oozes of the cold Norwegian landscape of snow-covered forests & leaves an accurate depiction of just how influential Enslaved were on how the Second Wave sound developed over the coming years. It's not a huge stretch to be able to predict the more progressive leanings that Enslaved would take with their sound in the future given just how ambitious this early material was for such an immature trio of kids. The other two pieces are a touch less expansive but are still as overt in their creativity. The second track "Allfǫðr Oðinn" appeared on Enslaved's 1992 "Yggdrasill" demo tape where I quite liked it but here we see it being taken to another level. The early part of the song sounds noticeably less sophisticated & epic than "Slaget i skogen bortenfor" but at the two-minute mark the band hit on a classic Norwegian tremolo-picked melodic guitar theme that takes things into the stratosphere &, in doing so, predicts so many of the great black metal that was to come over the remainder of the decade. The song-writing is a little patchy but this theme alone plays such a significant role in the way the song plays out that it single-handedly manages to drag "Allfǫðr Oðinn" into very solid territory. The ten-minute closer "Balfǫr" is comfortably the weaker of the three inclusions in my opinion although I do still enjoy it. The use of keyboards is a little cheesier on this one & it's a little more melodic & a touch less dark than the other two pieces too although the use of acoustic guitar is very effective & things ramp up significantly when Trym gets his blast beats on.

Perhaps "Hordanes Land" doesn't represent the peak of Enslaved's creative journey but it was still very much their coming of age as artists & is especially impressive when you consider the relative immaturity of the three musicians involved. I'm particularly amazed at the scope of musicality that's been drawn out of Bjørnson here as his contribution often sounds incredibly mature for a child of just fourteen years old. It's really no wonder that we'd see him pushing Enslaved into my progressive territories in the future as he still had a whole world of musical exploration ahead of him. It's interesting to ponder on how he came to have such a strong understanding of the black metal ethos at such a young age too. I'd imagine that he must have had some older & fairly well-informed influences around him during the previous few years. Enslaved would return with their debut album "Vikingligr veldi" the following year, a release that I still regard as their finest black metal work to this day, but "Hordanes Land" really wasn't all that far behind when you look at it in the modern day. I'm not sure that I've ever regarded Enslaved as a tier one black metal producer but this is a damn fine first-up effort nonetheless & should be an essential inclusion in any black metal fans collection.

For fans of Helheim, Emperor & early Borknagar.

I've already been familiar with Neurotech via a few later songs and several of those long Symphonies. And now it's time for me to explore further back into the discography of one of the most underrated acts of one of the most underrated subgenres of all, cyber metal. Blue Screen Planet is a two-track EP with the first track being a 10-minute epic and the other being a laid-back instrumental of almost the same length.

Similarly to Mechina's Conqueror, Blue Screen Planet marks Neurotech's transition from a standard industrial/cyber metal band to one that's more symphonic and setting up a conceptual universe. Also similarly to that Mechina album, it doesn't entirely pay off as it should...

"Part I - Axiom" is a bombastic journey of symphonic cyber metal... Well, too bombastic. Some parts are overdone, which very much exemplifies the paraphrased adage, "Too many ingredients spoil the broth." While this epic is still solid, his 10-minute explorations are better explored in the later symphonies. Interesting how I like the instrumental "Part II - Revelation" more. Most metalheads and more upbeat music listeners can't go past the first half of this serene Hans Zimmer-like composition, but I can! It's amazing how magical this piece sounds as it transports you out of the harsh reality of Earth into the astral plane. It works well with the video game No Man's Sky. So instead of unleashing metal in maximum power, let the cool ambience move you into this different dimension. By the 5th minute, you'll already be one with the multiverse.

The origin of Wulf expanding the soundscapes within his Neurotech project is all in this EP. Lots of great ideas from calm to blasting, from soothing piano to crushing guitar! Though the instrumental is more balanced than the epic. As beautiful and intriguing as this EP is, it's more of a side-order than a main dish....

Favorites: Both tracks, though I like "Part II - Revelation" more.

From 2011 to 2015, Disturbed was on hiatus. During then, vocalist David Draiman decided to form his own temporary project, Device. If you'd like me to give you a hint at what Device, it's like Disturbed with a more industrial edge...

People already knew Draiman's plan to make more industrial material from some teasers. The industrial side comes from the other member of the project, Geno Lenardo, ex-guitarist of Filter. The heaviness Disturbed fans have expected is blended with electronics for some decent results. It should be noted though that Lenardo was replaced by Will Hunt (Evanescence) and Virus (Dope) for the couple live concerts performed by the band.

Straight into heaviness is "You Think You Know" which rocks out as if Disturbed never had that hiatus, while having a bit of Nine Inch Nails. Draiman's singing is quite strong here, "You think you know but you're horribly blind, you think you know that the story's defined, you think you know, but your heart has gone cold inside." Sounding closer to Disturbed is "Penance". The drumming rhythms and vocal grunts are still around while having some electronic synths. Following this is "Vilify", the best choice for the band's first single. It's a perfect highlight of Draiman's strong vocals.

For their cover of the 80s glam ballad "Close My Eyes Forever", taking the respective places of Lita Ford and Ozzy Osbourne is Lzzy Hale of Halestorm and Draiman, and the song is given a modern electronic twist. "Out of Line" stands out well as another one of Black Sabbath's members, Geezer Butler performs his audible bass, while Draiman and System of a Down's Serj Tankian both sing their perfect lyrical views of the world. The haunting "Hunted" continues taking on the electronic metal fusion as they've done throughout the album so far, showing that they can do it well without relying on guests. "Opinion" rips through with searing soloing by Tom Morello of Rage Against the Machine, having more of the spotlight than in Linkin Park's "Drawbar".

"War of Lies" has some of the nu metal riffing of early 36 Crazyfists. "Haze", which has Avenged Sevenfold vocalist M. Shadows, is another solid collab. These guest appearances really help boost the quality of the album in most cases. The last guest vocalist is Glenn Hughes, known for his solo material and his time with Black Sabbath and Deep Purple, in "Through It All", a nice sentimental rock ballad. I don't really like the bonus tracks enough to mention, except for their cool cover of Nine Inch Nails' "Wish".

You just have to admit how much outer thinking Draiman has with his work. He can really expand his boundaries beyond the band he's usually known for. It works well with some solid standouts, though not so much for a lot else. And the project would stop once Disturbed was revived....

Favorites: "You Think You Know", "Vilify", "Out of Line", "Opinion", "Haze", "Wish"

It should come as no surprise, but technical death metal is not my strong suit. There are very few acts in this genre of music that resonate with me. Far too often I find that these bands are too show-y for their own good, and it usually results in albums feeling less like musical endeavors and more like show off sessions. Bands like Ulcerate have recently shown me how this genre can be executed well, while Blood Incantation have gotten close.

Blood Incantation’s brand of technical death metal always had a classic flare to it, but with compositions that were firmly in the modern era. I was most intrigued by the bands 2022 EP Timewave Zero as a minimalist synthwave album. It showed real promise and opened a well of possibilities where they could take their next project. And that project turned into Absolute Elsewhere, which is a space opera not that dissimilar to Pestilence’s Spheres.

And Blood Incantation nailed it here. The album is basically in two acts broken up into six movements. The first act, “The Stargate” gives the impression of an amalgamation of the band’s death metal roots, and their synthwave escapade. There are massive dynamic shifts here they sound great. I never found the heavier death metal sections to become too overwhelming in the mixing or intensity; Arthur Rizk did an excellent job in this regard.

The second act, “The Message” is much more inline with Blood Incantations death metal sound. However, those expecting the more technical sounds of Hidden History of the Human Race might be disappointed. The technical proficiency has been set aside in favour of more diverse song structures; uncommon time signatures, wild tempo/style changes, and more motivic development. And the result is a passionate story that feels fully realized through modulation and growth. If you were to analyze this album as two songs, both parts are evenly deserving of their extended runtimes.

The main issue that I have with Absolute Elsewhere is the abandonment of technical death roots. Sure, they are here, but they feel like afterthoughts to the synthesized additions. The problem with “The Stargate” is that the synthwave passages feel far too elongated, especially during the second “tablet.” I think this album could have been even better if those synth parts had been more interwoven into the death metal foundation, instead of serving more as an interlude.

But I feel like I can overlook this when the rest of the project is so well constructed. I can imagine that some of the more hardcore tech-death fans would find Absolute Elsewhere a bit of a letdown with this style change, but the prog-death crowd should absolutely love this. Take your classic space operas and add this to the lexicon.

Best Songs: The Stargate [Tablet's I & III], The Message [Tablet's I & III]

No matter how many times I stay in or out of the death metal realm, my over-a-decade-long metal journey has given me slightly more leeway to enjoy bands I would've avoided 5 or 10 years ago. One example is Decapitated. They're a technical death metal band that take on some progressive/groove metal elements. Don't get it twisted though, this ain't Gojira! Tech-death reigns in Decapitated's sound. And their 2006 album Organic Hallucinosis exemplifies that brilliantly with a powerful talented lineup.

That lineup didn't last long as a tour bus crash severely injured drummer Vitek and vocalist Covan. Vitek passed away from his injuries, and Covan would be left wheelchair-bound with cerebral hypoxia. The loss of two amazing band members was a poor tragedy, but we can still enjoy what they've made in one of the best albums of tech-death.

No intro required, "A Poem About an Old Prison Man" is a true tech-death blast. You can hear the thunderous riffing of Vogg (Vitek's brother) and the powerful drumming of Vitek. Covan performs furious death growls/shouts to make a Charles Manson poem more brutal than it already is. "Day 69" is a lot of fun. A lot of what the band has is in here. Covan's vocals continue to sound brutal over the catchy riffing and hard-to-replicate drumming. The greatest, most mind-f***ing part is the lyric "Sewers running through my veins", followed by sweet drum soloing by Vitek. "Relevance of Existence (The Trip)" is an early hint at the groove-ish sound of the band's later albums, with catchy riffing and drumming similar to Lamb of God, along with the usual growls by Covan. Another solid track!

The most complex riffing is heard in "Post (?) Organic", and I mean progressively complex. The rhythm section that includes Vitek and bassist Martin help make this wicked tech-death storm. Plus, we have one of the greatest solos in the album. All of this makes that track perhaps the most memorable here. Next up, "Visual Delusion" fits well in the name. Delusional illusions are stirred up from the guitar ambience. The soloing sounds so dark that it would make a better soundtrack for Arkham Asylum in the Joker movies than the whole "jukebox musical" sh*t.

"Flash-B(l)ack" flashbacks to the earlier tech-death while making room for some groove. Lots of great drumming and riffing here! This grand offering ends with "Invisible Control" with everything about the band reigning supreme is this 5-minute finale. The guitar is so mesmerizing from the start, and we get to Vitek's blazing drumming for the unfortunate final time. Another awesome piece of tech-death!

After that drastic tragedy, Decapitated took a couple years off and decided to continue in honor of Vitek and Covan. Their subsequent albums would gradually become more groove-laden. Organic Hallucinosis is pure deathly greatness from these Polish tech-death masters. I wouldn't have wanted this when I was a teen, but I'm glad I do now!

RIP Witold "Vitek" Kiełtyka

Favorites: "A Poem About an Old Prison Man", "Day 69", "Post (?) Organic", "Invisible Control"

Short-lived Melbourne thrash metal outfit Tyrus may never have recorded a proper album with their entire discography amounting to just a couple of short & obscure demoes but they still managed to cement their place in Australian metal folklore, mainly due to the role they played in the creation of the local thrash scene but also because of their association with other early Melbourne metal bands like Hobbs Angel of Death, Fair Warning, Depression & Mass Confusion who they shared members with. When I first took my first tentative steps out into the Sydney extreme metal scene in the very early 1990's, I would quickly find that there was an underground subculture that held aloft widely unknown artists (many from other states) as dark overlords of our chosen field & Tyrus would be mentioned in whispers as one of the founding fathers. In the years that followed I would repeatedly hear those lone Tyrus recordings at drunken after-parties at older metalheads homes so they would them become very much ingrained in my youth, perhaps more than they ever had a right to from a quality perspective. It's been many years since I've revisited them now but the discovery of this compilation of all of Tyrus' studio recordings has lured me in to see how they've held up an incredible 38 years later.

"Rats Will Have Their Feast" draws together the four songs from the self-titled 1986 Tyrus demo tape & the title track from the "Liar" single from the same year in a short nineteen-minute recap of the band's short three-year career. These appeared very early on the Aussie extreme metal story & I'd argue that if Depression's 1985 crossover thrash effort "Australia, Australia" E.P. is the very first Australian thrash metal release then the "Tyrus" demo tape may well be the first conventional thrash one although that's open for debate as there are other seminal recordings from 1986 floating around & it's impossible to know exactly when each hit the streets. Personally, I've always thought of the 1986 demo tape from Sydney's Massive Appendage as ground zero for Aussie thrash metal as we know it dropped in March 1986 but there were other players like Tyrus, Slaughter Lord & Non Compos Mentis whose demo recordings from that year may well have been released earlier. It's just a little hard to say.

The sound quality of the two recordings differs greatly with the demo tape sounding vastly superior. In fact, the demo sports a really good production job for a demo from the time actually with all of the instruments being presented in complete clarity & being well balanced. "Liar", on the other hand, sounds a lot softer & a touch flat in comparison with the guitars being slightly muted & further back in the mix. Tyrus' riff construction is super-basic for thrash & one gets the feeling that band leader Peter Hobbs (Hobbs Angel of Death) had essentially borrowed them from the "Baby's First Thrash Riff" children's hardcover. There's something about the songwriting that gives these simple mosh pit tunes some added weight though, in much the same way as the great Celtic Frost material managed to overcome a similar trait. The performances are very tight & well integrated which certainly helps with plenty of space left in the songs thanks to an element of restraint having been taken with the arrangements. This is naive, youthful metal music for people that live & die by the genre & I just happen to be one of them which helps greatly in the appeal of a release like this one which seems to take the speed metal-infused sound of the earliest thrash records like Metallica's "Kill 'Em All" & Slayer's "Show No Mercy" & blends it with the influence of the classic Venom material.

The material drawn from the "Tyrus" demo is of a very similar standard with all four songs being enjoyable. There's a fair bit of variety in tempo across the tracklisting which keeps things interesting with even the slower numbers like "Crucifixion" & "Shrine of Satan" maintaining a solid footing in thrash thanks to their dark feel & evil lyrical themes. Hobbs sounds quite angry here, much more so than on "Liar" where you can be forgiven for thinking it's a completely different person because he sounds nothing alike, & you can very easily detect the impact of Venom's Cronos on his approach. Opening track "Bubonic Plague" reminds me heavily of Slayer's "The Final Command" & I don't think that's a coincidence although the guitar solo section may well have been lifted straight off of "Kill 'Em All". The speed metal influence is very noticeable on "Liar" & I get the feeling that it may have been recorded prior to the demo but it's hard to say for sure. It's certainly not as successful as the demo material & is the clear weak point of the release. "Cold Steel Warm Death" possesses a similar speed metal backbone & (along with "Shrine of Satan") sounds a little more raw & abrasive than the first two songs taken from the cassette thanks to some variation in the production between tracks. 

While "Rats Will Have Their Feast" may not make for essential listening for the average international thrasher, it does offer a rare insight into the earliest attempts at emulating the thrash metal sound that had taken the world by storm a few years earlier. The fact that it took that long is really a testament to just how isolated Australia was from the rest of the world in a pre-internet era. These recordings will always hold strong nostalgic appeal for someone like myself who spent many late nights & early mornings raising their drunken metal claws to the sky to this material but it's actually held up pretty well by modern day standards too thanks to some pretty decent songwriting & a reasonably good sound quality so you could do a lot worse than to check it out.

For fans of Rampage, Renegade & Hobbs Angel of Death.

Popular Swedish black metallers Watain first came to my attention around fifteen years ago through their 2003 sophomore album "Casus Luciferi", an experience that I really enjoyed which saw me venturing either side of it to indulge in the band's first & third albums in 2000's "Rabid Death's Curse" & 2007's "Sworn to the Dark". The latter offered me a similar level of appeal to "Casus Luciferi" & saw my interest in Watain being well & truly maintained while their debut album "Rabid Death's Curse" delivered a milder brand of entertainment which didn't encourage me to seek out repeat visits. Watain have very much lost their way with me since that time with the 2010's not treating them very well at all. Even my couple of live experiences have been fairly lacklustre to tell you the truth but things started to look up again with 2022's "The Agony & Ecstasy of Watain" seventh album which was their best work in a long time. It's been eons since I heard the Swede's first-up effort though & this month's feature release nomination would seem like as good a time as any to reassess the merits of Watain's early sound.

The production job on "Rabid Death's Curse" isn't amazing. I guess it's nothing out of the ordinary by black metal standards but Håkan Jonsson's drum sound is terribly lacklustre while bassist Erik Danielsson's vocals could probably have been better highlighted.  It took me a listen or two to get used to but I eventually found myself coming to terms with it. This is a different sounding Watain to the one that most fans have flocked to anyway though as it's much less melodic & entirely more traditional in its take on the classic black metal sound. You won't find too many dalliances with Dissection-style melodics here as there are relatively few risks taken on "Rabid Death's Curse", so much so that I'd argue that most of us would likely not have come across this release if it had sported a different band moniker on the front cover. Most of this material goes for broke on the higher tempo blasting with much less time afforded to eerie atmospherics. There's a clear tendency to want to portray themselves as being "evil" too & it's easy to see that Watain were still fairly young & immature at this early stage with the band all still sitting within an age bracket of 18-20.

The biggest obstacle that I faced with "Rabid Death's Curse" can be found in the drumming of Jonsson. He clearly seems to fancy himself as a Marduk-style blaster but his ability to deliver on that concept falls noticeably short of the mark with his blast beats being very messy indeed. This flaw takes a lot of the gloss off of those sections & leaves me with the clear understanding that early Watain were at their best when they showed more restraint by slowing things down a touch. Guitarists Pelle Forsberg & C. Blom produce some more than acceptable black metal riffs here although they aren't always terribly original in how they go about creating them. You see, Watain were a little late to the table to get away with producing an album that sounds this familiar with the Scandinavian scene having well & truly peaked during the middle of the previous decade. Still... there's something about the classic black metal model that lends itself to well produced emulation, isn't there?

"Rabid Death's Curse" is essentially a flat line when it comes to quality & consistency with all eight tracks included sitting at pretty much the same standard. This leaves the listener with a tough task when trying to identify favourites amongst this lot as there are no clear highlights. In saying that though, there are no creative failures to speak of either so I've found myself enjoying the whole album, at least once I'd found a way past my issues with the blast beats. If I had to pick a few of the stronger songs then I'd probably go for opener "The Limb Crucifix", "Life Dethroned" & "On Horns Impaled" but I could just as easily have selected any of the other five songs too given how closely they sit to each other.

Despite the consistency in the tracklisting, there's can be no denying that Watain were not a top tier act at this stage of their evolution. In fact, I'd suggest that they sat smack-bang in the middle of the third tier which is where I place most of the artists that give me mild enjoyment without commanding much in the way of replay value. The Swedes would quickly improve on that position over the course of their next two full-lengths but I'd still suggest that "Rabid Death's Curse" was an acceptable first-up effort for a young band that was still discovering their own capabilities. It may not make any sort of bold creative statement but it does showcase an understanding for the genre from an aesthetic point of view with the atmosphere being suitably dark & grim & the song-writing being attractive enough to keep me engaged. The band would return much better for the run in three years time, this time having dropped guitarist Blom for a new three-piece lineup, & would begin their attempts at global domination with what I consider to be their best record, so one gets the feeling that "Rabid Death's Curse" was an essential stepping-stone in that process. It's just not necessarily an essential one for your average black metal listener, even if I think it's definitely worth a spin or three.

For fans of Valkyrja, Mayhem & Ondskapt.

Hey kids, do you like the 1980s? Do you want to go back?

Most people will likely not even give this new Motley Crue EP a chance because of its title. Cancelled: most will assume that it is a shitty attempt at being edgy and controversial, but in all likelihood, is just a drawn out project where the protagonist calls himself a "bad man" for an uncomfortable amount of time. And, having listened to it I can tell you that this assertion is not entirely the case.

Their are basically only two songs here (three if you count the "Fight for Your Right" cover), but they really do not sound that bad. They sound right out of the 1980s with albums like Shout at the Devil and Dr. Feelgood. The issue comes through in the compositions as neither of these two tracks sound like they were given the same love for their choruses as "Kickstart My Heart" once was. "Dogs of War" is fun albeit generic, while "Cancelled" may well as not have had a hook at all.

Which brings us back, once again, to the lyrics. Now, I avoid tabloids like Loudwire and Metalsucks like the plague. They (like many others) have been revealed to be corrupt shills who jerk each other off and promote "their boys," regardless of quality, while talented, independent musicians get shafted. If an attempt to get Motley Crue cancelled was orchestrated, why should Motley Crue care? Wouldn't "their boys" help them out? Or maybe they are terrified of what might happen next?

Motley Crue should not be in hot water for something that was not considered taboo during their prime. But perhaps they should be in hot water from their bath at the retirement home.

I hate when any project is announced as "the finale" and everyone gives their passionate goodbyes, only for that projects corpse to be lifted out of the coffin like its still 1989. This reunion of Motley Crue is just that and Cancelled represents everything that is wrong with remake culture. And, like with Velma, Motley Crue will inevitably be cancelled after just one season as well.

Best Song: Dogs of War

It appears to me that the metalcore kids are beginning to take control over a sizeable portion of the progressive metal community. The kicker is that they don't call it "metalcore" so as to draw the unimpressed Eyre of the progressive metal snob. Instead they call it "Djent" with a silent "D" to prove their sophistication. Allt are a generally new band out of Sweden who made strides throughout the early 2020s and released From the New World just the past week as their first full length LP. And let me just say: nothing about From the New World is remotely prog. It contains thall tuned guitars, atomic drop breakdowns, glitchy production and the occasionally catchy vocal hook. And yet I still really enjoyed it.

I know this album is not without its faults. The production can become excruciatingly frail at times; when guitars are tuned this low with this much feedback, it only makes sense that their would be some peaking in the mix.  In addition, the overall texture of this album does cause some of the vocal lines to become condensed and resorted to backgrounds. But even with all of that, From the New World is actually very concise, has more than its fair share of catchy grooves and licks, and the production issues are more sporadic than I might have made them sound earlier; it's probably a better produced record than the recent albums from Humanity's Last Breath or Currents.

Best Songs: Remnant, Echoes, Emanate, Ephemeral

I came to Norway's Extol fairly late in the game to be honest. By the time they first hit the underground in the late 1990's I was already heading for the exit door as far as metal music went & I wouldn't find myself returning to the scene until around 2009 which is when I first heard their 2000 sophomore album "Undeceived". It left quite an impression on me & received a lot of replays over the coming years & that experience would lead me to head back & explore Extol's 1998 debut album "Burial" & 1999 "Mesmerized" E.P., as well as to look forward to their 2003 "Synergy" third album which is the topic of discussion today. I don't recall revisiting "Synergy" over the many years since as it's generally been "Undeceived" that I reach for when I've looked for an Extol fix but Ben's introduction of the band's 2005 fourth album "The Blueprint Dives" to me a couple of years ago revitalized my interest in the band. I hadn't checked out that album before & it really hit the spot for me, despite it seeing Extol finally breaking free of the chains that tied them to their early extreme metal roots. It's been quite a while since I crossed paths with "Synergy" now, around fifteen years to be exact, but I held vague memories of it being a pretty decent release so this month's The Pit feature release nomination was most welcome.

Wow! "Synergy" jumps straight out of the gates with amazing complexity. It's one SERIOUSLY technical record performed by some incredibly ambitious & undeniably talented musicians. Extol's death metal roots had been completely cast aside by this stage in their evolution with the general consensus being that "Synergy" is a progressive tech thrash record. Look, there are certainly some thrash influences on display (i.e. Coroner, Believer, etc.) with three or four of the songs containing enough of a thrash component to justify the tag but the record is much better suited to a lone progressive metal tag when taken holistically as its scope is far more wide-reaching than the thrash metal genre allows for. The vocals of front man Peter Espevoll are quite raspy & a touch blackened, sitting somewhere between Meshuggah's Jens Kidman & a black metal shriek most of the time which is well suited to the occasional forays into tremolo-picked black metal territory. The links to Christianity are unfortunate but, in truth, they play very little role in the way the album plays out if you don't actively seek out the lyrics. The guitar solos of Christer Espevoll (Azusa/Benea Reach) & Ole Børud (Fleshkiller/Schaliach) are a real highlight & show both of them to be well on top of their chosen craft with a high level of sophistication displayed in the way they construct their leads. I can only imagine it must have taken drummer David Husvik (Azusa) a very long time to learn this material as it's heavily weighted towards unusual time signatures & polyrhythms. He does a splendid job of it though if you ask me.

The tracklisting on "Synergy" is very consistent with no weak songs being included to tarnish the overall impression left by the album. The high level of complexity does make it challenging for any of the numbers to really stand out from the rest as genuine classics but the struggle to balance out technical wizardry with ear-catching hooks is not isolated to Extol. It's been a perennial issue for ultra-progressive bands like this one over the years & if there's one area that Extol probably needed to improve a touch then that's it. Thankfully, we'd see them do a better job at it with 2005's "The Blueprint Dives" album which did contain a couple of true gems. If I had to pick favourites amongst this lot then I'd have to go with opener "Grace for Succession", "26 Miles From Marathon" &, my pick of the bunch, the thrashy "Paradigms". The quality does dip just a touch towards the end of the album with both the folk pop piece "Aperture" & thrashy closer "Nihilism 2002" being more acceptable than they are impressive but it's hard to complain as neither are exactly filler either. You get the feeling that Extol were likely beyond producing filler at this point in their careers given the strong grip that each member has on their chops & musical vision. Peter Espevoll's vocals can sound a touch one-dimensional at times & one gets the feeling that a more interesting clean singer may have been able to take the album to the next level.

I'm pleased to advise that "Synergy" is another high-quality & quite challenging release from an excellent metal band that sits very comfortably just behind "The Blueprint Dives" as an holistic package. It's actually surprised me a bit as I hadn't given it quite as much credit when I first encountered it back in the day. Perhaps it's not the most appropriate selection for a The Pit feature release given that it seems to be more closely affiliated with The Infinite but it's certainly exciting enough to encourage the thrashers out there when it hits on some of its higher tempos.

For fans of Believer, Azusa & Lengsel.

Finnish funeral doom metal masters Shape of Despair are an artist that I'm very much indebted to my brother Ben for having helped me discover many years ago now & I've followed them with interest ever since. I believe it was 2001's classic "Angels of Distress" that was the first of their releases to grace my ears & it made a significant impact on me at the time. That would have been around 2009 & I'm pretty sure that I've given all of Shape of Despairs proper releases a crack since then, along with their 1998 demo "Alone in the Mist". It's a credit to the band that literally all of these recordings were of a high quality but that somehow hasn't translated into a slew of high ratings from me at the Academy because I'm shockingly still yet to commit to an informed rating or review of any Shape of Despair release until today. Now would seem to be as a good a time as any though & what better way to begin than with a record that I've always felt would probably end up being one of my favourites in 2015's outstanding "Monotony Fields" fourth full-length.

With a lot of funeral doom metal, I find that my mood can play a role in my enjoyment of the music but that doesn't seem to be the case with Shape of Despair's stronger work. Their sound seems to transcend the limitations of the genre in many ways & you won't find a better example of that than with "Monotony Fields" which is ironically one of the least monotonous funeral doom releases you're gonna find. The word "atmospheric" is bandied around the metal scene far too often in my opinion but it would seem to be totally appropriate for Shape of Despair with the influence of genuine ambient music adding an additional layer of depth & emotional engagement. The glistening production job of Max Kostermaa beautifully highlights the depth & substance in this music too with the guitar tone being thick & full & the synthesizers washing over the listener with elegance & class so things never sound too dreary or repetitive. Both of the vocal styles of new male vocalist Henri Koivula (Throes of Dawn) are ridiculously effective with his ultra-deep growls proving to be truly cavernous while his cleans represent some of the highlights of an otherwise already stupendous creative effort. Female vocalist Natalie Koskinen (i.e. the ex-wife of former front man Pasi Koskinen) is used more sparingly but chimes in at the perfect moment to provide further melodic highlights to an already impressive soundscape the effortlessly pulls on my heart-strings, so much so that I felt close to tears at one point during this revisit which is no small feat these days.

The first half of the album is utterly stunning with three of the opening four songs (i.e. "Reaching the Innermost", the title track & "The Distant Dream of Life") sitting amongst the greatest metal music I've ever heard in my life. The re-recording of the title track from 2010's "Written in my Scars" E.P. (a bonus track on some releases) is equally as impressive & is a magical way to close out the release.  The remainder of the material is all of premium quality too though with only "Withdrawn" failing to see me reaching for my more elite scores. This is funeral doom with hooks & they're as beautiful as you'll find in extreme metal with the keyboards of guitarist Jarno Salomaa playing a starring role throughout. As a long-time fan of ambient music, it's rare that you'll see that genre represented in such an accurate form on a metal record. It's also unusual to hear metal guitarists playing with such restraint in the interest of constructing more subtle yet fully realised atmospheric masterpieces. Shape of Despair just seem to have an incredible understanding of their chosen craft & the sound that they've created here amounts to significantly more than the parts that make it up.

I can't gush enough over "Monotony Fields" to be honest. It deserves a lot more attention than it's received over the years as it's often overlooked in favour of Shape of Despair's earlier works but is clearly playing in the same space in terms of class & quality. It's a rarified air that only the untouchable Esoteric have managed to reach with any sort of consistency & one that leaves me wondering how I could have left it so long to put pen to paper about an act that I've long admired. This is essential funeral doom metal that should be on every The Fallen member's playlist this month.

For fans of Doom:VS, Colosseum & Ea.

So... A Loded Diper album exists. If you're familiar with the Diary of a Wimpy Kid books and films, you know what Loded Diper is. If you're not, let me fill you in without spoiling too much. Loded Diper is a heavy metal band in which the main character Greg Heffley's brother Rodrick plays drums. All members of the band are in high school, except the lead vocalist Bill Walter who is in his 30s and still living with his grandma. The books involving Rodrick and his band, like Rodrick Rules and Diper Overlode, are a couple of my favorite Wimpy Kid books because of how much I like metal band-themed kinds of stories. Of course, I don't tolerate Rodrick's bullying behavior towards Greg.

I got my hopes a little too high when I discovered this album. The thing is, it's not an official Loded Diper album, more like a fan-made compilation. It starts with the two official songs from the live-action Wimpy Kid movies, and then the rest is just fan-made tracks, whether attempts at actual songs or just dialogue-sampled rock/metal instrumentals, similarly to Spongecore where they make metalcore/deathcore songs over Spongebob Squarepants dialogue.

The two official songs are actually quite fun, starting with "Exploded Diper" from the Rodrick Rules movie. This mid-tempo heavy metal/hard rock tune is both comedic and anthemic, and worth headbanging to. The chorus almost reminds me of the pre-chorus of Metallica's "Master of Puppets". The other official song is from the Dog Days film, and is a fun yet goofy-a** cover of Justin Bieber's biggest (s)hit "Baby". It starts off similarly to the original then gets cranked up into punky hard rock. Rodrick performs the song in an attempt to impress Heather Hills (older sister of Greg's crush Holly) at her birthday party, but it ends up going spectacularly wrong.

Then the fan-made tracks begin, starting with "Diper Overlode". It's just a sh*tty slacker rock attempt to make a song out of the official lyrics written in the Wimpy Kid Do-It-Yourself Book. I'm pretty sure I can make something a lot better and more metallic using those lyrics. The dialogue-sampled instrumentals cover the rest, and they're all only either OK or poor quality. The only one I really enjoy is "Rodrick Rules", with its kick-A thrashy metalcore instrumentation.

Now I've seen the new animated Wimpy Kid films on Disney+, and the new Rodrick Rules film has an official song called "Can You Smell Us Now?" The song also appears in the Diper Overlode book. Some may be turned off by the odd vocals by Bill Walter (at least compared to Bill in the live-action film) and the ridiculous lyrics (what the h*ll is a "chocolate cow"?!), but it's truly a hard rock/glam/heavy metal tune to get even the most serious metalhead grooving. And while it doesn't appear in the Loded Diper album because it was released a few years before the release of the song and the film it appears in, I wish it was there.

If I were to show you how to make a Loded Diper playlist, take the first 4 songs and replace "Diper Overlode" with "Can You Smell Us Now?". Everything else, throw it into the fire. Now I'm hoping for an album consisting of songs by Enslave the Mollusk, Nate Wright (from Big Nate)'s rock band, whether official or fan-made....

Favorites (only ones I like in the official album): "Exploded Diper", "Baby", "Rodrick Rules"

Florida death metallers Obituary played an extremely important role in my teenage years. The late 1980's had seen me very quickly being transformed from a pimple-faced hard rock & heavy metal kid into a fully-fledged thrash nut off the back of the Big Four but it wouldn't be long before the lure of the darker & more intense death metal world would start to progressively increase the tension on the chord it had attached to the back of my pants when I first heard Death's "Leprosy" album. Some devastating experiences with underground metal radio programming would lead to me purchasing both of Obituary's first two albums (1989's "Slowly We Rot" & 1990's "Cause of Death") & I very quickly became a convert for life. The vocal talents of front man John Tardy left me gasping for superlatives & he's remained my favourite death metal vocalist to this day while the incredible doomy atmosphere & dazzling guitar virtuosity of James Murphy on "Cause of Death" have left it in the top echilon of the global death metal movement for all the decades since. By the time 1992's super-successful "The End Complete" album hit my CD drawer, I regarded myself as an Obituary tragic who had even secured dubbed copies of the early Xecutioner demos so my anticipation for 1994's "World Demise" fourth album was pretty much at the maximum recordable level & I'm not sure whether that actually had an impact on my feelings about the album but I've generally always found that I rated it a fair bit higher than other metalheads seem to. I've returned to it regularly over the years but have never gotten around to rating it until now so it'll be interesting to see where it sits against Obituary's highly celebrated earlier works.

"World Demise" saw Obituary displaying signs of an internal battle of sorts. On the one hand, we see a band that already had a very well-defined sound & who is very comfortable to stay within those parameters with the album once again being recorded at Florida's notorious Morrisound Studios with legendary death metal producer Scott Burns. All of Obituary's albums to the time had been recorded in this fashion so this was hardly a leap of faith. The band's lineup had remained the same as the one that saw original lead guitarist Allen West returning to the fold for "The End Complete" after Murphy had finished his duties with "Cause of Death" so there was definitely a lot of consistency around the Obituary machine at the time & when you first hear "World Demise" you won't be terribly surprised with what you hear initially. There are subtle differences on display that are worth discussing though. Obituary's first album "Slowly We Rot" saw them blending a doomy Celtic Frost sound with a thrashier & more up-tempo Slayer one. We'd seen the thrash influence easing a little over time but "World Demise" sees them predominantly steering away from their faster material, instead focusing on more restrained tempos with the groovier elements they'd worked into their riff structures being further amplified to become the main focal point & the Celtic Frost inspiration being further embraced & celebrated. The album still sounds very much like Obituary but they'd certainly limited their focus a little towards a groovier form of death metal that West would later take with him to his Six Feet Under project. The cover artwork indicated that Obituary might be starting to take a more socially conscious approach with their lyrics too & I tend to think that's got some merit to it although John Tardy had never been big on structured lyric sheets, instead tending to improvise with random words & phrases. The most noticeable addition to the Obituary sound though was the inclusion of a number of samples, some taking the form of industrial sounds that are layered over the death metal. While this is an interesting idea, I feel that the band have failed in that endeavour as these samples are poorly integrated & seem to be fairly random in the way they've been tossed into the mix. They really don't add anything to the music, instead only acting as more of a distraction than anything.

Despite these changes, if you were already a fan of Obituary then you'll feel very much at home with "World Demise". The rhythm section of bassist Frank Watkins & drummer Donald Tardy tie in so tightly with rhythm guitarist Trevor Peres that you'd be forgiven for thinking that they were conjoined twins. In fact, it's hard to argue with the idea that Obituary might have been the tightest death metal band on the planet at the time & when you toss in a wonderfully thick & heavy Scott Burns production then it can only lead to a positive outcome as far as I'm concerned. Frank & Donald provide the perfect platform for the endless string of heavy-weight Peres riffs that Obituary have built their career on while John Tardy was at the pinnacle of his powers at this point with his delivery sounding as monstrous & pissed-off as we'd ever heard from him before. Allen West's lead guitar performance is the clear weak point for me personally as I've never thought he was much of a talent on his chosen instrument. James Murphy's insane melodic solos on "Cause of Death" had only provided further weight to my pre-existing opinion that a top-level shredder could take the band to all new levels & it seems a shame that West's return had seen that potential being limited.

The tracklisting is very solid indeed & I've found myself enjoying all twelve tracks included. There are a couple of less impressive numbers in the super-groovy "Redefine" & the more basic "Lost" but the tight performances & excellent production job still give those numbers a level of enjoyment that makes them more than acceptable. The remaining ten songs are all excellent, if not terribly different from Obituary's previous work with the riffs & vocals feeling fairly familiar for the most part. There are a couple of absolute gems here though with "Paralyzing" comparing very well to past glories & the incredible closer "Kill For Me" sitting amongst Obituary's finest work. My copy of the album contained a bonus track called "Killing Victims Found" which sounds a little closer to Obituary's previous albums but is also very good & I can't help but think that the album would have been stronger if they'd replaced "Redefine" or "Lost" with it.

Overall, I can't deny that "World Demise" is the least impressive Obituary album to the time but I think it still sits fairly comfortably alongside "Slowly We Rot" & "The End Complete" to be honest so I would still suggest that it's heavily underrated & should be essential listening for fans of the band, particularly given that I don't think they've matched it in terms of consistency or quality in all the years since. This is one tight & chunky slab of Florida death metal that doesn't try to be anyone else but Obituary while still trying a few new ideas with varying levels of success. I can deal pretty easily with the groovier feel & still really enjoy "World Demise" a good thirty years later so I'd encourage fans of their earlier work to check it out if you haven't already.

For fans of Morgoth, Six Feet Under & Celtic Frost.

By the middle of the 1990's, Chicago industrial metallers had become very much a stable inclusion in my life. From the time that I first discovered them through their 1989 breakthrough fourth album "The Mind Is a Terrible Thing to Taste", I'd been captivated by their exciting high-tech world of future-thinking music for the coming robot apocalypse, but once Ben discovered them then things started to escalate as we explored each important release from their back catalogue together. 1988's "The Land of Rape and Honey" was very popular in our household during the first part of that decade but it was the trio of "The Mind Is a Terrible Thing to Taste", their 1990 live album "In Case You Didn't Feel Like Showing Up (Live)" & the incredible career-defining 1992 fifth album "ΚΕΦΑΛΗΞΘ [Psalm 69]" that really took things to the top rung of the metal spectrum. "ΚΕΦΑΛΗΞΘ [Psalm 69]" had quite simply changed our worlds so there was huge anticipation around the release of their follow-up during the first half of the decade. Unfortunately though, the four-year gap between albums saw my attention veering off further into extreme metal territory &, by the time 1996's "Filth Pig" finally saw the light of day, my enthusiasm had waned a touch. Ben would purchase the album on CD & it would be some months before I actually got around to hearing it as I was no longer living at home. By the time I did, I'd already had the chance to hear & read a little bit about "Filth Pig" which was generally thought to be a step down for Ministry so it's hard to say whether that left me with any internal biases or not but the album did seem to me to be a little disappointing when compared to the three that came before it. I still quite liked it but it didn't get many replays after those first few listens & I haven't returned to it since so my memory of what it contains was a little hazy going into this week's revisit. Thankfully though, I've been rewarded for the faith I've kept in band leader Al Jourgensen because "Filth Pig" is a very solid record in its own right, if not the classic that so many people would have been hoping for.

It probably would have been very easy for Ministry to pump out "Psalm 69 Part II" & continue their rise up the ranks of the commercial metal ladder but "Filth Pig" is an altogether different kettle of fish. It's a much darker, less immediate & far less accessible record than people were expecting with some major creative differences to previous works which in many ways reflect the mentality of Jourgensen at that particular point in time. There are very few up-tempo moments on "Filth Pig" & you won't find many goth club anthems like "NWO", "Just One Fix" or "Jesus Built My Hot Rod" either. Instead we get a slower, druggier & more introspective record with much less of a reliance on electronics & samples. The use of dissonance in the guitar work often borrows from genres like sludge metal & noise rock & you'll struggle to identify anything that touches on the thrash-inspired riffs of "Psalm 69". In fact, this is a much less riff-based record in general. Jourgensen's signature heavily-effected gurgly vocals are still there & are a feature of the album but his lyrics reek of someone that's in quite a lot of pain, who holds a fairly negative view of the world & who is struggling with their own infamy to an extent. The brief touches of tongue-in-cheek humour & a fair chunk of the brightness & excitement had been sucked out of Ministry, at least from a surface level, so "Filth Pig" requires a deeper investigation if you're to uncover its value which can be found in the fact that this is indeed some dark & heavy shit at times.

The tracklisting kicks off in very strong fashion with the first two tracks (industrial metal opener "Reload" & the slower sludge metal dirge that is the title track) both being very solid indeed. In fact, I'd suggest that the title track is a genuine Ministry classic that sits comfortably alongside the band's best work but things drop off a touch for the remainder of the A side. "Lava" & "Useless" are both pretty decent but I really struggle with "Crumbs" which has a very loose song structure & sounds completely underdone. Things pick up significantly for the start of the B side with a string of three excellent pieces in a row, ending with the brilliant industrial metal anthem "The Fall" which is the other clear highlight of the album for me. As with the A side though, things descend back to a merely acceptable level for the closure of the album with the last two rockier tracks (including the popular cover version of Bob Dylan's "Lay Lady Lay") failing to meet the same sort of standard as the more captivating first part of each side. When viewed holistically, the stronger material clearly outweighs the less essential stuff but I do think that the tracklisting could have been evened out a bit to ensure a more even spread of the better songs rather than bulking out the start of each side with the back end feeling a little less vital.

I've noticed that "Filth Pig" seems to be tagged as an industrial sludge metal record on some competitors websites & I can kinda see where they're coming from but that's not entirely accurate as the sludge component isn't regular enough to warrant a primary tag. Despite the fact that this is a less electronically reliant record than we'd come to expect from Ministry over the years, "Filth Pig" is still first & foremost an industrial metal release with the sludge & industrial rock components playing more of a supporting role. It's a very good one too & it's made me reassess my position on its merits. While it may not compete with the classic trio of releases I mentioned previously & is undeniably a step down from the lofty heights that Ministry were playing during their peak creative period from 1989-1992, I do think that "Filth Pig" should still be regarded as an essential release for those with a penchant for their particular brand of heavy music. Yes, it's probably the least impressive thing they'd done since their early synth pop & EBM records of the mid-80's but that's not to say that it's won't still be a quality inclusion in your collection that offers a point of difference from Ministry's previous work. I don't believe I've heard anything Ministry have released since this record (at least not the full releases anyway) but I'm led to believe that there's not a lot of meat on them bones so I'd suggest that this gives "Filth Pig" even more value for fans who may be desperately trying to revisit the band's heyday. This is a largely overlooked & mildly underrated release in the band's back catalogue that deserves a little more attention in 2024 than it generally receives so I'd encourage you to check it out.

For fans of White Zombie, Prong & Godflesh.

Ministry have made it big in pioneering the American side of industrial metal, with their 3 albums from 1988 to 1992 being commercially successful. With their 1996 album Filth Pig, the band's sound became darker and heavier than before, almost reaching sludge territory. According to founder Al Jourgensen, people hated the album. They wanted the humor and electronics of Psalm 69, but the album doesn't have much of those. I still like the heaviness though.

Darkness is often what I look for when I want to take a break from the brighter reality. And sometimes, darkness can be a bit intimidating. It can also have a bit of humor, from the literally meat-headed young American politician in the album cover. A whole lot you can find in the dark...

"Reload" is a short violent introductory song practically picking up where Psalm 69 left off. I was hoping for that kind of excitement in the title track, but it goes for a little too long and has almost given me brain damage. "Lava" is equally as long as the previous track, but it flows well in the riffs and vocals, almost like a march to a Southern battle. "Crumbs" is OK, but crumby in some places.

"Useless" fits well with its name, being far too weird for its own good. "Dead Guy" has awesome lyrics and nice groove. "Game Show" is the long 8-minute epic of this album. I wouldn't say it's bad in any way, but it's still a little weird and not something I would listen to on the daily.

"The Fall" seems to fall in quality but can stand back up for some time. Bob Dylan's "Lay Lady Lay" has been given the cover treatment here. It has a more alternative edge, a bit like Killing Joke at that time. No wonder it easily became a radio single! Really cool psychedelia there. Finally, "Brick Windows" brings back some earlier experimentation. Fantastic lyrics in this one!

Other things to mention about Filth Pig include the solid production and instrumentation. Those help keep the general quality stable, even in the lower half. There's nothing with switching gears to a heavier sound. A lot of us here are up for something like that. I just think a few of the songs in the album could've had better execution....

Favorites: "Reload", "Lava", "Dead Guy", "Lay Lady Lay", "Brick Windows"

For many extreme metal fans, the filthy Swedish death metal sound is the epitome of what death metal is all about. It's thick & noisy BOSS HM-2 Heavy Metal pedal guitar tone & up-beat, punky beats give it a lovely balance of savagery & accessibility. For me personally though, I've always preferred the more sophisticated & brutal US sound, even if I've been able to appreciate the way that the Swede's go about their craft. I was exposed to artists like Entombed, Carnage & Dismember very early on in the death metal story & had always found them to be interesting but rarely did I find myself making regular returns to these records which was telling. Entombed's classic "Clandestine" sophomore album was one of the rare exceptions & I still regard it as the clear pinnacle of the movement today with every other record simply competing for second place. Dismember are generally regarded as the undisputed runners-up & I did quite like their first two proper releases "Like an Ever Flowing Stream" & "Pieces" as well as two of their three early demo tapes but it was rare for me to place them into regular rotation like most death metal fans did. Despite that, I still found myself purchasing 1993's "Indecent & Obscene" sophomore album on CD upon release & I recall finding it to be one of the better Swedish death metal releases & my favourite Dismember record to the time. I've recently found myself wondering exactly where I'd place it in terms of the entire movement though so it's been on my radar for a return visit for some time now.

The whole "blood & guts/gore" thing was probably at its peak in 1993 with a lot of acts competing against each other to see who could shock the public the most &, in doing so, give themselves some additional hype & street credibility by getting their cover artwork banned. Dismember had already created some controversy off the back of a song called "Skin Her Alive" from their debut album so it was no surprise to see them trying to replicate that media exposure with the front cover of "Indecent & Obscene" which is unapologetically gruesome. From memory I think this was probably a factor in me picking the release up so early because I remember thinking that it'd be banned or censored shortly afterwards which would give my CD some added value. The band had returned with the same line-up that had recorded their first full-length & would once again record at the infamous Sunlight Studios in Stockholm with legendary Swedish producer Tomas Skogsberg. The result of their efforts sounds a little different to "Like an Ever Flowing Stream" & "Pieces" though with the overall production being noticeably cleaner. The classic Swedish wall-of-sound guitar crunch is still there but it's nowhere near as noisy as it had been up until that point & I think that element was something that attracted me to "Indecent & Obscene" more than other similar releases of the time. Everything is easily discernable in the mix with the excellent vocal performance of front man Matti Kärki (Carbonized/Carnage/General Surgery/Murder Squad/Therion) being given plenty of room to move over the top. The guitar solos are probably the only area where I think Skogsberg got it a little wrong as they sound unusually restrained at times given the carnage that surrounded them. In fact, the technical ability of lead guitarist David Blomqvist (Carnage/Entombed/The Dagger) was still fairly basic anyway so the solos wouldn't have been anything to write home about regardless to tell you the truth.

"Indecent & Obscene" kicks off in splendid fashion with opening cut "Fleshless" being my favourite inclusion on the album & a powerful way to begin proceedings. The short two-minute blast of energy that is "Eviscerated (Bitch)" is my other clear standout as it invariably manages to get my blood pumping. The remainder of the album hasn't quite hit the same sort of levels I expected of it given my lofty expectations though to be fair. I don't think there are any weak tracks included per se but there isn't anything that I'd suggest is particularly classic though either with the remaining seven tracks all being no more than decent. It's not mentioned all that often but there's a little more groove to this material than there was previously & I think you can hear the impact of Entombed's ground-breaking "Wolverine Blues" on Dismember to an extent, even if I wouldn't suggest that any of these numbers are fully-fledged death 'n' roll songs. There are certainly elements of that sound at play here though & perhaps that's why I've struggled to commit as I've never been the biggest fan of that style, despite holding a fair bit of respect for "Wolverine Blues" as the clear protagonist of the movement. Closer "Dreaming in Red" even sees Dismember adding a fair bit of melody to their sound, so much so that I'd suggest that it should qualify as melodic death metal.

Going into this revisit, I was fully expecting to come out of it with a solid four-star rating that would place "Indecent & Obscene" above Dismember's earlier releases in the death metal pecking order. That hasn't ended up being the case though & I've found the comparisons with the Swede's earlier releases to be much more closely fought. I think I'm gonna have to admit that I enjoy "Like an Ever Flowing Stream" the most of the three records these days but there's very little between the other two. I'm gonna have say that my gut tells me that I enjoyed my recent revisit to 1992's "Pieces" E.P. just slightly more than this resitting of Dismember's second album though so it's gonna be resigned to third place for the moment. I do recall really digging 1989's "Reborn in Blasphemy" demo tape during my tape trading days though so perhaps it might be worth checking out again at some point to see if it might actually usurp the lot of them. As it stands though, "Indecent" & Obscene" is another decent effort from one of the leaders of the Swedish death metal movement & I'm sure it'll offer plenty of appeal to the Swedish diehards but my misgivings about the style that Dismember plays have once again seen my rating being capped at a less than spectacular (yet still more than respectable) level.

For fans of Entombed, Carnage & Grave.

I have a shocking admission to make ladies & gentlemen. Despite being a fan of English doom/death godfathers Paradise Lost from as early as 1991's "Gothic" album, I've honestly never regarded them as a top tier metal band. While I found Nick Holmes' death growls to be a highlight of the bands early material, I also struggled a bit with the very basic nature of the compositional work & a bit of inconsistency in the song-writing. In fact, I'd even go so far as to say that I've never really enjoyed releases like 1988's self-titled demo tape or even the band's debut full-length "Lost Paradise" for that matter, instead having to settle for some mild entertainment from "Gothic" & 1989's "Frozen Illusion" demo as far as Paradise Lost's early works go. Strangely though, I'd gone out & bought 1992's "Shades of God" third album on cassette upon release without really knowing what I was getting myself into. It was an another generally positive experience but saw Paradise Lost starting to transition into something a little different from the doom/death sound they'd built their reputation on to that time. Holmes' death growls had gone halfway towards a cleaner delivery &, in doing so, sounded a little awkward while the death metal component was all but gone with the album being better described as conventional doom metal with some gothic elements here & there. It left me wondering where these Poms would go with their next album but my interest in the band was obviously still alive as I would pick up a digipack CD version of 1993's "Icon" fourth full-length as soon as it hit the shelves & would eagerly consume it for several months afterwards.

"Icon" sees Paradise Lost having fully completed their transition into what's generally regarded as being one of the primary figures in the gothic metal movement. The attractive gothicisms of the cover artwork had a positive effect on me & was possibly one of the reasons that I committed to buying the album after not ever fully committing myself to the band's earlier work. The Simon Efemey production job represents another aesthetic positive for "Icon" with the record sounding really crunchy & bright which was a considerable improvement on his output with "Shades of God". It gave "Icon" a much greater level of accessibility than Paradise Lost's previous efforts which has probably gone a long way to explaining why I like this record more than anything they'd done previously. The band had kept the same lineup throughout their existence to the time which I'd suggest was also a contributing factor in their successfully having continued down the path of reinvention they were taking with each successive release too.

The biggest thing that I noticed about "Icon" upon first laying it into my CD player as a kid was that Holmes' vocals were different again from the ones I'd struggled with a little bit on "Shades of God". This time he'd dropped the growling altogether & concentrated on delivering some admittedly still fairly aggressive clean vocals that sounded very much like he was trying to be Metallica's James Hetfield in terms of both tone & phrasing. That's not necessarily such a bad thing though as he does suit the music around him very well. The problems start to become evident in his general singing abilities though as his performance is noticeably pitchy throughout the album, a flaw that I've definitely found much more difficult to overlook in 2024 than I did back in 1993. It was only after I'd finally accepted Holmes' vocal limitations that I began to see "Icon" in a similar way to that which saw it becoming a mainstay of my playlist during the mid-1990s. Musically though, "Icon" represents a noticeable step up in class for Paradise Lost with the song-writing being clearly their most consistently strong to date. Lead guitarist Greg Mackintosh has finally developed an understanding of his technical limitations & works within them with his leads no longer suffering due to his lack of theoretical understanding.

The sound that "Icon" championed is a little difficult to describe holistically as it doesn't really sit all that comfortably within the standard "gothic metal" model. For starters, the gothic component isn't all that strong although I've struggled to find a better descriptor for the album which seems to hover around a number of different subgenres. There are clear thrash metal & heavy metal elements at play here & I'd suggest that Metallica's "Black Album" was quite influential on the more accessible direction the band had decided to take, particularly given the timing of the release which came just two years after Metallica had changed the world with their monumental commercial success. There's a much doomier aesthetic to how they present that influence here though, without resorting to actual doom metal all that often. You should expect to hear a lot of chuggy, mid-tempo riffs that benefit greatly from the crunchy production job & are well served by the improved song-writing quality too.

"Icon" was easily Paradise Lost's most consistent record to the time & likely still is. On this revisit I've found myself gaining enjoyment from all but one of the thirteen tracks on offer with the wishy washy "Weeping Words" being the only genuine failure on offer. There are a few huge highlights for me here with the doomiest inclusion "Joys of the Emptiness" being my personal favourite. I was also blown away by the brilliant gothic closer "Deus Misereatur" which is a wonderful way to finish the album. "Colossal Rains" is another gem that takes me right back to my teenage years & it's been interesting that it hasn't necessarily been the tracks that I adored the most as a kid that I've placed up on a pedestal in my more mature age, although there are a number of other very solid examples of the more refined new Paradise Lost sound here too.

Going into "Icon" I was fully expecting to dish out one of my more elite ratings given the impact it made on me in my youth. After all, I still regard it as the best Paradise Lost release I've heard to this day. Unfortunately though, it hasn't quite delivered a top tier result, even if I have maintained my opinion of it as the band's finest hour. I guess I just don't rate Paradise Lost as highly as most other people seem to & some of that will no doubt be due to their lack of sophistication when compared to the other members of the Peaceville Three, both of whom I regard as being ultra-premium examples of their type. Still, there's no denying that "Icon" is one of the best gothic metal records I've ever heard & I'm somewhat relieved that it hasn't ended up dipping below its even more accessible younger sibling "Draconian Times" after all these years.

For fans of Tiamat, Sentenced & Moonspell.

I am fairly familiar with Pagan Altar's earlier material, specifically the debut which dates from 1982, their Time Lord EP which dates from '78/'79 and also their 2004 album Lords of Hypocrisy. The first two are interesting early examples of the metamorphisis from heavy metal to traditional doom metal that was beginning to take place in the late seventies and early eighties, similar to Bedemon/Pentagram or Witchfinder General material from the same era. I wasn't so much taken with the later album however and found it quite lacklustre and disappointing.

So, my first impressions of 2006's Mythical & Magical are far more positive, I must say. It is a much more interesting release with it's quite wide range of influences, whilst still sounding consistent. The biggest issue for a lot of fans is likely to be Terry Jones' nasal and fairly high-pitched vocal delivery which may not be to everyone's taste, but if you are OK with King Diamond and Cirith Ungol you should be fine. Talking of Cirith Ungol, there are certainly elements employed by the Californian epic metallers to be found here on Mythical & Magical, albeit a little more restrained. Just to be clear though, there is very little to no doom metal present on M&M, other than in the very loosest sense. This is predominantly (epic) trad metal with plenty of seventies hard rock influence. There is even some folk-prog featured with the enjoyable, The Crowman, which wouldn't sound at all out of place on Jethro Tull's fantastic 1977 Songs from the Wood album. Make no mistake though, this is principally a traditional heavy metal album and Pagan Altar's emergence during the early NWOBHM is apparent both in the songwriting and the production of M&M with it's relatively raw and reedy sound.

For me the album is at it's strongest when they go all-in on the more epic side of things and allow Alan Jones to indulge his soaring solos, such as the Comfortably Numb-esque closing solo to The Sorcerer. I would suggest it is Alan's guitar work that raises this album to whatever heights it occupies as it is his riffing and soloing that completely dominates the album's standout moments.

I find it fascinating that Terry and Alan are father and son. I don't know of any other band with such a relationship - I really can't imagine being in a band with my old man and I certainly can't imagine it would have lasted long if I was!

Until recently, my exposure to Melbourne hardcore punk/crossover thrash outfit Depression was limited to their 1988 sophomore album "Thrash Till Death: Studio Tapes" which I picked up on while still a just a young chap that was finding my way in the Sydney extreme metal scene of the early-to-mid 1990's. I tended to associate with members of older bands at the time, often through my girlfriend who was fairly well connected & knew everyone that was everyone in the local scene. We used to frequent metal shows & goth night clubs on weekends, events that often ended up continuing on at someone's house so that the debauchery that was going on at the club had the opportunity to play out more fully behind closed doors. It was at these after-parties that I'd discover a lot of the more underground Australian metal releases with them being played at loud volumes by older & more experienced metalheads while everyone partook in whatever ungodly shenanigans they were into at the time. It was in that environment that I'd first hear Depression who I was led to believe had transitioned from their early days as a hardcore punk act for that particular release. I knew pretty much fuck-all about hardcore back in those days so I assumed that Depression's second album would be the only one of their releases that might interest me but my experiences over the last few weeks have proven otherwise & have also shown me that this Melbourne act played a far more significant role in the early Australian thrash story than they're generally given credit for, being largely absent from the conversation on documentaries such as "Thrash or Fuck Off!" which details the early players who contributed to the birth of the thrash metal movement in this country.

By late 1985, Depression had put out a fair bit of material from the time they first formed in 1982. There are a couple of early demos floating around with 1983's "Body Dump" tape being a relentless, high-speed hardcore assault that struggled to contend with a rubbish production job. 1984's "Money Chain" single saw the band starting to add more variety of tempo & incorporating chuggy, palm-muted riffs that were more commonly found in metal, a concept would be further expanded on their self-titled debut album that would be released in March of 1985. In fact, "Depression" would actually include four or five genuine crossover thrash tracks amongst the twenty-six short bursts of energy it contained & some of that material would likely have represented the most extreme music to come out Australia to the time as far as I can see. The "Australia, Australia" E.P. would appear eight months later in November 1985 &, unlike most local metal historians, I believe that it's here that the Aussie thrash (& subsequently extreme metal) story first begun.

"Australia, Australia" contains nine short tracks that fly by in quick succession but there's enough variation in their approaches to allow the individual tracks the chance to differentiate themselves from one another. The E.P. still sounds very much like a hardcore release from a production point of view with a layer of dirt & grime having been allowed to protect the song-writing from ever becoming too accessible & this is further accentuated by the snotty punk vocal delivery of Spike whose journey with Depression would end after this release. Original drummer Danny had been replaced with Nothing Sacred & future Hobbs Angel of Death skinsman Sham Littleman who delivers a high energy & very capable performance here but would move on to other things before Depression's next studio effort. The most noticeable difference between the "Depression" album & "Australia, Australia" though is the significantly increased ratio of punk to metal in the guitar work of band leader Smeer whose riffs now appear to unapologetically showcase the influence of bands like Slayer, Anthrax & Exodus which made for a much more appealing prospect for this ol' thrasher. In fact, the role that this component plays in the sound & feel of "Australia, Australia" is so important in its aesthetic that I find it impossible to understand how the E.P. hasn't been claimed as a crossover thrash record previously with no sign of any such connections being found online outside of the band themselves claiming that their sound combined punk & metal in interviews. When you listen to the releases of the other supposed early thrash bands of the local scene from the same period (see Nothing Sacred, Renegade, Prowler, Armoured Angel, etc.), you'll discover that Depression were really the only ones who had any right to claim that they were a genuine thrash metal act too which makes their omission from the discussion even more perplexing.

Of the nine songs on offer, I'd suggest that seven of them have a strong enough metal component to be tagged as crossover thrash while the short & violent "TV Lies" & "Dirty Fucken USA" stay predominantly in hardcore territory & "The Plan" takes kind of an each-way bet. This is all good shit though with Depression continuing to prove themselves to be capable song-writers by not delivering a single dud track. The energy levels are infectious & I honestly struggle to keep still during this record which can only be a good sign given the importance of the physical reaction in music of this intensity. Regardless of which genre they should rightfully belong to, it's hard to deny that the title track, "TV Lies", "The Box", "Eternal Genocide", Copper Chopper" & closer "The Side Up" are all really solid & enjoyable anthems for a misspent youth &, while I'm not usually all that big on crossover thrash, I'd have to suggest that this leaves "Australia, Australia" sitting up in elite territory when it comes to my more favoured crossover releases which is really saying something.

It's honestly baffling that a release like this one has managed to not only go unrecognised by the Australian metal scene for so long but has also failed to gain the sort of attention it deserves from the hardcore market too from what I can see online. While I may not be the most knowledgeable reviewer on the topic of hardcore history, I definitely know good music when I hear it & this is it ladies & gentlemen. It's also worth noting that 1985 would be the year that the earliest crossover thrash releases of any note would first see the light of day on a more global scale (S.O.D.'s "Crab Society North" demo & "Speak English or Die" album, D.R.I.'s "Dealing With It!" album, Slaughter's "Surrender or Die" demo, Concrete Sox's "Your Turn Next" album, Corrosion of Conformity's "Animosity" album, etc.) so that makes "Australia, Australia" a little more significant from an international & historical perspective as well, particularly given that I regard it as a stronger record than a good chunk of those releases. Now, if that sort of statement doesn't encourage the old skate-punk in you to explore this criminally undiscovered Aussie gem then I'm not sure what will. Get stuck in guys!

For fans of D.R.I., Suicidal Tendencies & S.O.D.

By the time I finally got to Dream Theater's first live release "Live at the Marquee" some time around 1997/98, the Boston progressive metallers had become one of my very favourite metal bands. I'd been blown to pieces by their classic second & third albums (1992's "Images & Words" & 1994's "Awake") which had seen me further indulging in their 1989 debut album "When Dream & Day Unite" & 1995 "A Change of Season" E.P. & my urge to seek out more of this wonderfully complex yet inherently catchy metal music seemed to hold no boundaries. Of course, it would only be a matter of time until I'd pick up a CD copy of 1993's "Live at the Marquee" E.P. which was recorded in London on 23rd April 1993 as a part of their European tour. The tracklisting includes a selection of material taken from Dream Theater's first two albums as well as an instrumental jam piece called "Bombay Vindaloo" which they only performed on a handful of occasions & was never recorded. It also contains as a short intro track called "Another Hand" that was written specifically for the tour & was intended to be a smooth segway from "Another Day" into "The Killing Hand". At 47 minutes in length, this certainly looked like an attractive prospect for me at the time & it didn't disappoint either as I'd soon find that Dream Theater were a remarkable band in a live environment too, an experience that I've since partaken in first-hand on a number of occasions.

The lineup for "Live at the Marquee" is the same one that recorded the "Images & Words" album with new front man James LaBrie having been with the group for a couple of years by that stage. Keyboardist Kevin Moore (Fates Warning/OSI) was still onboard & would remain a part of the band for another year or so until after the "Awake" album. This was arguably my favourite Dream Theater lineup given that it would produce two of my three favourite albums from the band so it was hard to imagine that this E.P. could produce anything other than a series of diamonds as long as the production job was up to scratch. I wouldn't say that it's perfect but I don't think there's much to complain about in that regard either with all of the instrumentalists being easily identified & nicely separated & LaBrie being given ample room to soar over the top.

It's easy to simply assume that a Dream Theater live release would produce a series of dazzling technical feats & let it wash over you but I don't honestly think that's giving them enough credit because they are truly a remarkable talent & one that I'm not sure has been matched in the decades since. Each member is a highlight in themselves & it really depends on which are your instruments of choice as to who you'll froth over the most. For me personally, it's guitarist John Petrucci (Liquid Tension Experiment) who I regard as the greatest axe-man ever to pick up the instrument. As an old shred-head myself, that's really saying something too because I was raised on a smorgasbord of the most talented virtuosos the 1980's & early 1990's had to offer but this guy simply takes his phrasing & understanding of melody & note choice to its ultimate extreme &, in doing so, never fails to leave my jaw on the ground. LaBrie's performance is also worthy of special attention as he would appear to have been right in his sweet spot at this point in his career with no sign of a dud note or a wavering, uncertain vocal. His tone is as pure as we'd heard from him too & he brings another element to the two tracks taken from "When Dream & Day Unite" which was recorded with underrated original singer Charlie Dominici. The rest of the band kinda works in small teams with Petrucci & Moore laying down a series of intertwined yet incredibly intricate runs & celebrated bassist John Myung (The Jelly Jam/Platypus) & metronomic drum legend Mike Portnoy (Flying Colors/John Arch/Liquid Tension Experiment/Metal Allegiance/Neal Morse Band/The Winery Dogs/Transatlantic/Yellow Matter Custard/Adrenaline Mob/OSI/Sons of Apollo/Twisted Sister) effortlessly reproducing some of the most rhythmically demanding & complex metal music ever written.

The tracklisting is impeccable & had me salivating before I'd even pressed play on my first listen. Opening any progressive rock/metal release with the unbelievably complex "Metropolis (Part 1: The Miracle and the Sleeper)" would surely a devastating effect on any fan of this style of music & the execution is so meticulous that it's almost hard to believe that we are listening to humans & not some sort of higher beings from outer space. The two tracks that are taken from "When Dream & Day Unite" have never sounded better & are buoyed by the fresh production job & LaBrie's added layer of accessibility & class. The prog rock fueled ballad "Surrounded" is probably the least significant inclusion but it's still performed with heart & finesse while their can be no denying the emphatic statement that is closer "Pull Me Under" which is arguably one of the pinnacles of the entire progressive metal movement & will likely be labelled as the highlight of any set it's a part of for all eternity. Interestingly though, it's the improvised jam piece "Bombay Vindaloo" that's left me most enamored with "Live at the Marquee" as it contains one of the greatest examples of guitar playing I've ever heard in my life. When I think of what the instrument is capable of after all these years, I often think of this track as it encompasses everything that I aspired to be in the late 1990's & this single track makes the entire release worthy of my hard-earned cash, even if the rest of the E.P. had been found to be nothing more than filler. Thankfully though, that's anything but the case.

Wow! This revisit has really thrown a cat amongst the pigeons for me as I've rarely held "Live at the Marquee" up as highly as I'm about to. I regard both the "When Dream & Day Unite" & "Images & Words" albums as genuine progressive metal classics but I'm gonna take the bold step of claiming that this E.P. is even better than anything Dream Theater had produced before. Hell, five of the six songs are classics in their own right & "Surrounded" is pretty fucking solid too so it's really hard to see any chinks in the band's armour off the back of this muscle-flexing outing. Dream Theater have produced a series of wonderful live releases over the years but I can't see how any of them could be too much better than this one & it's hard to imagine why "Live at the Marquee" hasn't received more kudos over the years as it's rare to see it claimed as one of the prog metal master's more essential releases. I'm gonna have to assume that it's the E.P. format that's responsible for that as that's the only conclusion I can come to. There's not a doubt in my mind that "Live at the Marquee" should be essential listening for every member of The Infinite though.

For fans of Symphony X, Rush & Liquid Tension Experiment.

Sometimes even the most committed of metal historians can have their opinions influenced by circumstances if they're not careful. A preconceived notion of what you should expect from a release can often play a role in how you'll react to a record upon the first listen or two & that's why it's really important to give music at least a few listens before making a judgement on its value. I've rarely seen a better example of that than with the 1985 debut E.P. from Melbourne five-piece Nothing Sacred, a release that I've generally despised over the many decades since I first heard it as a youngster. It's only recently that I listened to it with fresh ears & realised that I'd been WWAAAYYY too harsh on it. The only explanation I can come up with is that I was put off by the release's having been consistently linked to thrash metal when, in reality, there's almost no sign of that genre to be found amongst the four songs included here. When I finally managed to tackle "Deathwish" with unbiased ears I discovered that it's actually not a bad heavy/power metal record though, & one that deserves to be heard too.

Nothing Sacred had been around for a couple of years by the time "Deathwish" was recorded & had built up a significant live following in their home city too. Their only demo recording had come in the form of a live demo that showcased an entire set from a show that sounds like it was a headline gig given the engagement levels of the audience who seem to be well across the band's usual setlist. That demo included a number of cover versions from bands like Metallica, Judas Priest, Savatage & Motorhead as well as a series of well-constructed originals that compare fairly well with the covers for the most part & I quite enjoyed the release overall, despite a few flatter numbers & a questionable vocal performance. The instrumental capabilities of Nothing Sacred were clearly pretty well developed even at that early stage & that comes across very clearly on "Live", despite the dodgy recording quality.

Given the pre-internet release dates of "Live" & "Deathwish", it's actually not that easy to place them into a Nothing Sacred timeline. Both seem to be listed as 1985 releases & I've seen an interview where the band state that "Deathwish" was recorded in 1984 & released the following year. I get the distinct impression that the E.P. hadn't been released at the time of the live recording though as front man Mick Burnham never mentions it when announcing the couple of tracks that were taken from "Deathwish". I also consider it to be a little strange that Nothing Sacred didn't play half of the E.P. that night, instead resorting to several weaker numbers. That leaves me wondering whether "Live" was actually recorded in early 1984 or whether the band are telling porkies about "Deathwish" being recorded in 1984 but I guess it really doesn't matter all that much. What does matter is that Nothing Sacred have produced a pretty good first up studio effort here & one that I've misjudged for most of my life.

The four songs included on "Deathwish" clock in at just under twenty minutes with not a second being wasted. The production is fairly basic as you'd expect from an underground Australian release from the mid-1980's but it's certainly acceptable & allows the song-writing to showcase its wares well enough. The performance of the band is once again very good & you can easily tell that Nothing Sacred have played their fair share of Iron Maiden cover versions over the previous couple of years. I'm particularly impressed by the way Mark Woolley (Hobbs Angel of Death) & Richard Snape incorporate their lead guitar work into the song structures because it highlights a clear understanding of the role that melody plays in the way a song can build & release tension. The rhythm section of bassist Karl Lean (Hobbs Angel of Death) & drummer Sham Littleman (Depression) are rock-solid too & prove they're no slouches when they get the opportunity to throw themselves into an energetic Maiden gallop or a tremolo-picked speed metal riff. Burnham's vocals still aren't perfect & he's certainly not one of the more capable heavy metal front men on the international scene but he delivers a much better performance than we heard from him on the live demo & I found myself getting used to him fairly quickly, despite the occasional pitchy moment.

It's hard to deny that my feelings on Nothing Sacred's links to thrash metal were warranted because there's fuck all here. I've seen the band stating as much over the years too so it's not surprising that the young teenage thrasher I was when I first experienced "Deathwish" struggled a little with it from a stylistic perspective. Now that I've accepted Nothing Sacred for what they are though, I've found them to be really pretty easy to stomach. The live demo was mainly a heavy metal release although there were a few speed & power metal number chucked in there as well as the obvious thrash cover in Metallica's "The Four Horsemen". Here we see Nothing Sacred starting to emphasize the epic side of their sound a little more which places "Deathwish" somewhere between Iron Maiden's NWOBHM sound & the more muscular & epic US power metal one. The two songs that are shared with the live demo were obviously some of the more power metal inclined inclusions on that release so I guess "Deathwish" was always gonna feel a little more power metal oriented & I think that's a good thing because I've enjoyed that aspect of the record.

Despite my earlier struggles with the release in general, the tracklisting is actually very consistent with all four songs being worthy of your attention. The more atmospheric number "Old Man" is possibly the weaker of the four as it's chorus hook is a little flat but it still manages to bring enough to the table to keep me interested. The clear highlight is closer "The Curse" which is also the most clear-cut power metal tune with Burnham's lyrics traversing the typical fantasy topics the genre is known for. "No Rest" & the infamous title track are also pretty good though & you can see why the band had built up such a strong local following because they compete well with their international competition as far as professionalism goes.

After this experience, I'm gonna have to apologise to Nothing Sacred. I hate to admit it but I've allowed my own preconceived biases to impact my affection for what was actually a pretty important release for my home country's local metal scene & I'm a little ashamed of it too as I pride myself on my ability to separate myself from that rubbish. Oh well... better late than never I suppose. Despite the fact that "Deathwish" has no right to be referenced as an early Aussie thrash record, it's a pretty reasonable heavy/power metal release that will very likely offer some appeal to most of our The Guardians members so if that's you then I'd encourage you to check it out.

For fans of Iron Maiden, Prowler & Iron Angel.

My life was incredibly interesting back in the middle of the 1990's, although that's not to suggest that it was always pleasant. I left home at 19 years of age to run away & live with my Philippino girlfriend who I was very much in love with at the time but she had a string of fairly serious character flaws that would see me being perennially engulfed in a world of drama & emotional turmoil. I would go through some enormous highs & lows during this period but would also have to grow up very fast. We were an intrinsic part of the Sydney metal scene at the time with our social network lying almost exclusively between the bands that I played in or with but the metal community was still quite small in Sydney during that period which led to a lot of crossover with the goth scene. Every weekend we'd all congregate in the CBD at a small pub called Century Tavern before heading off to the metal gigs on Friday nights & the goth night clubs on Saturday nights. Despite all of the chaos within my relationship, we felt like we were a part of something special, kind of a close-knit group of kindred spirits. Because of our gothic indulgences, the CD collection we would spin in our home would include a combination of metal & goth-related releases with most of the goth material being brought to my attention by my partner after she was introduced to it by her goth friends. Amongst those releases was Type O Negative's 1993 third full-length "Bloody Kisses", a record that she became enamored with after we'd repeatedly danced our asses off to the two big goth anthems "Christian Woman" & "Black No. 1 (Little Miss Scare-All)" on dark, smokey, late-night dancefloors. I have to admit that I didn't find the album to appeal to me half as much as it did to her but I certainly didn't mind it. It would be 1996's incredible "October Rust" that would see me properly converted to Type O Negative though & it would become somewhat of a life-changer & a crutch for me after our tragic break-up. I'd subsequently follow the band into 1999's excellent "World Coming Down" fifth album after Ben purchased it on CD & those two records would be where my Type-O sweet spot would remain for the next 25 years. I'm not sure I've returned to "Bloody Kisses" in all that time to be honest & some of that may be due to the memories that are tied with it but my curiosity has been peaked recently after I noticed just how divisive our members opinions seem to be on it. Let's see how it's fared all this time later.

The production jobs on "October Rust" & "World Coming Down" both played a major role in their appeal with the glistening, full sound of the former & the cold, suffocating one of the latter being almost as important as the music itself. The sound of "Bloody Kisses" isn't as fully realised in my opinion. It sounds a little thinner but isn't bad as such. The signature down-tuned, fuzzy bass & guitar tone is obviously there but I don't think that the bigger sections of the album reach the same heights as the weight of the combined sound isn't as substantial. It's a very lllllooonnnnggg record though with the total run time amounting to a massive 73 minutes, a factor that does have an impact on my enjoyment of the overall package if I'm being honest. It feels like the band have needlessly attempted to extend "Bloody Kisses" & this comes very much at the expense of consistency with the album containing a whole string of different subgenres, often amounting to short interlude-style pieces with greatly varying degrees of success. There can be no doubt that "Bloody Kisses" contains some very strong material but I'd suggest that it also showcases some very misguided creative endeavours & a questionable sense of humour.

Yes, humour has always played a part in the Type O Negative experience & I for one wish that they'd opted to keep it out of their musical lives because we have very different ideas about what is funny & I don't think there's much of a place for humour in gothic metal anyway, is there? I mean, isn't the whole attraction meant to be the dark, brooding yet still quite beautiful atmospheres being created? I would have thought so anyway & Type O Negative have regularly crossed the boundary walls of that aesthetic over the years but rarely as often as they do on "Bloody Kisses". Take the opening track "Machine Screw" for example which seems to be a depiction of a woman having sex with a machine. Does that really present femininity in a way that women will be proud of? Personally, I find it to be quite repulsive & offensive to women & wish the band had simply got on with creating the wonderfully emotive gothic metal they've become known for. I'm aware that women find deep-voiced front man Pete Steele to be really attractive but can we really overlook these failings? He clearly has a warped view of sexuality in my opinion & I find it to make me feel really uncomfortable at times. We'd already heard him pushing the politically correct line further than it should go on the Carnivore records & I for one wish that he'd left it with his previous band.

Anyway... you'll rarely find a record that's more inconsistent & driven entirely by its highlights as "Bloody Kisses". The best material generally takes the form of the longer songs & can reach some fairly transcendent levels at times, generally off the back of Steele's miserable tales of loss & the interesting melodic decisions the band have made to accompany him. The doomy title track is the clear classic here for me personally while I also really enjoy "Christian Woman", the clever cover version of Seals & Croft's "Summer Breeze" & solid closer "Can't Lose You". A couple of the interludes are really cool too such as the industrial "Dark Side of the Womb" & dark ambient piece "3.0.I.F." but then we have to balance those highlights out against a string of poor creative decisions & silly, tongue-in-cheek humour through tracks like "Fay Wray Come Out & Play", "Kill All The White People", "Set Me On Fire", "We hate Everyone" & "Too Late: Frozen". Thankfully the stronger material outweighs & overpowers the weaker inclusions, perhaps only due to the increased length afforded to the more significant tracks on the fourteen-song tracklisting.

Despite its failings, "Bloody Kisses" isn't a bad record when viewed holistically. It's simply not the classic release its so often reported to be though & never comes close to approaching the two records that succeeded it, particularly "October Rust" which resides a good two steps above this effort. For that reason, I've often found myself struggling to understand the hype around "Bloody Kisses" which is often referred to as the band's finest moment by some fans. I simply can't see it while I'm sitting through some of the sillier tunes included here & even the best material like the title track serves as a reminder that Type O Negative would do that stuff even better in years to come.

For fans of Moonspell, Paradise Lost & later Woods of Ypres.

When you think of Nightwish, what's the first thing that comes to mind?

This is a genuine question for those who are reading this and are familiar with the Finnish, Symphonic metal giants. This is a band that, through the 2000s, produced a number of high quality symphonic metal records that were packed to the brim with excellent production, fun and catchy hooks, and well thought out, well constructed album concepts. However, in recent years it appears like most of the lead decision making has been placed in the lap of Tuomas Holopainen since the departure of Tarja in 2006, not to mention the other band members all being replaced, with only Emppu as the other original member left. 

When Floor Jensen took over the lead vocal role in 2015 on Endless Forms Most Beautiful, the decline in quality was noticeable, but not unbearable. But with Yesterwynde, we can see that Tuomas has finally reached writers block. With most of the original pieces absent, all that's left is what Tuomas thinks Nightwish sounded like on Wishmaster. But without other voices to bounce off of, the rest of the band feels like they are just along for the ride. As such, Yesterwynde sounds like the soundtrack to a Marvel movie, without the Marvel movie. Any motivic development that was present on previous albums has been neutered in favour of some of the worst progressive metal tendencies that I can recall; unconnected style flips, unnecessary tempo changes, bloated runtimes that include features that add nothing and instrumental wankage for its own sake. The core of Nightwish ceases to exist.

If the songs sounded decent I could have made some excuses, but even the production has gotten more lousy. And I get it, symphonic metal is hard to produce properly; my biggest criticism of Lorna Shore's Pain Remains was how it felt like the band was playing every single instrument at the same time all of the time. Without a clear feature everything blends together. And that is especially so on Yesterwynde. Unlike Lorna Shore, Floor Jansen's vocals are clean and operatic, and that makes the mesh of sound even worse. Symphonic instrumentation is overwhelming when paired with the power metal instrumentals of guitar, percussion and keyboards. And the vocals are compressed so far into the back of the mix, whatever kind of thematic arc Nightwish might have presented on this album is muted.

The album does take a bit of a symphonic turn around "Spider Silk" and the albums production becomes a little bit more bearable, but by that point the damage has already been done, and the heavier soundscapes is what I come to hear from Nightwish in the first place. It's too bad to say, but even for legacy act territory, Yesterwynde is not a good album. It almost has the exact same issue that I had with Within Temptation's 2019 album, Resist. I like symphonic metal, I really do, but too many modern bands try to make an album sound epic by stacking layer upon layer without actually stopping to ask if its still sounds good or has just become an audible mess. 

Best Songs: Perfume Of The Timeless, Spider Silk

Back in 2012 I had a close friend that was going through a pretty hard time on a personal level but had started to embrace metal music as a not only a form of release but also a way of connecting with me. We would head out to live shows quite often at the time & she was generally pretty open to learning about all styles of metal so there were often gigs that we attended where neither of us knew much about the headliners. One such gig would be an Earth Crisis show at Sydney's Manning Bar in February of that year & we bought tickets for it with plenty of time to spare so I decided to explore what Earth Crisis had to offer in the weeks prior. This led me to checking out all of the New York metalcore legends' back catalogue to the time in quick succession, starting with 1992's super-raw "All Out War" E.P. & finishing with their latest release to the time in 2011's "Neutralize the Threat" seventh album. While a few of their records left me fairly cold (see "All Out War" & the run of three albums from 1998 through to 2001), there were some entertaining listens to be had elsewhere with their peak period coming between 1993's "Firestorm" E.P. & their 1996 sophomore album "Gomorrah's Season Ends" (which was my favourite at the time). Earth Crisis ended up being pretty disappointing live & my friend found the violent crowd of dickheads to be pretty hard to tolerate so it wasn't the best night I've ever had but my relationship with a couple of Earth Crisis' best releases has been maintained & I've been looking forward to revisiting them again in recent times.

1993's "Firestorm" E.P. very much represents their coming of age as a band. While the "All Out War" 7" single sounds more like a demo, Earth Crisis' second proper release sees them being catapulted into the metalcore limelight with a vastly more mature & well-defined sound. The production job is excellent which gives the simple arrangements enough weight to hit the listener right in the chest with the band's tight & chunky New York hardcore-inspired riffage. Earth Crisis certainly stay well within their capabilities here as they were far from being virtuosos but they seem to really know their limitations & work well inside those parameters. In fact, the guitar work on "Firestorm" is particularly basic, so much so that virtually any guitar novice could tackle this material with confidence. But it's also entirely effective as the song structures are fluent & there's miles of room left to highlight the outstanding vocal prowess of angry front man Karl Buechner who I find to be comfortably the focal point of this release. His aggressive delivery feels entirely authentic & you'll genuinely believe that he's lived his lyrics.

The E.P. contains just the four songs, the first two of which are joined together & represented as the one lengthy track. All four are worth hearing but it's the first three that are where the real gold is here with the title track remaining as Earth Crisis' signature tune to this day. My personal favourite is mosh pit anthem "Unseen Holocaust" but I could just as easily have selected "Firestorm" or "Forged in the Flames" as there's not a lot between them. Closer "Eden's Demise" contains a few riffs that I consider to be a step down from the rest of the material on the E.P. but it's still more than acceptable so "Firestorm" is a rewarding & consistent release that sees Earth Crisis flexing their muscles with a newly found purpose.

So, is "Firestorm" Earth Crisis' best work? Well, I didn't think so up until now but perhaps I might have to reassess that position. One thing's for sure, I'm definitely more open to 90's metalcore now than I was when I first checked out the Earth Crisis back catalogue so I can see some of my scoring being bumped up a bit. I'd also suggest that any neck-tattooed, ear-stud wearing metalcore kid worth their salt should have an appreciation for "Firestorm" as one of the fundamental building blocks of the scene they now love so much. Perhaps it's not significant enough to crack my top ten list but it's a thoroughly rewarding & entertaining listen that never over-extends itself & stays right in Earth Crisis' comfort zone for its entire fifteen-minute duration.

For fans of Disembodied, Living Sacrifice & Merauder.

When Lamb of God returned to their previous name of Burn the Priest for the release of a covers album, they managed to find a real sweet spot for themselves with these ten tracks from a selsction of punk, hardcore, industrial and alt-rock bands.  I do not class myself as a fan of either iteration of the band's music from a discography perspective, however here on Legion: XX they bring an appeal in the earthiness of the tracks they choose to perform.  They push the right buttons for me at least with the likes of Kill Yourself (S.O.D.), We Gotta Know (Cro-Mags) and Kerosene (Big Black).

Blythe finds his best territory on the Bad Brains cover especially and drummer Chris Adler sounds like he is having a ton of fun on more or less all of the tracks.  In fact, the vibe throughout the whole album is a positive one with the band capturing a real jam session ethos on the record.  As a result, Legion: XX sound like a real fun album.  Whilst not being one I will probably revisit very often beyond this couple of weeks of discovery, it has kept me entertained and works well as an accompaniment for driving around or even as background music when working.

So, as it turns out my favourite BtP/LoG release is one were the band wrote none of the music themselves.  If nothing else this proves that you do not necessarily need to make music yourself that appeals to me everytime.  Harking back to your roots and exploring some of you influences on a release is not always as shameful and corporate a move as can often be implied.

Starting my time with a band's material via their new album isn't always a conventional way to begin, but I'm fine with Veritas being my first P.O.D. full-album experience. At this point, the band has moved quite far from their rap/nu metal roots while throwing back to them every now and then. Veritas is all about heavy aggression and anthemic power to stay true to what they are...

After releasing many albums in 3-year intervals (on average), they left a 6-year gap since their 10th album Circles. Now their true side is back on board in Veritas (Truth). While P.O.D. still have a bit of their earlier rap/reggae, they have some heavier riff fire here to please the fans.

Straight out of the opening "Drop", the drama bomb explodes with the vicious rapping of Sonny Sandoval and aptly used bass drops. Lamb of God's Randy Blythe unleashes his growling thunder, "Set fire to the system, set fire 'til they listen". Then "I Got That" has the swaying guitarwork of Marcos Curiel as Sandoval's vocals alternate between rapping, singing, and screaming, "We got that underground original, nothing to prove". The aggressive anthem "Afraid to Die" includes haunting singing melody by Jinjer vocalist Tatiana Shmayluk. The vocals by both Sandoval and Shmayluk reach the height of defiance in one of the strongest alt-metal standouts of the year! "Dead Right" is a shorter punk-ish song, alternating between soft and heavy dynamics.

You can definitely recognize what the band is known for in "Breaking". The riffs and rapping stay fresh. The mid-paced "Lay Me Down (Roo's Song)" was written in memory of Roo Bublitz, one of Sandoval's friends. I think anyone who's unaware of that might think this is about that kangaroo kid from Winnie the Pooh. The singing in the chorus has a lot of raw passion, "Live your life, keep the faith, don’t ever cry for me!" Positive lyrics cover "I Won’t Bow Down" that makes another highlight. "This is My Life" sounds like if the post-grunge my brother likes collides with the reggae punk of Bad Brains, complete with guest vocals by Cove Reber of Dead American and Saosin.

Then we have "Lies We Tell Ourselves", another mid-paced anthem. It has a pretty cool guitar solo by Curiel. "We Are One (Our Struggle)" marks a swift return to the earlier heaviness as the band try to tear down the cultural walls holding us back. We then reach the atmospheric conclusion that is "Feeling Strange", as clean guitar and a looped beat lead to a heavy dramatic chorus. A little strange, but I can live with that.

All in all, Veritas has some solid anthems that can please alt-metal listeners and longtime P.O.D. fans. I'm still not up for more of this band though, especially considering the overuse of rap or reggae at times. Still they have their strength, and that is the truth....

Favorites: "Drop", "Afraid to Die", "Lay Me Down (Roo's Song)", "I Won’t Bow Down", "Lies We Tell Ourselves"

Finnish death metallers Depravity were only together for a relatively short time & released only a very small amount of material but it was strong enough to gain the attention of the extreme metal underground which led to me picking up both of their E.P.'s through the tape trading scene. I believe it was their 1992 "Remasquerade" E.P. that first graced my ears but it impressed me enough to see me seeking out the follow-up "Silence for the Centuries" which was a little stronger & seems to have developed somewhat of a cult following over the 31 years since its release, deservedly so too in my opinion because, listening back now, one has to wonder why Depravity weren't more well known back in the mid-1990's.

"Silence of the Centuries" is a five-song affair that spans just 21 minutes but leaves a lasting impression nonetheless. It doesn't attempt anything you haven't heard before but is unanimously successful in everything it undertakes. The mastering does tend to be a little variable with the volumes differing a little from track to track & the MDM-Studios production job can sound a touch different with each song too but I feel that this element only adds to the release's mystique. The Depravity formula is simple yet efficient & effective. It takes the rock-solid, muscular, crunchy BOSS HM-2-driven Swedish death metal sound & combines it with the more atmospheric, moody & melodic sound of their Finnish homeland. It works an absolute treat too with the eerie yet quite beautiful lead guitar component being a clear feather in Depravity's cap.

The musicianship levels of the four instrumentalists is well up to the task with the rhythm section of bassist Petri Ilvespakka (Diaboli) & drummer Matti Johansson (Korpiklaani) laying the perfect platform for the guitars & vocals to work from. The Entombed-style tremolo riffage of the twin guitar attack of Elias Viljanen (Diaboli/Sonata Arctica) & Olli are another major protagonist in the direction of this material with the melodic hooks proving to be both highly memorable & a touch more atmospheric than you would normally expect from your dime-a-dozen Swedish mob, kinda like Darkthrone delivered on their debut album "Soulside Journey". In fact, there's also the occasional reference to black metal in the way the riffs are constructed too which adds layer of appeal for me. The only lineup change from 1992's "Remasquerade" E.P. is the replacement of front man Petro with newcomer Martti who had also appeared on the "Phantasmagoria" demo earlier that year. While Martti's delivery isn't anything terribly original, his deep, dark death grunts work really well with the Depravity sound & remind me of Benediction's Dave Ingram at times although they're a little less intelligible.

The short tracklisting is entirely without blemish but I will say that "Silence of the Centuries" is a touch top-heavy. The opening three tracks are easily the best ones with the opening title track being my personal favourite. The last two songs ("Phantasmagoria" & "Vacuum of Thoughts") are both pretty decent but seem like a step down from the earlier tracks. Still... it's hard to be too critical because Depravity have produced an excellent release here & one that compares very well with its Finnish death metal peers. While it may not try anything too bold, it does manage to borrow from the Swedes in a fashion that still sounds undeniably Finnish which is a testament to the band's maturity & class. I think most death metal fans will find something to enjoy on "Silence of the Centuries" without having to make a huge investment of time. I do have to wonder whether the fact that Depravity's recording career was so fleeting has contributed significantly to their underground following though because I have to admit that it does add a little but of extra intrigue to a release that still clearly belongs in the second-tier of the genre.

For fans of Cartilage, Abhorrence & Demigod.

Aesome record! YEAH!

BLS Is one of the best Heavy Metal band!

Finnish death metallers Sentenced were a minor hit with me during my early tape trading days with their 1992 debut album "Shadows of Past" giving me quite a bit of replay value & subsequently leading me to seek out the band's three earlier demo tapes (1990's "When Death Join Us...", 1991's "Rotting Ways to Misery" & 1992's "Journey to Pohjola"), the latter two of which I really enjoyed. This would lead to me showing a keen interest when word of a sophomore album hit the underground & I'd quickly pick up a high-quality rip of the album through one of my two Blue Mountains based traders who owned a CD copy. I'd very quickly realise that the "North From Here" album was a very different prospect to anything Sentenced had delivered previously though &, on paper, it could have been one that left me a little hesitant. The quality of the music it contained was of such a high standard though that I was immediately taken aback & would spend a lot of time with that cassette over the next couple of months. You see, Sentenced had undergone & significant transformation in the time since "Shadows of Past" & it would prove to be one that would make "North From Here" the band's crowning achievement.

The building blocks of the "North From Here" sessions were very similar to those that produced "Shadows of Past" strangely enough. Sentenced had returned to the same recording studio in Tico-Tico Studio in Kemi & the process was overseen by the same producer/engineer in Ahti Kortelainen who has worked with a long list of Finnish metal bands. There had been no changes to the band line-up that produced the debut either so Sentenced would seem to have been in a very stable place when they produced their second effort. The thing is though, it sounds nothing like anything Sentenced had produced previously. The meat-&-potatoes death metal sound of their earlier work has been completely replaced with a complex & quite technical brand of melodic death metal that immediately impressed me with its increased scope & ambition. It's very easy to tell that the band members had been obsessively listening to Atheist while perusing this record as there are so many clear signs of worship across the eight-song tracklisting. The similarities to the Floridian legends' riff structures is unmistakable & suits Sentenced really well too. There's a clear European feel to the melodic component though & one would have to suggest that "North From Here" belongs in the discussion when talking about the earlier examples of the melodic death metal sound. The musicianship on display is outstanding with guitarists Sami Lopakka (KYPCK) & Miika Tenkula weaving a rich tapestry of melodic counterplay while the vocals of bassist Taneli Jarva (Impaled Nazarene/The Black League/Friends of Hell) showcase a blackened snarl that I find to be quite incisive. There are even moments where the band veer into melodic black metal territory at a time when that the subgenre was still yet to be properly defined so it's fair to say that "North From Here" is a dazzling display of creative intent.

Now look, I've never shied away from admitting that the more melodic brand of death metal is much more of a struggle for me than the traditional one but there's something about the sheer class that Sentenced deliver their product with that leaves me unanimously impressed. The tracklisting is invariably consistent with all eight pieces offering enough quality to keep my attentive gaze from wavering. There are a couple of tracks that are less fully realised than others though with "Awaiting the Winter Frost" & the more conventional closer "Epic" coming across as merely acceptable rather than being particularly impressive like the other six inclusions which are all very solid. I wouldn't say that I find any of them to be genuine classics though which keeps Sentenced in the second tier as far as the overall death metal scene goes. There's no doubt that my position changes on that when I limit myself to just the melodic death metal subgenre as "North From Here" is one of the absolute cream of that crop in my opinion. I have to admit that I find it a little strange that the album isn't referred to as technical death metal all that often though as it very clearly falls under that banner as far as I can see. I mean, if Atheist are tech death then this release is too because it so obviously draws upon the same techniques & feel.

"North From Here" was the very definition of a pleasant surprise & would quickly become the jewel in the Sentenced crown. It still sounds fantastic today but seems to have slipped under the radar a little bit over the years as it's rarely talked about when referring to the elite examples of the melodeath sound with people tending to look solely at Carcass & the Swedes. That shouldn't be the case though as "North From Here" competes on that level very comfortably & should be essential listening for those with a penchant for that sound.

For fans of Atheist, Stortregn & Enfold Darkness.

The Australian extreme metal story isn't one that's too well known amongst the global metal community who are generally only aware of relatively few of the main players but Melbourne hardcore punk band Depression would play an important role in the early days of the movement. In fact, of all the artists who would go on to produce genuine extreme metal releases during the 1980's, Depression were arguably the first to form, trying their hand at being a band from as early as 1982. I didn't start to become involved with the local metal scene until around 1988 & wouldn't run into Depression until they'd well & truly transitioned themselves into a crossover thrash metal act with their 1988 sophomore album "Thrash Till Death: Studio Tapes". I never looked to venture back any earlier in their discography until the last few weeks either but the exercise has led to me coming to some startling revelations around Depression's significance in the forming of the Aussie scene of the mid-to-late 1980's.

Depression's earliest demo tracks were released within a year of the band forming & presented a raw, potent & consistently high-tempo sound that possessed pure punk rock energy with front man Spike's vocal delivery being very much in line with that snotty Sex Pistols vibe. They were also very well produced for a demo too & I can see why Depression would have been signed off the back of them. 1983's "Body Dump" demo tape would see Depression becoming a touch more violent & hardcore. The shorter songs show the four-piece band throwing themselves into their craft on a physical level & exuding a strong level of technical proficiency about what they do too. The production was complete rubbish on this occasion though with the song-writing being muffled by a washed-out live/rehearsal tape aesthetic. I wouldn't say that there was all that much metal in Depression's sound just yet but there are a couple of thrash riffs here & there while the universally high tempos & production issues do tend to leave everything sounding very samey. The vocals were still reasonably clean although Spike's lyrics were spat out with great vitriol & you can easily see how a relentless brand of hardcore such as this one might have spawned the extreme metal subgenres like thrash metal, black metal & grindcore. 1984’s "Money Chain" single would see Depression adding a touch more accessibility to their approach with more restraint & variation being evident in the tempos & with a stronger emphasis on song-writing. You can definitely hear the chugging, down-picked metal influence starting to increase in these three tracks but I wouldn't suggest that the material was particularly thrashy while the vocals still sat largely in the snotty punk space with the trademark political messaging being stereotypical for the punk scene. And that sees us leading into 1985’s self-titled debut album which is certainly Depression's most well-known & highly regarded release.

Now let's get one thing straight right from the start, "Depression" definitely isn't a metal record but it does contain some of the elements that would see these Aussies transitioning into a metal band shortly afterwards. There's no doubt at all about its status as a hardcore punk release though with its 26 short tracks all bounding past at a fair clip. Spike's vocals were now noticeably more aggressive & masculine than they were on those few 1982 demo tracks while the guitar work of Stephen Lazaros (aka Smeer) is abrasive, incisive & attacking. It's very clear that Smeer was becoming more & more influenced by the early extreme metal scene here as his technique is starting to showcase various shared techniques, so much so that we have a few genuine crossover thrash songs here which is really saying something when you consider that this was 1985 & the whole crossover scene would only kick off at that time with bands like S.O.D., D.R.I., Corrosion of Conformity, Slaughter & Concrete Sox all releasing records of significance within that twelve month period. Just listen to songs like "Big Business", "Breath of Death", "They Wouldn't" & "Universal Product Code" (my personal favourite) & tell me that it shouldn't qualify as thrash! This element has really surprised me actually as there are generally a few common names bandied around when people talk about the earliest steps out into Australian thrash & it's very rare to see Depression mentioned in that discussion.

The production job is perfect for this style of music in that it manages to harness the power of a live hardcore punk act while also allowing all of the individual components great clarity. I think this is a real feather in the album's cap actually. The musical proficiency of each band member is also very high for a hardcore debut & I'd suggest that the band took their craft very seriously, not only as angry youths but also as genuine artists. Perhaps the most impressive thing about "Depression" though is the fact that I enjoy every one of the long list of songs included, perhaps not to the point that I'd claim any of them as a classic of any sort but enough to make this a surprisingly enjoyable record, particularly for someone that's not usually much of a fan of hardcore. In fact, on the evidence of this experience, I'd have to suggest that Depression might have been a world class exponent of the hardcore punk sound, if not one that was particularly original in their approach or threatened the top tier of the genre.

Depression would go on to incorporate more thrash into their sound with each release over the next three or four years before they'd eventually call it a day in 1989 but I think it's fair to say that their legacy is a little under-appreciated because, on the evidence of records that followed this one, they played a much more important role in the early Australian metal scene than they're given credit for. If you have a penchant for well-produced, high-quality hardcore punk then I'd encourage you to dig into this fairly unknown release. It might just surprise you.

For fans of Discharge, Disorder & Crass.

Oceans of Slumber have transformed into the metal band who have exhumed the most wasted potential of the 2020s so far. I never thought of them as being a bad ensemble, but a debut album in 2013 that showed promise has fallen on deaf ears since 2018's The Banished Heart. Two follow up releases that improved barely anything and continuing further into 2024 with Where Gods Fear to Speak.

This album is all over the place in its texture/style. I'm not opposed to bands altering their sound to adapt another genre, like how Oceans of Slumber isolate their melodic death roots in favour of doom/gothic metal here, but the execution of these sounds in harmony sounds more like a trainwreck. As a result, the album feels remarkably disjointed; none of these smaller ideas were given any semblance of connectivity and progression throughout the runtime. the record will non-chalant transform from a slow, melodically pleasant doom section into black metal blast beats and death metal howls at the snap of a finger without any preparation. And this, sadly, is further explored in Cammie Gilbert's vocals as well. There are a lot of metal bands that are perfectly fine writing music without harsh vocals (i.e. Katatonia, Within Temptation, late Opeth), but Oceans of Slumber still imagine heavy music not truly being "heavy" without it. So vocal lines become disjointed with a hybrid vocal delivery, which when paired with the poor songwriting, makes the vocals feel even more obtuse.

I thought a lot about the band Epica while listening to Where Gods Fear to Speak and all of the places that Oceans of Slumber should have focused on to make this record better than it is. Unfortunately, many of the best elements of those Epica albums like Omega and The Quantum Enigma is painfully absent here. What we are left with is a band trying to replicate one of the 2010s most consistent power/symphonic metal bands, but adding the worst possible aspects of progressive metal songwriting to the table for an overall lackluster experience. Oceans of Slumber are the modern day victims of this commonplace issue within the genre, but will likely get a free pass because of the progressive metal tag. It's really a shame and leaves this review feeling empty.

Best Songs: Wish, Wicked Game, I Will Break the Pride of Your Will

I've always liked what I heard from Norwegian progressive metallers Conception but hadn't committed to a full release up until now with my previous experience being limited to the odd inclusion on Spotify playlists or on metal radio. I thought I'd start with their most well-known record as it was somewhat of a breakthrough release for the band & I can see why too. There can be no denying the class of a band like Conception & one feels that their critical success was almost a foregone conclusion. The presence of future Kamelot front man Roy Khan certainly didn't hurt their cause either & he plays a monumental role in "Parallel Minds" that sees him being very much the central figure with his pure vocal tone simply oozing of his pedigree in opera which means that Conception really only need to place the right hooks into his capable hands in order to captivate their audience. Whether they succeed in that task is up to the listener to decide though.

"Parallel Minds" isn't the most technically demanding of progressive metal releases but it's certainly complex enough to keep the prog fiends interested. The suitably clean production job & performances afford the compositions the opportunity to connect in a fairly accessible manner & the strength in the song-writing through the first two thirds of the album takes full advantage of it too. The album is highlighted by two genuine classics with the wonderful "Roll The Fire" being as captivating as any progressive metal anthem you're likely to find. "Silver Shine" isn't far behind either while I also tend to favour the more muscular title track. These very strong examples of their type see the album really flexing its muscles from track 1-7 but I can't help but feel that the tracklisting tends to fade a little over the remaining three tracks which are clearly the weakest of the ten on offer with even the epic eight & a half minute closer "Soliloquy" (which was obviously intended to be somewhat of a centrepiece for the album) tending to limp to the finish line rather than galloping in a similar fashion to the earlier material. I still get enjoyment out of all of these tracks & the slight dip in quality hasn't proven to be enough of a concern to see me altering my rating but I do feel that it was somewhat of a missed opportunity nonetheless. 

I'm surprised that I haven't seen more comparisons between Conception & Dream Theater to be honest as "Parallel Minds" showcases a very clear influence, particularly from Dream Theater's classic 1992 sophomore album "Images & Words". Fellow US progressive metal legends Fates Warning were no doubt the other primary influence here with Khan's vocal histrionics tending to sit in the middle ground between Dream Theater front man James LaBrie & Fates Warning's Ray Alder. There are some impressive guitar solos from Ark/D.C. Cooper axeman Tore Østby included which was always gonna tick a few boxes for an old shredder like myself but I also found myself getting into the power metal influence that pops up from time to time, particularly on tracks like "And I Close My Eyes". The ballad "Silent Crying" takes a more commercial heavy metal direction to the rest of the album but has grown on me significantly with each listen after it initially seemed like an ill-guided attempt at achieving radio play. The rhythm section of bassist Ingar Amlien & drummer Arve Heimdal are impressive throughout & give Conception a solid platform for which to work off while keyboardist Hans Christian Gjestvang contributes a tasteful performance that doesn't ever push out into cheese territory.

"Parallel Minds" has really impressed me here. I often find myself digging the more traditional 1980's brand of progressive metal when it contains soaring & universally capable clean vocals & there's no denying Conception's clear qualification against that criteria. Some of the riffage is a little uninspired during the weaker moments (just look at the clear rip-off of the main riff from Pantera's "Mouth For War" in "Wolf's Lair" for example) but the overall package is executed with such efficiency & class that I never find my gaze being broken for too long. I'll certainly be returning to "Parallel Minds" in the future & also look forward to seeing what Conception's next couple of albums offer too.

For fans of Ark, Sunburst & Eldritch.

Progressive/technical thrash/death metal is something I'm up to exploring more of, but I'm still heavily focused on the genres for my main clans. One of my latest attempts was when I checked out Sadist's 1993 debut album Above the Light. Interestingly, this Hemotoxin album doesn't stand out to me as much as that Sadist album. Perhaps one reason is because it sounds to me more like the tech-death/thrash of Revocation with only some progressiveness here and there...

When Time Becomes Loss is the 4th album from this band from Pittsburg (California, not Pennsylvania). Guitarist/vocalist Michael Chavez has pulled off some deathly riffing and thrashy harmonies with technical firepower. His vocals are pretty cool too.

"Morbid Reflection" opens the album smoothly though the production is a bit muddy. Nonetheless, you can hear the energy coming from the guitar and bass. The tech-death/thrash sound definitely sounds like if Revocation time-traveled to the era of Atheist's debut Piece of Time. "Call from the Abyss" kick the drums and guitars up some notches. This is fast wall-smashing metal! "Malediction" burns you to the ground then resurrects you like a phoenix. The speedy machinery slows down in some sections.

"Abstract Commands" blazes through once again with its firmly heavy fast sound. "Conscious Descent" finally has the progressive variety I was anticipating, starting with clean acoustic melancholy before descending into Vektor-ish chaos. The bass sounds the most audible here.

"Reborn in Tragedy" returns to the tech-death/thrash sound, practically rebirthing a genre that faded out long ago. It's actually more progressive than most of the other tracks here, but again, technicality and aggression continue to reign. The title closer unleashes the last of the technical firepower in this album. And you're left wondering if there will ever be more of that sound in the future.

I think it's clear Hemotoxin has the strength to crash through the gates and show no mercy. They have true tight talent and are good at their blend of old-school and modern. All I'm asking for is clearer production for a new album and giving their sound a little more progressiveness to go a long way....

Favorites: "Call from the Abyss", "Conscious Descent", "Reborn in Tragedy"

I really want to hate Earth Crisis. I hate their vegan straight edge attitude, I hate their preachy lyrics even more.

It's not like they have one of greatest albums in the history of extreme music. It's not like they perfectly mix their signatures chugs with a groove metal and doom-esque riffs to create songs that fill me with equal amounts of anger and despair. It's not like Scott Crouse and Dennis Merrick combine for a rhythm master class that makes me want to mosh and burn down my local meat processing plant at the same. No, it's always gonna be about their lyrics and their cringe social messaging. 

Well, i would say this, if they didn't release this album, which only proves me wrong time and time again.

Fuck Earth Crisis.

Anciients are a band that were very popular among the more djent-y side of prog and metalcore during the 2010s and I could never get into them at the time. Just about a full decade later, Anciients release Beyond the Reach of the Sun, their third studio album and it shows a lot of growth as well as future potential.

First thing I noticed was how different of a sound scape this is. Instead of the djent and metalcore of previous albums, Anciients have gone closer to melodic death metal, and more specifically, mid 2000s Opeth melo-death. That should be enough of a seller for most on its own, but in the interest of specifics, compositions have a knack for bending dynamics and making crescendos that sound rewarding. Kenny Cook has a very nice vocal range and still employs some of his signature death metal screams as before, but now in reserve as the clean singing is not only impactful, but memorable. 

I was a little hesitant on the albums length going into it, but the more I listened to Beyond the Reach of the Sun, the less bloated it became. The album has some longer moments (i.e. "Forbidden Sanctuary" and "Melt the Crown") but the songs are well constructed and compliment each other remarkably well. There is enough variety in the sound structure that it never feels bloated, but not too vast in its scope that it starts becoming overzealous. 

If you like your mid 2000s Opeth mixed with some Mastodon or The Ocean sludge, this is a great return for Anciients and an excellent place to catch on. I hope that they continue down this path in their future projects.

Best Songs: Forbidden Sanctuary, Melt The Crown, Cloak Of The Bast And Black, Beyond Our Minds, In The Absence Of Wisdom

Wacky Californian trio Primus are an act that I’ve been aware of since the release of their debut album “Frizzle Fry” way back in 1990 but never really gave the time to genuinely understand & appreciate until relatively recently. I guess I just always assumed that they wouldn’t be something that would interest me but that hasn’t ended up being the case with both “Frizzle Fry” & Primus’ 1991 sophomore album “Sailing the Seas of Cheese” leaving me thoroughly impressed with their unique & quirky take on rock music. I’d always intended to close out my exploration of Primus’ classic trio of releases with 1993’s “Pork Soda” third album but somehow that’s taken a lot more time than I was expecting & I’ve only just closed out that endeavour this week. It’s proven to be a worthwhile exercise too, although I’d suggest that “Pork Soda” was perhaps not quite as satisfying as its two older siblings.

Despite its inherent weirdisms, there’s no doubt that “Pork Soda” is an attractive record. The cover art is humorous & never fails to leave a smile on my face while the production jobs is bright & full, everything you could want for a record like this one that relies so heavily on space & timbre. The musicianship on display here is excellent too, particularly the sublime bass guitar work of front man Les Claypool who was already a bass enigma at this point in his career. The things he can do with his instrument while handling the vocal duties at the same time is nothing short of mind-blowing but his skills are always used creatively & artistically which leads me to believe that Les has a great understanding of the art of song-writing & composition. Former Possessed guitarist Larry Lalonde is the perfect foil for Les, more often than not spewing forth layers of artsy noise that takes the form of controlled chaos. Drummer Tim “Herb” Alexander tends to aim to tie everything together & stays generally well within himself which is what’s required when you’re looking to anchor two visionaries like Claypool & Lalonde.

As with Primus’ first two albums, I have to seriously question people’s ability to hear of they think this record has even the most remote link to metal. There’s hardly a second of the entire 57-minute run time that sees me reaching for metal descriptors with no semblance of a metal tool coming within miles of “Pok Soda”. What we receive here is once again a highly experimental rock record like “Frizzle Fry” & “Sailing the Seas of Cheese’ but this time it’s less funky & much more psychedelic, so much so that I’ve decided that the best way to describe it is experimental/psychedelic rock. There’s a generous fifteen tracks included here so you can expect a few detours here & there but this is generally a pretty druggy & cerebral record & I kinda dig that approach too.

The tracklisting kicks off in very fine style indeed with the first four proper songs all being particularly solid. The quality levels start to jump around a little bit from there but there are also a few stronger inclusions later in the piece too. The decision to include a number of short interludes hasn’t exactly set the house on fire as I found a few of them to be pretty silly but I think that was kinda the point really as I can’t deny that they do help Primus take you to the twisted, sweaty, meth-ridden, red-neck countryside they were obviously aspiring to. Tracks like “Pork Chop’s Little Ditty” & “Hail Santa” just don’t add anything from a purely musical point of view though. My favourite pieces tend to be some of the heavier groove-led ones like “My Name Is Mud”, “DMV” & my personal fave “Hamburger Train” which is essentially an eight minute jazz fusion jam session that would have worked brilliantly as a point of collaboration with my beloved Miles Davis if he was still alive today.

While “Pork Soda” certainly has its strengths, I can’t help but feel that it’s a step down from the first two albums, mainly due its reduced consistency. Given its lengthy run time, I feel that Primus could have culled a few tracks & benefitted the holistic album in the process. As it is though, “Pork Soda” is still an intriguing listen. It’s perhaps not as essential as its predecessors were though.

For fans of Nuclear Rabbit, Mr. Bungle & Flagman.

Alongside simple intrigue and some nostalgia for groove metal it is death/thrash that has mainly kept me interested in The Pit clan of late. Many of such releases sit in the early days of the development of the two genres themselves and so it was great to find a release from the current year that ticked this box nicely. With the progressive edge to proceedings of course there was an additional level of interest to When Time Becomes Loss. Those strong Death influences alongside Atheist and Cynic also make for a nice hint of that nostalgia also.

Comparisons with Vektor seem obvious but I think that Hemotoxin go for the jugular more with their songwriting being a lot less expansive than Vektor, one of the main drawing points for me on this album being that it has a run time of less than half an hour and is very easy to digest even if you consider its diversity of sounds. With an ear for melody evident also, it is not difficult to see that the band possess a high level of expertise with their instruments and can translate this into catchy as well as technical at the same time.

If I had to cite a more modern release to compare this to, I would pick Deconsecrate by Aenigmatum from 2021. Perhaps Hemotoxin are a little less frantic than that record (certainly less bass driven), but I think it is a comfortable reference point for me. The mix here helps all the instruments feel more contained than I would normally like – I think the drums suffer the worst from this – however, the band do still sound tight as a unit and get every opportunity to flex their individual and collective muscles. A ferocious and inventive release, When Time Becomes Loss is an explosion of energy from the off that never wanes over seven invigorating tracks.  I most certainly had not factored a release from The Pit featuring in my year end list, but Hemotoxin's fourth full length release has caught me unawares. 

There are few metal bands that I heard more of through the first half of the 1990's than Florida technical death metal masters Atheist. I first encountered them through their 1990 debut album "Piece of Time" which I thoroughly enjoyed but it was 1991's classic "Unquestionable Presence" sophomore album that really sealed the deal for me & I still regard it as one of the true greats of its era. I even had some time for Atheist's 1988 "Beyond" demo tape so I think it's fair to say that I regarded myself as a committed fan by the time their 1993 third album "Elements" rolled around. People may not be aware of this given its status in the modern day but (much like Pestilence's divisive "Spheres" album from the same year) "Elements" initially received a fairly mixed reception from a large chunk of the death metal audience. I could see what people were saying but the creativity & innovation put into Atheist's latest effort still seemed kinda exciting so I gave it a good run. A couple of my fellow Neuropath band mates were absolutely obsessed with the band too so there was rarely a party where Atheist didn't get a run along with a drunken air guitar tournament or two. But the past few decades have seen me largely tending to steer away from "Elements" in favour of its two older siblings so I thought it was time to take a deeper look at why.

As much as I love "Unquestionable Presence", I do have to admit that its production job wasn't its crowning achievement & my initial revisit to "Elements" highlighted that it hadn't faired all that much better in that department with the rhythm guitars lacking weight & the vocals sounding echoey & a touch flat. In fact, I can't help but wonder what "Elements" may have been able to accomplish with a clean & bright modern-day sound because there's an incredible amount of creativity & instrumental prowess contained within this record. It's interesting that most people seem to still wanna tie this album in with the tech death crowd too because frankly... there's not a second of death metal on this mo'fucka. Atheist's death metal credentials were already a little sketchy in my opinion as I always maintained my position that they were more of a death/thrash band but here we see the new five-piece configuration (following the recruitment of additional lead guitarist Frank Emmi) dropping extreme metal altogether for a fresh new approach that saw them indulging in various strands of pure progressive metal. Hell... I'd even go so far as to suggest that "Elements" would sit more comfortably in The Gateway than it does in The Horde where it really has no right to be. I've never been one to judge an artist for taking creative risks though so I was still just as open to discovering whatever magic Atheist had in store for me.

The superiority of the musicianship on "Elements" is nothing short of staggering at times. The increased reliance on jazz structures created a wonderful platform for new drummer Josh Greenbaum & bass virtuoso Tony Choy to flourish, often at the expense of front man Kelly Shaefer who struggles a little bit behind the microphone with his vocals coming across as a bit flat after dropping much of their death metal menace. The real highlight here is the incredible lead guitar work of Emmi & Rand Burkey which is nothing short of invigorating though. I simply love the danger in their jazz fusion inspired shredding & feel that the album would have been significantly weaker with some less highly credentialed exponents of their craft. Choy isn't far behind though with his scintillating bass lines proving once again what a force he can be.

"Elements" sees Atheist exploring a vast array of difference subgenres & textures, often within the same song, & for that reason, it can sound a little jerky at times. There are no weak tracks included in the twelve on offer but I can't say that too many of them really hit the spot like Atheist's last two records did. The two track run of progressive metal masterclass "Air" into the jazz fusion influenced instrumental interlude "Displacement" is my favourite part of the album but I also enjoy the jazz guitar instrumental "See You Again" quite a lot. The rest of the record is pleasant enough but I rarely find myself enthralled like I was in the past. Many of the grooves the band hit on would feel more appropriate on an alternative metal release & there's a minor lack of cohesion in the compositional flow at times too.

There's no doubt that Atheist were still a class act & there were not many bands that could have created a record like "Elements" in 1993. It seems to have gone on to build somewhat of a cult following in the underground over the years & is now even considered to be another essential tech death metal release from the band. I can't agree with that mentality though as I can't shake the feeling that "Elements" is a step down from Atheist's first two full-lengths. Few can deny that it's a very interesting & intriguing listen but I'd challenge anyone that claims it to be an essential release.

For fans of Cynic, 90's Death & "Spheres"-period Pestilence.