Vinny's Forum Replies

Municipal Waste - "Waste 'Em All" (2003)

In some ears, Municipal Waste's debut full-length may play as a dumb-as-shit fuck about record that lacks much in the way of thought.  For me it is a great representation of their political and social agitation that did not require any polish or predictable form.  Put simply the band just offload on this album.  They use a grind mentality to the delivery of the fifteen tracks here whilst deploying the requisite catchy chops and riffs to add variety.  With some tracks clocking in at under a minute (Death Prank is a mere eleven seconds) and the longest track being one minute and thirty seconds it is a blinding experience to behold and I have no problem with this.  Fifteen tracks in fifteen minutes seems like a perfect album for a thrash head like me and serves purpose as both a great "tea-break blast" record as well as a scathing social commentary at the same time.

Based on what I have heard to date of MW, I prefer this release to their beer-guzzling shenanigans on The Art of Partying.  Despite its length the debut seems to have a lot more to say and feels more important in developing an understanding of the roots of the band.  The album also picks up momentum nicely as it rolls along with the middle section being by far the strongest.  It does tend to fade away towards the end but not in a way that ruins the overall experience.  Whilst not the most mature sounding record on the face of it, Waste 'Em All does have depth to it if you care to delve into it and tracks like Drunk As Shit really are not representative of the whole in terms of the more sarcastic and dark undertones to the record.

Looks like my 2001-2003 quest just took an upward curve.

I clicked on that button the other day as think knowing what others are listening to is interesting and I rarely go a day without listening to something (even if just as background music).  The idea of a page that shows all this in one place is great.

The Exploited - "Fuck The System" (2003)

Having noticed during my "Top Releases By Year" post in whatever that thread is called that I had a huge gap in my thrash listening between 2001 and 2003, I set about using the release section on the site to handpick some well-known names in the first instance to see what came out in that three year period that could be off any merit.  In terms of crossover I only got two hits, Municipal Waste's debut full-length and this.  But I accept that there will be more releases out there in this sub-genre but in terms of the headlines those were the options.

I do not mind a bit of punk every now and again; notwithstanding that I really do have to be the mood for it but even by that standard I found this album to be an absolute chore to listen to.  I get that it is supposed to be edgy and angsty but literally every song on here follows the same format and the boil, rinse and repeat methodology wears thin really quickly.  I found myself zoning out after 4 tracks as I literally could not tell if tracks had finished or not such was the level of repetition on display.

The album starts with someone shouting (literally roaring) out of the speakers and to be honest they may have been reacting to the playback of this frankly pointless release.  I hope 2001-2003 has better to offer than this as I look to plug this huge gap in my library with some quality releases.  Needless to say "Fuck The System" has not made the cut.

2/5

That Demoniac has been on my to do list since I saw Sonny's high praise so I am throwing it on now to see what all the fuss is about.  Sight of that nearly 20 min track puts me off though.

I gave this a spin and all was well in the main...until that saxophone came into play.  Utterly unnecessary and completely out of place; it adds nothing to this album other than to distract from the good stuff that is going on.  These guys can play and entertain me enough without going avant-garde and my attention was held pretty much for most of the final track which I was dreading as I alluded to.  They are an established artist and it shows and in all seriousness, props to them for trying something different but I just cannot contextualise it in the grander scheme of what is going on and so after just one listen, I have lost all interest.

Ok, so I have taken weeks to do this and I have found this actually useful considering my usual aversion to lists in general.  What it shows me more than anything are the gaps, so on the years where I see some albums (bear in mind this list is based entirely what I own in one format or another) I have listed as the best release I instantly see scope to delve further into that year as I genuinely cannot believe that 2002 was topped by Tsjuder.  However, I have been honest and put in an entry for each year.

1970 Black Sabbath  - Paranoid

1971 Black Sabbath - Master of Reality

1972 Black Sabbath - Vol. 4

1973 Hawkwind  - The Space Ritual Alive

1974 Kiss - s/t

1975 Black Sabbath - Sabotage

1976 Judas Priest - Sad Wings of Destiny

1977 Motorhead - s/t

1978 Judas Priest - Stained Class

1979 Motorhead - Overkill

1980 Iron Maiden - Iron Maiden

1981 Iron Maiden - Killers

1982 Judas Priest - Screaming for Vengeance

1983 Metallica - Kill 'Em All

1984 Metallica - Ride The Lightning

1985 Iron Maiden - Live After Death

1986 Kreator - Pleasure to Kill

1987 Death - Scream Bloody Gore

1988 Metallica - …And Justice For All

1989 Morbid Angel - Altars of Madness

1990 Obituary - Cause of death

1991 Morbid Angel - Blessed Are The Sick

1992 Demolition Hammer - Epidemic of Violence

1993 Burzum - Det som engang var

1994 Mayhem - De mysteriis dom sathanas

1995 Suffocation - Pierced from Within

1996 Neurosis  - Through Silver In Blood

1997 Borknagar  -The Olden Domain

1998 Death - Sound of Perseverance

1999 Immortal - At the Heart of Winter

2000 Immolation - Close To A World Below

2001 Opeth - Blackwater Park

2002 Tsjuder - Demonic Possession

2003 Blut Aus Nord - The Work Which Transforms God

2004 Horna - split w/ Behexen

2005 Opeth - Ghost Reveries

2006 Drudkh - Blood In Our Wells

2007 WITTR - Two Hunters

2008 Darkspace - Dark Space III

2009 Drudkh - Microcosmos

2010 Hooded Menace - Never Cross The Dead

2011 Autopsy - Macabre Eternal

2012 Panopticon - Kentucky

2013 Gorguts - Colored Sands

2014 Varathron - Untrodden Corridors of Hades

2015 Akhlys - The Dreaming I

2016 Ulcerate - Shrines Of Paralysis

2017 Condor - Unstoppable Power

2018 Winterfylleth - The Harrowing of Heirdom

2019 Overkill - The Wings of War

2020 Akhlys - Melinoë

2021 Altarage - Succubus

Rubbish at lists as we know but seeing Toxik in here warms my heart.  Vektor absolutely has to be up here and you'll get no argument from me on Coroner being included.

That Demoniac has been on my to do list since I saw Sonny's high praise so I am throwing it on now to see what all the fuss is about.  Sight of that nearly 20 min track puts me off though.

So, I am undertaking The Fallen : Doom Metal - The Early Days clan challenge.  This is not me necessarily looking to pick up The Fallen as my Guardians replacement fourth clan, more me actually exploring a clan that I have only ever flirted with at best.  I am familiar with a few releases in here already (Saint Vitus, Bethlehem, Candlemass, dISEMBOWELMENT, Trouble and Katatonia all have albums in here that I have played on and off for years) so there is a fair old amount of revisiting going on in this challenge. In terms of the wider Fallen sub-genres, I am already quite partial to a bit of funeral doom and death/doom has occupied a healthy spot in my listening habits for a number of years now.  I am less familiar with sludge and drone metal but have some experience of these areas.

What I want to do is get through all the Fallen challenges (or the best part of them at least) to fully explore what is on offer here and so starting in the "early days" challenge seems like a great spot to reacquaint myself with some old stuff and pick up on any hidden gems I am unaware of or simply try some bands I have never listened to - Tiamat, Anathema, Esoteric and Skepticism, for example are entirely new to me.  Also, I have struggled historically with Cathedral and have never really rated Lee Dorrian as a vocalist, likewise Aaron Stainthorpe in MDB so this gives me an opportunity to make sure I am not just being a dick and missing something.

We've made some improvements to the site as described below. There will be a few more improvements this week if all goes to plan. As always, please let me know your feedback. Many of these changes were requested by site members, so let me know what you think of them.

1. The Latest Releases page now shows 100 releases rather than 50. I made this change after fairly consistently adding over 50 releases in a day.

2. The Private Message window is now much bigger (and better) than it was previously. You can now see what you're typing, which is a novel idea.

3. When you edit a forum post entry, you are no longer thrown back to the first thread entry. You are now taken to the post you just edited, which makes much more sense.

4. You can now edit the name of a forum thread that you created. Previously only I could do it.

5. The site menu can now be found at BOTH the top and bottom of the site, making it much easier to navigate.

6. On the Releases and Bands pages, the page number navigation can now be found at BOTH the top and bottom of the page, making it much easier to navigate.

7. There's now a "Scroll to the top arrow button" that is displayed when you scroll down any page on the site, once again making it much easier to navigate.

Cheers,

Ben.

Number 5 alone on this list makes me smile endlessly on its own but thank you for all the improvements made and the continued development of the site overall.

Probably one of the most under-appreciated death metal bands in the world, Sinister have been plying their trade for over thirty years. Whilst not consistent in their output for a number of years, they actually set a firm foundation for themselves in the early 90's with their first three albums carving out quite a name for the Dutch death metallers. With sophomore releases being the trickiest of any discography the band built on the success of their debut (which I vaguely recall) and whilst they did not necessarily better it they maintained that great trajectory going into their 1993 release.

For the uninitiated with Sinister, think Deicide, Malevolent Creation and the less predictable elements of early Cannibal Corpse and you are in the right mindset. They play that rabid death metal that I associate with the first two Deicide albums but possess a knack for delivering more structure to their riffing like CC did when they paused for breath. Opener Sadistic Intent is a CC like banger of an opener that straight away embeds deep foundations for what follows as Mike van Mastrigt's vocals take no time in bellowing their presence from the off.

He is backed up by a great set of musicians also. Andre Tolhuizen is a riffing machine who can fire his fair share of sonics when required and the percussive talents of drummer Aad Kloosterwaard are of the highest standard you would expect in the death metal world of the early 90's. Lost somewhere in the maelstrom is the bass of Bart van Wallenberg but it makes regular appearances out of the churning chaos of most tracks to let you know it is still there with the occasional echo of its rumble just audible around the periphery of proceedings.

Highlights? The relentless riffing of the title track will have any fan of death metal beaming from ear-to-ear for sure. The looming build of Leviathan is a pleasure to behold before it descends into rampant madness and the seemingly endless energy of Sadistic Intent all benchmark what this album has to offer. You simply could not ask for a better example of prime 90's death metal. Sinister knew their stuff and it showed brilliantly at this stage of their career.

4/5

The social, cultural and political commentary of D.R.I. tends to operate on two levels for me on their final full-length. The sarcasm still drips from every punk-edged pore of their sound as Kurt Brecht inflicts his gruff vocals on the listener, but at the same time the obvious and genuine anger is reflected in their frenetic pacing and punchy rhythms. I think it safe to say that we all knew what to expect from the band by this stage and Full Speed Ahead does not disappoint in that regard; it is D.R.I. through and through. It relies only on the sum of all parts to get its message across without needing to express any extreme outburst in just riffs or vocals alone. That bouncy, crossover tracks its jolly way through the majority of the album, scoring the derisory commentary with an almost engine like tenacity.

Crossover thrash is basically hard to get wrong of course. As a sub-genre it is very niche of course, relying on that crude accessibility to garner appeal. That is not to say that Full Speed Ahead is one dimensional. Tracks like They Don't Care use variety of pace nicely, opening with a doom-paced riff before becoming a more choppy affair. As such it is easy to pick high points on the album as opposed to the album just literally going full speed ahead and passing the listener by in some frenzied fashion. Not all bands who have something to say are able to articulate this beyond predictable intense riffing and furious tempos. D.R.I 's experience shows on their sixth full-length. They are able to use their full repertoire of hardcore punk, and crossover thrash metal to great effect and I think their appeal to both more mainstream as well underground audiences is clear.

I know they have suffered criticism from other hardcore punk bands for their success but this album shows the inevitability of their appeal. I cannot help but feel dialled into this record with each listen, that balance of dark comedy and scathing social angst is mixed really well on here and if you listen repeatedly I find the album sounds angrier with each spin. No crossover album is liable to get full marks from me but I can safely give four stars to this.

4/5

Following my dalliance with Bad Omens this past few weeks and also making more of a conscious effort to stretch the boundaries of my taste, I decided to give War From A Harlots Mouth a try.  I didn't hate this by a long chalk but by the same token I find it a little to fluid in its transitions to the point where I find myself switching off.  For some reason I expected I would need less concentration for this to still seep through the room and into whatever I was doing at the same time.  However, without physically sitting down and focussing on the record I find little that sticks.  When I am in the zone with it the polyrhythms do attach themselves better but I still won't pretend that I keep up with it all the time.

The jazzy interludes are the parts that really standout to me,, otherwise it is too much for my tiny brain to comprehend in the main.

3/5

So we've finally finished our move to the Gold Coast & are currently setting ourselves up in a very spacious five bedroom house with a big pool. It's a huge change for the family after so many years spent cramped in a two-bedroom apartment in Sydney's Northern Beaches. It's just a shame that I've gotten sick at an inopportune time with the house still relatively full of boxes. By the way, I place removalists on the same level as politicians & parking inspectors after last week's experience. They quite simply have no morals whatsoever.

Glad you're all moved.  Get well soon..

I bought this album when it was released after being knocked out by their Preacher Man single and still have it to this day, along with the Preacher Man 12". It's been a while since I played it, but it's a pretty decent slab of 80's goth rock. Along with The Sisters of Mercy, The Mission, New Model Army and The Cult they made some of my favourite 80's rock and were where I turned when I fancied a change from thrashin' (or needed to give my neck a rest)!

Sort of only know most of these bands by name as opposed to having heard their music.  Playing The Mission "God's Own Medicine" now as getting a real penchant for this stuff at present.  Heard The Cult before, recall that "Electric" was in the pile of albums my older cousin let me borrow back when I first started to discover metal.  I am sensing the need to listen to less metal increasingly at the moment and so this seems like a convenient (if not relevant) avenue.

I would strongly recommend New Model Army's Ghost of Cain album. One of the most underrated albums of the 1980s for my money, more post-punk than goth though. Sisters of Mercy's Floodland is another brilliant record and definitely goth. Gods Own Medicine is great too, but The Mission put out several 12" eps before ever releasing an album which were even better. If you're interested in The Cult, personally I prefer 1985's Love to Electric. Wow, you've really got me tripping down memory lane now, Vinny!

Killing Joke's 1985 album Night Time is definitely worth hearing too if you haven't already.

I am on Gods Own Medicine next as I slowly pick my way through this gothic rock stuff.  It is more appealing thus far than Fields... in all honesty.  Got some extended version full of shit that is only of interest to uber-fans but still enjoyable enough on a lazy Saturday morning.

May =

Nordjevel - "Fenriir" (from "Fenriir", 2021) 05:34

Äera - "Äer" (from "Schattenfall", 2021) 11:37

Total time = 17 mins 11 seconds

I hadn't even noticed that Vinny. please replace it with this one:

Sentinel Beast - "Phantom Of The Opera" (from "Depths Of Death", 1986)

Done

Metallica - "Master Of Puppets" (from "Master Of Puppets", 1986)

I know Sonny has already selected Metallica from a different album though so I am going to allow a double bubble on Metallica this month as both tracks are superb.

At the risk of sounding like a broken record I will not be submitting anything for May's Guardians playlist.

I will be taking a month off from The Horde playlist for May thanks Daniel.

For May I would like to throw in:

Bad Omens - "What do you want from me?" (from "The Death of Peace of Mind", 2022)

Thanks gentlemen, I will be adding:

Vio-lence - "Let the World Burn" (from "Let the World Burn", 2022) 05:10

Power from Hell - "Old Metal" (from "Devil's Whorehouse", 2015) 03:21

Watchtower - "Instruments of Random Murder" (from "Resistance & Control", 1989) 04:04

Solitary - "I Will Not Tolerate" (from "The Truth Behind the Lies", 2020) 04:40

Thrasherwolf - "A Thousand Eyes" (from "A Thousand Eyes", 2022) 03:00

Sadistic Ritual - "Murmur" (from "The Enigma, Boundless" 2022) 04:25

Eradicator - "Einflussnahme Abgelehnt" (from "Einflussnahme Abgelehnt", 2022) 05:17

Run time = 29:57

Back in their prime when they were revelling in the glory of tracks such as Going Under, Bring Me To Life and My Immortal I actually didn't mind Evanesence.  There were certainly worse nu-metal acts out there at the time and Amy Lee could most certainly sing (still can based on this album).  Time clearly has not been kind to Evanesence as they are lacking virtually all of the bite that they had back in the day.  Everything here is very sugar-coated and therefore always liable to fall into my sights with a negative undertone.  

You mention this was a more "metal" based release Andi, but I personally struggle to see little more than heavy rock at play here and I am thankful that I have only revisited them on this record and not their previous outputs.  That electronic element is very dominant and at the expense of the raw edges needed to really give this any hope of lasting attention from me.  

Fair play to the band for carrying on under what sound like horrific personal circumstances and also for using their outlet for talking about serious stuff too.  This music no doubt has an audience in more than one regard but beyond the clear strength of character in the members I remain very unimpressed with this.  To me this is prime fodder for your Hall of Judgement submission thingy to say this is not metal.

2/5

To the best of my knowledge, I have never heard any Hungarian metal regardless of any sub-genre guise. Somehow, over the last nearly three decades, I have never come across Sear Bliss. Whilst I cannot recall having heard even a fleeting few bars of any of Glory and Perdition, somehow it does sound familiar. After one full listen through I was already marking similarities with Summoning where Glory and Perdition used horns and synths to note its presence in the room. The fact that I do not mind a bit of Summoning one bit probably helps me to register and accept the use of electronic and symphonic elements on this month’s feature release even though I am not a massive fan of the symphonic black metal sub-genre overall.

Having said that, I do not find this album to be overly symphonic, despite a near constant feed of orchestral instrumentation. It certainly plays an important supporting role in proceedings but is never allowed to dominate. Instead, those brass instruments create a swell in their delivery, expanding the sound of the album as the intricate keys tantalise with the promise of further wonder to come. Often these elements are played in as simple stabs or flourishes and as such are beautifully paced over the album. In the traditional sense it is the guitars that drive proceedings the most, with their riffs propelling the tracks forward. The charging opening to Two Worlds Collide underlines this input superbly. Also noticeable are the drums as they thump away in just the right space in the background to support the other component parts and keep everything tracked together nicely. Check out the superb work being done on Dreams Spectre to properly capture the contribution the sticks make to this album. This balance of the instruments and the atmospheric and symphonic elements is expertly done; using the alien voice on Reverie is a bold move yet it sits well atop of the music without feeling intrusive or downright odd.

Sear Bliss also manage to carry off the inclusion of some interludes on the album, doing this well in the sense that they do not disrupt the flow of the overall record. Normally when I see such compositions dropped into any album, I die a little inside as I just find they often scream “FILLER!” in my experience. The three here (one is the outro I guess) are all around the minute and a half mark and do transition the album nicely.

Whilst not anywhere near as aggressive as I normally like my bm, Sear Bliss do deliver melodic bm well. There is a sense at first that it is put together a bit hap-hazard but as I revisit the album there is a sense of coagulation across all tracks and this makes me think it is more planned than it first appears to be. With repeated listens the blasting pace is most definitely there, and it never feels out of control or rudely cut off by any of the pace or tempo changes. Although not staggeringly so, the epic nature of the writing here belies a band that I at least need to give a little more attention to. I note that Mayhem’s Attila and proffers vocals on two tracks here suggesting that this is a band with a good degree of stature in the underground already. In many ways Sear Bliss are reminiscent of a more aggressive Negura Bunget. This mix of earthy structures interspersed with the astral bursts of rich and lush melodies such as on the track Glory to Perdition reminds me of the Romanians only with a much-reduced level of complexity or extravagance.

Ben seemed to be a tad pensive in announcing this as his feature for the month, but I think this has been an excellent choice and one that certainly rewards with repeated listens. With the cosmological parts set firmly in their place around the core bm elements, Glory and Perdition captures an experience as opposed to just being an album to listen to. In its more atmospheric moments, it reminds me of Darkspace / Paysage D’hiver and in the more traditional moments it can hold its own with any of the bands I mention through out this review. I think the only criticism is that it is not as instantaneous an experience as some might want and the fact that it does need a few listens may put some off. The work is worth the reward though and the album records a healthy four stars which may creep up as I continue to put this on rotation.

4/5

Daniel, Vinny, each of you guys have a good Revolution track you wanna submit? Theo-Wyoming, I hope you're still in the Revolution track-submitting zone and have any good ideas for the playlist.

PS: Daniel, please update the Spotify playlists soon so the links can be added to our respective playlist threads.

Nothing from me.

Pretty sure I didn’t submit that Mortal Sin track Vinny. “Face of Despair” was 1989 too.

Amended, apologies.

April 2022

01. Parkcrest – “Impossible to Hide” (from “And That Blue Will Turn to Red”, 2019) [Submitted by Sonny]

02. Dark Angel – “Time Does Not Heal” (from “Time Does Not Heal”, 1991) [Submitted by Daniel]

03. Exodus – “Slipping Into Madness” (from “Persona Non Grata”, 2021) [Submitted by Vinny]

04. Inhuman Nature – “The Hangman Draws Near” (from “Inhuman Nature”, 2019) [Submitted by Vinny]

05. Soulfly – “Ritual” (from “Ritual”, 2018)

06. Allegiance – “Chaos Dies” (from “Destitution”, 1994) [Submitted by Daniel]

07. Municipal Waste – “Nailed Casket” (from “Hazardous Mutation”, 2005) [Submitted by Sonny]

08. Hellripper – “All Hail the Goat” (from “Black Arts & Alchemy”, 2019) [Submitted by Vinny]

09. Messiah – “Messiah” (from “Hymn To Abramelin”, 1986) [Submitted by Daniel]

10. Hirax – “Hate, Fear & Power” (from “Hate, Fear & Power”, 1986) [Submitted by Daniel]

11. Grave Desecrator – “Insult” (from “Insult”, 2010) [Submitted by Sonny]

12. Wraith – “Gatemaster” (from “Undo The Chains”, 2021) [Submitted by Vinny]

13. Celtic Frost – “Circle of the Tyrants” (from “To Mega Therion”, 1985) [Submitted by Sonny]

14. Invocator – “The Persistence from Memorial Chasm” (from “Excursions Demise”, 1991)

15. Ravager – “Dead Future” (from “Thrashletics”,2019) [Submitted by Vinny]

16. Tymo – “Sanity Clause” (from “The Art of a Maniac”, 2022) [Submitted by Vinny]

17. Sepultura – “Cyber God” (from “Machine Messiah”, 2017)

18. Juggernaut – “Juggernaut” (from “Baptism Under Fire”, 1986) [Submitted by Daniel]

19. Mortal Sin – “The Infantry Corps” (from “Face of Despair”, 1989) 

20. Despair – “Slow Death” (from “History of Hate”, 1988)

21. Sodom – “Blasphemer” (from “In The Sign of Evil”, 1985) [Submitted by Sonny]

22. Diabolic Night – “Sovereigns of Doom” (from “Beyond the Realm”, 2019)

23. Insane – “Four Magicians” (from “Wait and Pray”, 2005) [Submitted by Sonny]

24. Wehrmacht – “Shark Attack” (from “Shark Attack”, 1987)

25. Dekapited – “Contra iglesia y estado” (from “Contra iglesia y estado”, 2011) [Submitted by Sonny]

26. The Haunted– “Ceremony” (from “Versus”, 2008)

27. Sacrosanct – “With Malice Prepense” (from “Recesses for the Depraved”, 1991)

28. Bulldozer – “The Death of Gods” (from “The Final Separation”, 1986) [Submitted by Daniel]

So, in terms of RYM, I have never had any time to really use it and because it is not specific to metal I have not really had the inclination to bother really.  I do not doubt that any of what is said is correct though as my overall experience of the internet in general is that the less reviews, ratings or general opinions on music that I read the better.  There’s things I read everywhere that annoy me, even on here and I have learned to pay less attention overall as I discovered and grew my live of metal all by myself and that’s still how I best enjoy it.  

Whilst I accept the criticism of EM, if the intent of the site was to set its own boundaries of what it considered to be metal then I personally have no issue with that.  I am not really well-versed in core related sub-genres and if I have to go elsewhere to find out about them then I am fine with that.  I kind of like that consistency to it and that assurance of what to expect from the site.

So life is all a bit difficult this week. My wife & two daughters all have COVID so I've been stuck in our two bedroom apartment in isolation for the past 5-6 days. I'm still testing negative but it'll be disastrous if I test positive in the coming days as we've got to be out of our apartment with all of our belongings being moved into storage by Friday's settlement with the new owner. We'll be staying in a serviced apartment in the city for a week while we wait for the settlement of our new home on the Gold Coast on 7th April. I'm so looking forward to this relocation being over & done with so that I can go back to focusing solely on the extreme stresses that my everyday job has been presenting me with of late.

Since opening everything up here in the UK, I now hear of more and more people with COVID than ever.  I have managed to avoid it for the entire time there's been the pandemic but as I am increasingly encouraged to get back out on the road in face to face meetings I fear my vaccines will be tested.

We are away in Wales for a couple of days from tomorrow for my fiancée's birthday in some fancy spa hotel.  I won't have any treatments but there's a hot tub on our balcony (she's booked the penthouse suite - my credit card is crying) so I will just chill in the room whilst she goes and gets her treatments.  Work phone and laptop will be in the luggage unfortunately (I don't ever get to be entirely "off-work" really) but at least I will not be sat looking at them all day.

Need a break though, having had my eldest cat put to sleep in the last fortnight we need to get some relaxing time in.  I don't have kids, I have cats so the loss of any of them is fucking awful for us. 

I bought this album when it was released after being knocked out by their Preacher Man single and still have it to this day, along with the Preacher Man 12". It's been a while since I played it, but it's a pretty decent slab of 80's goth rock. Along with The Sisters of Mercy, The Mission, New Model Army and The Cult they made some of my favourite 80's rock and were where I turned when I fancied a change from thrashin' (or needed to give my neck a rest)!

Sort of only know most of these bands by name as opposed to having heard their music.  Playing The Mission "God's Own Medicine" now as getting a real penchant for this stuff at present.  Heard The Cult before, recall that "Electric" was in the pile of albums my older cousin let me borrow back when I first started to discover metal.  I am sensing the need to listen to less metal increasingly at the moment and so this seems like a convenient (if not relevant) avenue.

Fields of the Nephilim - "Danwrazor" (1987)

Not my usual bag until recently when I oddly discovered them after listening to Killing Joke.  Was not sold on the vocals initially but accept that they are perfect now for this style of music. 

Germany's Ravager caught my eye due to the frankly awful artwork (sorry Timon Kokott) that was only rivalled by the equally poor choice of title for their sophomore album. initially I had thought them to be South American but they are just five Germans with some awful concepts around art and marketing. Thankfully they play a frenzied style of thrash metal that reminds me of Exodus and the horrid packaging just not bear any resemblance to the musicianship on show.

Whilst most certainly not unique, Ravager are certainly passionate about what they do and give a fair old go to trying to capture that 80's thrash ethos as they largely race through nine tracks of average sounding thrash metal that strays just the right side of speed metal in places. They are not afraid to slow things down though and they can most certainly play their instruments. The longest track on here clocks in at just a shade under nine minutes and is probably a stretch too far for them overall as it does come off as a bit preachy. However, it does showcase some versatility in the bands ability and they do actually structure Slaughter of Innocents reasonably well. Pointing their criticisms firmly in the direction of politics and society at large the band also take their time to have a pop at war also. Oddly, for such a clearly sci-fi/horror driven band (in terms of their artwork at least) Thrashletics is lacking in these departments and so the album is less fun than I was hoping for given the cover art.

It most certainly is not flawless thrash metal and probably will not get much rotation at the Vinny Mansion but it does hold its own for forty minutes, sticking to a tempo and trajectory that it sets out from track two onwards (the opening track is a dull and pointless acoustic number). As I say, the fun element is a bit lacking for me and the album is strongest when they are just letting go a little more on tracks such as Pit Stop...Don't Stop in the Pit and Mindblender. Their more serious themed stuff can still rip though (see Kill For Nothing) but on the whole I just feel there is something lacking over the whole album to make it really standout.

3.5/5

Anyone who is a regular here at the Metal Academy will know that I am not always very positive about most of the content featured in The Sphere clan. Indeed, the very mention of Ministry makes me apoplectic, for example. All too often I find that the music of The Sphere is jumbled and done so just for the hell of it. My main problem with Ministry is that they seem to feel that the expression of their social, political, and cultural dissolution is fine to be exhibited with little care for structure beyond juvenile angst and reckless direction.

Thankfully not all music that dwells here in this industrial wasteland is terrible. Although arguably more than simple industrial in their content here, Killing Joke’s 2006 offering is an example of the rarefied atmosphere of genuinely captivating music within The Sphere. I recognise almost instantly this jumbled arrangement to all the tracks but here it feels more layered in approach as opposed to senseless piling of things on top of each other. The ability to combine many elements within a track (hell, even just a couple of different elements if they are disparate by way of comparison to each other) is not easy. Listening through to Invocation as I type this review just shows me what masters of this skill KJ are. The mechanical machinations of the track are balanced sublimely with those stabs of symphonia to create an imperious air to the proceedings here. That repetition is still there grinding away at the core of the track yet there is just enough variance in those symphonic elements and those tribal beats that roll through parts of the track to make this a real tour de force.

Switch to Walking with Gods just a few tracks later and we have a structure built on more industrial dance foundations that continually chops away at the listener. The invitation to “push yourself beyond the limits of human endurance” is made by a band who clearly practice what they preach with the relentless energy of this track. This does not always make for an easy listen with Hosanna from the Basements of Hell. The tracks are all varied enough in length, but it is the longer ones that really stand out for me, leaving the four- or five-minute ones a bit in their shade. That is not to say that the shorter tracks are bad, I just find I give them less attention overall.

The repetition is prevalent throughout and it serves as a constant tide almost to bring the music and me closer as the album goes along yet at the same time there are off-kilter rhythms (albeit very subtle), jangly alt-rock riffs and Jaz Coleman’s barking vocals that sound like a more accessible Lemmy to me in their style to keep me guessing where we are going next. Add to this odd sound effects that can sound like the squeaking wheels on a pram or deep and monstrous intakes of breath as well as the occasional maniacal laugh and this all adds up for one dizzying yet brilliant experience.

Whilst I get the sense that KJ do not really care if we like this eclectic “tension music” as I have heard the band describe their sound, they have put such clear effort into Hosanna from the Basements of Hell that it is hard for me not to be completely enamoured with it. It is an album that transposes the message of the artist with an ease that borders on being organic. It did not take many spins for me to feel in tune with this album and the ethos of Coleman and co soon bled through. As such it is one of a few records that I feel speaks to me and puts me at ease with its bonkers yet consistent methods of entertainment. In so many ways it is hard to describe yet in others it is so honest in its style it can appear quite basic at the same time. Extraordinary find for me.

4.5/5

Whilst no expert producer, nor a skilled musician myself there are two things likely to kill my enjoyment of an album in an instant. Poor production has its place in extreme music as we all know but clumsy and plain amateur efforts have no place anywhere (it’s not the eighties anymore folks) and Hellfekted (more on that later) just simply have no idea what they are doing with production. Horribly compressed to the point of it sounding like everything is being played through thick material, Woe to the Kingdom of Blood is over-burdened with a terrible production job from the second that promising intro stops.

Their sound is not that raw to justify them being able to get away with this and I hear little blackened style here beyond the vocals in all honesty. With clearly a limited repertoire of musical ideas and skills, Hellfekted become exposed very quickly with no sheen being to be applied to at least attempt to mirror their sloppy playing and predictable direction. Flitting between thrash metal and the occasional burst of NWOBHM the band seem to lurch around for the whole of the eight tracks on show. The bass which sits at the front most of the time soon loses its appeal and becomes grating and the horrible thocking of the drums just makes me want to claw my ear drums out.

Vocally there is not much to write home about either. The scathing attack soon becomes blunted along with everything else and as perhaps the most unaffected element in terms of that production job they really should carry this album a lot better than they do. I cannot help but feel that Hellfekted are just not ready for a full-length release yet and that they would be far better off sticking to an EP format, or even a split for the time being.

The band name is just nonsense and highlights the clear immaturity in the band. That artwork just contributes to this notion that the band are simply stretching themselves far beyond their capabilities and for a debut album they have probably done everything they should not have. Props for putting your own release out but I would suggest a lot more rehearsing and a lot of time on the road would help no ends here.

2.5/5

Saxy, Sonny, Vinny... do any of you guys feel up to sharing what each of you think are the 10 most essential songs in The Revolution?

Nothing from me.

Schizophrenia - "Recollections of the Insane" (2022)

The Belgian death/thrashers have returned triumphant in 2022 with their first full-length release. Coming back from the success of their Voices EP from 2020 was always going to be a challenge for the four-piece from Antwerp. The immediacy that was present on that five track release some two years ago does actually still remain somehow over the longer format. At the same time the band continue to show glimpses of expansion to their sound which is certainly leaning more towards the death metal part of the equation of their sound.

It is clear that with a rapid sense of maturity the band are now deploying almost progressive elements to their death metal lead work at least. The sprawling Sea of Sorrow showcases this really well and is a real standout moment just some three tracks into the album. Unafraid to stick with their more thrashy roots, tracks such as Monolith show that the guys are able to let rip in a more basic structure following their more established format. Recollections of the Insane probably qualifies better as memorable death metal that does not rely on overtly melodic delivery to stick to the old memory bank. The anthemic Inside the Walls of Madness is a fine example of anthemic metal that sacrifices nothing in the way of extremity yet leaves an accessible aftertaste in the mouth.

Schizophrenia - although rooted in the same death/thrash realm that Sepultura once inhabited - offer a different level of intensity to the Brazilians who's second full-length no doubt inspired the band name. I would describe the Belgian's sound as less heavy but a lot more racing and although I keep saying that they are more death metal than thrash there is always something inherently thrash about the attitude of almost every song they deliver here. Without necessarily straying into Sadus territory, Schizophrenia maintain that scathing attack to their sound and impose a tempo that befits a 90's heyday death metal band that started out as a thrash band before stretching their legs into the death metal world.

My only criticism is that whilst they are mostly definitely there, these moments of variety are so subtle that you really need to sit down to focus and catch them, which is not something I often do with death/thrash record in all honesty. No getting away from the fact that Schizophrenia are getting stronger with each release though.

4/5

Plummeting straight out of the ugly tree and hitting every branch on the way down, Bestial Warlust do not fuck around for one second of Blood & Valour. Despite their obvious ability to tear your face off, they do not rely on this capability alone to get their message across however. Time is taken to build some (loose) sense of structure on some tracks and yes, I grant you, these soon dissolve into furious blackened-death metal (or War Metal for some purists) that have little intention other than to be as loud and obnoxious as possible. The point is that even when they are not in full-tilt slaughter-mode Bestial Warlust can still scare the shit out of you.

Beyond just ticking boxes in the extreme world of metal, the Aussie three-piece create genuine torque in their music. Yes the horse-power on how fast they can go is impressive enough but the grunt that sits behind that speed is equally noteworthy. I would not say we ever reach warp-speed here and despite the production values the band deliver a clearly audible assault that carries rhythm the majority of the way. In a way it is an album that you only need occasional blasts of as it absolutely delivers with every play making it one of the most satisfying listens I could wish for.

 In terms of criticism, the instrumental track slapped bang in the middle of the album just feels showy and unnecessary. Without vocals, this level of extremity has its limits guys! I would have left that track out and just kept on with the more complete feel to the tracks. The album does feel a little disrupted by the instrumental track unfortunately, almost like it has to start again. I can cope with ugly but inconsistency is harder to swallow.

4/5

I have listened through angL on a few occasions this past week.  As Saxy calls out it is a lot like Opeth at the peak of their powers with Blackwater Park and whilst this is perhaps a back-handed complaint, it is important to point out as I feel it sacrifices a lot of the albums identity.  Not to say that this a clone of course as there is reference aplenty to Ishahn's genuine brilliance and enough Emperor call outs to keep the corpse-paint wearer in me satiated.  

Overall I find it a very succinct listen with the overall track structures sounding very compact despite them exploring some lengthy ground in the process.  I am not moved enough to add it to my listening rotation but it has served as a nice variation away from my regular listening patterns this week.

3.5/5

I had already called out similar to this in the Guardians version of this thread (both threads I am convinced are nonsense btw).  It's plagiarism of someone else's list right?  This other person has told you what they listen to and all of a sudden they are essential listens?

Hmm... Well if I give classic heavy metal a greater appearance in my list with new additions based on importance, here's what it would be:

1. DragonForce - "Through the Fire and Flames"

2. Judas Priest - "Breaking the Law"

3. Black Sabbath - "Children of the Grave"

4. Accept - "Fast as a Shark"

5. Iron Maiden - "The Trooper"

6. Savatage - "Hall of the Mountain King"

7. Iced Earth - "Dante's Inferno"

8. Kamelot - "Center of the Universe"

9. Riot - "Thundersteel"

10. Crimson Glory - "Valhalla"

So is that your true list Andi?  I mean until Sonny made a passing comment (which I believe was in jest) your list was quite different as you had identified that a specific category of the clan was your preferred list.  To me it just looks like you changed it because of what you may have perceived to be peer pressure?  Not saying that was Sonny's intent btw.

This is amazing Ben.  Thanks for sorting.

Glad you guys enjoyed it.  I do not have a lot to add to my existing review. I picked up on Vastum with their debut release back in 2011 and got to a point where I picked up most of what they put out right up until I heard Orificial Purge and just got bored by it really.  Hole Below was their last great release for me and I found Patricidal Lust a bit lacing in terms of comparison with the debut.  I toyed with dropping the debut as my featured release but I went for this in the end as a more modern reference.

I'm a big fan of all three albums, particularly The Desanctification. Didn't realise there was any sort of story behind them to be honest.

So, it might take me a few weeks to get all this correct but I have started my re-rating and reviewing of the whole trilogy tonight, beginning with Sect(s).

Blut Aus Nord’s “777” trilogy initially passed me by as being just “three more BAN records!” Foolish though my initial summary admittedly was there is no denying that taken as three sprawling soundscapes that explore the full dynamic range of one of black metal’s more experimental artists, this trilogy commands more than just a cursory listen. To truly unfold the ethereal and haunting and downright catastrophic tale they tell here requires time to be dedicated to the cause.

The theme (I suppose I could say the story at a push) behind the trilogy is essentially the death of mankind as we know it. Predictably perhaps, this does not happen in as simple a format as a nuclear war or even a deviant strain of some pandemic. BAN’s vision is much more terrible and is delivered with a real sense of there being a taunting applause reaching a steady crescendo, somewhere in the darkest corner of the universe.

Told in three parts, this macabre yet (increasingly) relevant scenario plays out with the upmost contempt for humanity that you can muster. Do not be fooled by the relatively tame artwork that adorns Sect(s). The bold silver and gold symbolism belies a cruelty without bounds. Capturing this vision of man being stripped of his belief systems, of his ideologies, of his very existence. Artist Daniel Valencia clearly understood the vision from his discussions with Vindsval. As the first third of the trilogy, Sect(s) sets out a bold undertaking in deconstructing the known foundations of life itself, pouring scorn on the selfish nature of humanity and assaulting the very principles of cultural, religious, and existential need.

“…there once was a star on which clever animals invented knowledge. That was the highest and most mendacious minute of 'world history' — yet only a minute. After nature had drawn a few breaths the star grew cold, and the clever animals had to die. One might invent such a fable and still not have illustrated sufficiently how wretched, how shadowy and flighty, how aimless and arbitrary, the human intellect appears in nature. There have been eternities when it did not exist; and when it is done for again, nothing will have happened.” Friedrich Nietzsche, On Truth and Lies in a Nonmoral Sense, (1873) – with thanks to Lurkersgrave.com for pointing me to this.

Nietzshce’s quote seems to be a perfect summary for the trajectory that Sect(s) starts us on for the rest of the “777” trilogy. It begins at a hopeless point of no return, without any reverse gear to select or handbrake to apply. This crude sense of humility that it flings the driver and all passengers head-first through the windshield and onto is the opening act of a series of events on an unimaginable scale.

To deliver all this BAN simply dip into their armoury of tormented chords and deviant rhythms that disorientate the listener. It is an album that you can lose all sense of narrative in and for once I have no issue with this – it is after all exactly how it was intended to be done. This is not supposed to be an easy listen. The tracks are all entitled “Epitome” followed by the relevant numerical order, but this order is against the values of the song writing of course and as such I find it has little traction.

By and large the more aggressive of the three albums, Sect(s) will appeal to the more traditional bm fan whilst also clearly setting a tone for the imaginative and the alien aspects of the style also. The opening track flies straight out of the traps leaving the listener in no doubt as to what they are in for. Niggling riffs flit about the place before the track breaks into a much more looming prospect. As with a lot of tracks on the album, BAN have this art of making riffs taunt one another. Like tormented serpents writhing in some biblical pit of reckoning; just as one thinks it has the better of another its opponent snaps its head away, prolonging the anguish of the game.

As we have come to expect with BAN, the album also has more than its fair share of ambient ludes/sections, often they appear when we least expect them, causing a sudden change of pace or tempo. These moments seem to just be placed to emphasise the misery of the unfolding story and can equally lead to melancholic melodies just as easily as they can charges of ferocious black metal. At the same time though there are arty rock moments that shimmer in their avant-garde nature, delivering a sense of maturity and total consciousness to the horrific subject matter. This is truly the beginning of the end, and the auditory assault will not let you forget that.

For an album that I hold in such high regard (now that I have taken time to listen properly to it over many spins) it is hard to find fault as so much of what goes on here only has value when explored in the context of the whole trilogy. As such there is very little wrong with Sect(s), despite its obvious deviance from the norms of extreme metal. For any first-time listeners – what the hell are you doing starting out here? Go and start at Ultima Thulee and build yourself up to this stage of the bands career. For the uninitiated, this is a hellish soundscape to comprehend. The undulation of the riffs, the constant subtlety of the drums that frustrates and compliments at the same time, finalised by vocals that you are never quite sure if they are there or not make for a dizzying experience. I have heard the word hypnotising applied to reviews of this album and I have to say that this sums my experience up perfectly. I am so in tune with the album that I can track the mesmerising dissonance that haunts the experience from start to finish. I look upon Sect(s) as being a collection of six rituals that defy linear narrative and yet are just as interesting and enthralling as any story, legend or myth you could care to think of.

4.5/5

April =

Killing Joke - "Invocation" (from "Hosannas from the Basements of Hell", 2006)

Mine for April =

Exodus - "Slipping into Madness" (from "Persona Non Grata", 2021) 05:33

Wraith - "Gatemaster" (from "Undo the Chains", 2021) 03:49

Hellripper - "All Hail the Goat" (from "Black Arts & Alchemy",  2019) 03:12

Ravager - "Dead Future" (from "Thrashletics", 2019) 06:34

Inhuman Nature - "The Hangman Draws Near" (from "Inhuman Nature", 2019) 04:02

Tymo - "Sanity Clause" (from "The Art of A Maniac", 2022) 02:54

Mortal Sin - "The Infantry Corps" (from "Face of Despair", 1987) 03:54

29:58 run time

My vinyl boxed set of Blut Aus Nord's 777 trilogy arrived today.  Complete with splatter effect vinyl, a turntable slipmat and multiple posters it is s et of albums I have been meaning to revisit for some time after initially giving them all a decidedly average 3 stars on the MA site originally.  Now I understand the story behind the series I am listening back through with a much clearer head now I understand the construct (and you really have to get the background to these albums to understand what the band are trying to achieve.

Whilst I cannot (and will not) pretend to like this, it is far less offensive than I first thought.  That album cover screams "bedroom project" and as such the overall structure and direction - or rather lack of it - plays to this impression.  I don't mind the inclusion of drum 'n bass elements.  In fact I would go as far as to say that they build rhythm quite well and compliment that endless rolling riff that plagues most of the album.

For an album that is not afraid to explore new realms though, it is surprisingly dull and one-dimensional.  The fact that it is all instrumental doesn't help either; with no vocals to focus on the music becomes centre stage and for me it is just not interesting enough.

1/5

That Spectral Wound album from last year was a banger.  Probably one of the most consistent bm releases of the year next to Mork.  Hard to not enjoy any track from A Diabolic Thirst.  Daniel has had a strong month with choosing that Mare Cognitum track.

Violet Cold are new to me although I have seen that Empire of Love album cover floating around.  This track is big on the melody in a typical blackgaze-fashion and is possibly a tad too melodic for my tastes.  It is listenable in an inoffensive way but not something that I have much requirement to revisit anytime soon.

Increasingly, I find I have to be in the mood for a sound such as Archgoat.  I did have a real War Metal phase for about 12 months or so when I got in Deiphago, so I do understand the merits of the sub-genre.  I just find myself looking for more depth in my bm nowadays and hence Archgoat are not appealing right now.  By comparison, Dark Forest are of interest with that eclectic mix of epic bm and some base, folk elements being applied to create quite a grand bashing affair.  Not keen on the vocals though as they steer the track towards viking metal which is not my preferred thing, got the head nodding though.

Vorga are a funny looking bunch if look at them on the internet.  Musically solid enough in a melodic/slightly atmo kind of a way.  Odium are previously unknown to me and I never really got overly excited about the symphonic side of bm but I will check out more of their stuff as they do seem to have a well established plethora of bm musicians in their ranks.

I do need to revisit that Leviathan album in all honesty as it has been a while, however that track reminds of what drew me to them in the first place.  That unnerving tension that they somehow manage to summon is really clear on this track.  My choice of Onirik was down to me revisiting the album and recognising what an incredibly interesting offering it is - so much so I bought the vinyl recently.  It is a densely layered album but one that rewards with repeated visits and is on long term rotation at present.

I do not believe that I have ever heard a Panopticon track I do not like and this one (at my first time of hearing) keeps up that consistency.  Aggressive and passionate throughout as always.  Have to confess to not being Anaal Nathrakh's biggest fan but this one got my interest out of its sheer relentless attitude alone.  There is nothing to say about Burzum that hasn't already been said.  One of the absolute classics.

Ninkharsag are a local band to where I live (Liverpool, UK) and I had been listening to The Dread March of Solemn Gods for a few weeks.  Melodic like Dissection as opposed to Sacramentum I think they hold a lot of promise.

By far the find of the list this month is Det eviga leendet.  I loved this with that swarming tremolo that cuts the very air around it (these guys have made it straight onto my Trello board to check out).  Festung were interesting also but got caught in the light of Det eviga leendet unfortunately.  All in all though a great playlist.

I will not be submitting any suggestions for April's playlist.

April:

Samael - "Son of Earth" (from "Ceremony of Opposites", 1994) 03:58

Wiegedood - "FN SCAR 16" (from "There's Always Blood at the End of the Road", 2022) 04:07

Young And In The Way - "Betrayed by Light" (from "When Life Comes To Death", 2014) 03:52

Kvaen - "The Wolves Throne" (from "The Funeral Pyre", 2020) 06:32

Total = 18:29

April:

Morbid Angel - "Garden of Disdain" (from "Kingdoms Disdained", 2017) 04:24

Ulcerate - "We Are Nil" (from "Everything is Fire", 2009) 05:41

Immolation - "Into Everlasting Fire" (from "Dawn of Possession", 1991) 05:15

Tribulation - "Sacreligious Darkness" (from "The Horror", 2009) 03:32

Earth Rot - "Towards A Godless Shrine" (from "Black Tides of Obscurity", 2020) 05:39

Aeon - "Aeons Black" (from "Aeons Black", 2012) 03:42

Total = 28:13

March 2022

01. Sonic Assault – “Coercive Augmentations” (from “Neon Lit Metropolis”, 2022)

02. Metallica – “Seek & Destroy” (from “Kill ‘Em All”, 1983) [Submitted by Sonny]

03. Living Death – “Rulers Must Come” (from “Metal Revolution”, 1985) [Submitted by Daniel]

04. Raunchy – “Digital Dreamer” (from “Vices.Virtues.Visions.”, 2014)

05. Schizophrenia – “Inside the Walls of Madness” (from “Recollections of the Insane”, 2022) [Submitted by Vinny]

06. Extinction A.D. – “Mastic” (from “Culture of Violence”, 2022)

07. Kreator – “Hate Über Alles” (from “Hate Über Alles”, 2022) [Submitted by Vinny]

08. Venom – “Powerdrive” (from “Possessed”, 1985) [Submitted by Daniel]

09. Midnight – “Szex Witchery” (from “Let There Be Witchery”, 2022) [Submitted by Vinny]

10. Sacrifizer – “Blackfire Wytch” (from “La Morte Triomphante”, 2019) [Submitted by Vinny]

11. Sadus – “Twisted Face” (from “Chemical Exposure”, 1988) [Submitted by Daniel]

12. Holy Terror – “Blood of Saints” (from “Terror & Submission”, 1987) [Submitted by Sonny]

13. Hallows Eve – “Pleas of the Aged” (from “Death and Insanity”, 1986) [Submitted by Daniel]

14. Dekapitator – “One Shot, One Kill” (from “We Will Destroy You…You Will Obey!!!”, 1999)

15. At War – “Ordered to Kill” (from “Ordered to Kill”,1986) [Submitted by Daniel]

16. Cryptic Shift – “Planetary Hypnosis” (from “Visitations from Enceladus”, 2021) [Submitted by Vinny]

17. Alien Weaponry – “Kai Tangata” (from “Tü”, 2018)

18. Biohazard – “Vengeance is Mine” (from “Reborn in Defiance”, 2012)

19. Austrian Death Machine– “Get to the Choppa” (from “Total Brutal”, 2008) [Submitted by Vinny]

20. Lawnmower Deth – “Satan’s Trampoline” (from “Oh Crikey It’s…”, 1990)

21. Hirax – “Demons Evil Forces” (from “Raging Violence”, 1985) [Submitted by Daniel]

22. Running Wild – “Marching to Die” (from “Branded and Exiled”, 1985) [Submitted by Daniel]

23. Witchburner – “Thrash Attack” (from “Blasphemic Assault”, 1998)

24. Destruction – “Release from Agony” (from “Release from Agony”, 1987) [Submitted by Sonny]

25. Cryptosis – “Death Technology” (from “Bionic Swarm”, 2021)

26. Détente– “Life is Pain” (from “Recognize No Authority”, 1986) [Submitted by Daniel]

27. Generation Kill – “Rat King” (from “MKultra”, 2022)

28. Suicidal Angels – “Capital of War” (from “Division of Blood”, 2016)

29. Slayer – “Seasons in the Abyss” (from “Seasons in the Abyss”, 1990)