Daniel's Forum Replies
Cocteau Twins - "The Spangle Maker" E.P. (1984)
While I thoroughly enjoyed 1983's excellent duo of releases in third full-length "Head Over Heels" & the equally high-quality "Sunburst & Snowblind" E.P., "The Spangle Maker" E.P. saw Scotland's Cocteau Twins taking a clear step up into the more elite echelons of popular music with three stunning tracks that never fail to leave me feeling exhilarated through their glistening beauty & emotive elegance. The vocals of Elizabeth Fraser are as spectacular as you'll find & cement her as one of my favourite front women of all time. The first two tracks in particular have simply ruled my playlist so far this week so this should be compulsory listening for dream pop & ethereal wave lovers.
For fans of Tamaryn, White Flowers & Cranes.
4.5/5
Antichrist Siege Machine - "Vengeance of Eternal Fire" (2024)
The third full-length from this Virginia-based duo sees them producing another relentless barrage of blasting evil, just the way I like it too. It's high on grindcore influence & low on fucks given. The whole thing is over in just 25 minutes but that's well & truly enough to give me my fill of extreme barbarity & leaves "Vengeance of Eternal Fire" as one of the better examples of the war metal genre you'll find.
For fans of Caveman Cult, Primitive Warfare & Gravesend.
4/5
Here's my updated Top Ten War Metal Releases of All Time list:
01. Infernal Coil - "Within a World Forgotten" (2018)
02. Bestial Warlust - "Vengeance War 'Till Death" (1994)
03. Teitanblood - "The Baneful Choir" (2019)
04. Teitanblood - "Death" (2014)
05. Antichrist Siege Machine - "Vengeance of Eternal Fire" (2024)
06. Impaled Nazarene - "Tol Cormpt Norz Norz Norz..." (1993)
07. Damaar - "Triumph Through Spears of Sacrilege" (2007)
08. Archgoat - "Whore of Bethlehem" (2006)
09. Bestial Warlust - "Blood & Valour" (1995)
10. Conqueror - "War Cult Supremacy" (1999)
https://metal.academy/lists/single/216
Lewis - "L'Amour" (1983)
The debut album from this Canadian Singer/songwriter is a deep, minimal, introspective & synth-laden ambient pop record that's perfect for relaxing by yourself with a book & a glass of wine. I've quite enjoyed it, even though there are some parts that sound a little dated due to the synthesizer sounds employed.
For fans of Nick Drake, Arthur Russell & "Nebraska"-period Bruce Springsteen.
3.5/5
Ghost - "Opus Eponymous" (2010)
I know I'm wwaayyy late in the game here but this was my first time visiting the debut album from these mysterious Swedes. I quite enjoyed Ghost's 2015 third album "Meliora" some time ago & always intended on checking out their debut at some point. "Opus Eponymous" is a less progressive & more consistently metallic effort than the highly regarded "Meloria" was & has once again left me wondering why so many people seem to question Ghost's metal credentials because this is very much a reenactment of the classic 1970's heavy metal sound with progressive rock & occult rock influences being used to create additional interest more than maintaining a consistent focus. This is admittedly not the heaviest of metal records though, largely due to the less distorted guitar tone that reminds me of records like Judas Priest's "Sad Wings of Destiny" or Mercyful Fate's "Melissa" while the melodic vocals are quite poppy & progressive at the same time, steering well clear of anything too imposing despite the Satanic themes. The hooks are certainly here though & I can see why Ghost are so popular because they are so darn accessible yet always maintain their hold on their underground credibility due to the retro vibe. "Opus Eponymous" definitely has its moments & has kept me engaged throughout, without being any sort of classic for me personally.
For fans of In Solitude, Mercyful Fate & King Diamond.
3.5/5
Scott Kelly - "The Wake" (2008)
After thoroughly enjoying my revisit to Kelly's 2001 debut solo album "Spirit Bound Flesh" recently, I decided to give his sophomore effort (generally regarded as my favourite of Kelly's three solo works) the same treatment. It's a slightly more consistent record than "Spirit Bound Flesh" with the highlight tracks (i.e. "Figures" & "Catholic Blood") both being utterly devastating. You can expect a ridiculously deep, dark & depressing while decidedly stripped back singer/songwriter style folk sound that won't appeal to everyone but will connect with its target audience on a visceral level. The album does tend to fade a little towards the end but there's enough quality in the opening five tracks to make this a rewarding & deeply introspective listen.
For fans of Steve Von Till, Johnny Cash & Red House Painters.
4/5
There are undoubtedly a lot of bands / albums that I've introduced you to over the years (and vice versa), but Children of Bodom are not one of them. I don't think I've ever got through a full track, let alone an album.
Are you sure? I can distinctly remember you rocking over to my place in a brand-new Agalloch "Pale Folklore" t-shirt, raving about Paul Baloff-era Exodus & playing me three of your favourite new metal records from Children of Bodom, Dragonforce & BABYMETAL.
Pentagram - "Be Forewarned" (1994)
The 1994 comeback album from these Virginia-based doom metal legends is generally regarded as somewhat of a triumph in doom circles. And look... I won't deny that I've quite enjoyed the ride this week but I can't say that I prescribe to those lofty statements personally. "Be Forewarned" is certainly a step down from Pentagram's excellent self-titled debut album in my opinion but I do think it's slightly more appealing than their 1987 sophomore effort "Day of Reckoning" without reaching a level that would see me returning to it in the future. The Black Sabbath worship is incredibly extreme here with front man Bobby Liebling doing everything in his power to sound exactly like the Ozz man. There are some crushingly heavy riffs on offer with the production job being tailored to best showcase that element of Pentagram's sound but I don't take much away from the groovier stoner-ish material to be honest. It's also pretty hard to understand why they'd end the record with the three best tracks with the rest of the tracklisting being fairly hit & miss. Anyway... this isn't a bad listen for the more dedicated doom aficionado. Just don't expect fireworks.
For fans of Black Sabbath, Saint Vitus & Witchfinder General.
3.5/5
Children of Bodom - "Follow the Reaper" (2000)
I think it might have been Ben who first introduced me to this Finnish act upon my return to metal in 2009 & it may have been through this very album too if memory serves me correctly. I can't say that "Follow the Reaper" does very much for me these days though with its power metal-infused melodeath sound largely flying straight over my head. This shit really lacks consistent aggression with the vocals of Alexi Laiho being fairly stereotypical for the melodic death metal scene & the neoclassical guitar solos removing whatever edge may have been achieved by some of the more heavyweight riffs. There can be no denying Laiho's talent as a shredder but I need more than that these days. European power metal has never been my thing either so this record was always gonna be a challenge for me. It's certainly not a complete disaster but "Follow the Reaper" offers very little that fits into my wheelhouse in 2025.
For fans of Kalmah, Norther & Wintersun.
2.5/5
Nirvana - "Bleach" (1989)
Aaahhhh.... this one brings back fond memories of high school. As with most people, I discovered Nirvana via their undisputed classic of a sophomore album "Nevermind" in 1991. My introduction came through my best mate at the time who very much had his finger on the pulse when it came to the best new hard rock & commercial metal acts. He would very quickly look a bit deeper & pick up the grunge legends debut album too & I have to admit that I've always really enjoyed it, despite it being a bit of a different beast to later Nirvana records. You see, "Bleach" showcases a much dirtier, punkier sound than the major label produced "Nevermind" or "In Utero" & I find that DIY element to be really attractive, even if I can't deny that the album is a step down from the other two full-lengths in terms of song-writing. The tracklisting isn't perfect as I've always found "Floyd the Barber" to be a bit flat but songs like "School" & "Sifting" are genuine grunge classics & deserve much more attention than they've received over the years. You simply aren't a grunge fan if you don't own a copy of "Bleach".
For fans of Soundgarden, Melvins & Mudhoney.
4/5
Marilyn Manson - "Antichrist Superstar" (1996)
Surprisingly, this has been my very first attempt at a full Marilyn Manson record but I've quite enjoyed the ride, even if I do have to question how this album is strong enough to justify the global attention that Marilyn built off the back of it. It's a lengthy effort at 77 minutes & seventeen tracks but there's not a huge amount of filler to be found with only three songs failing to connect with me. His sound sits somewhere between industrial rock & industrial metal but there's enough metal here to justify the record's inclusion at the Academy in my opinion. Hit single "The Beautiful People" is certainly one of the best pieces along with "Dried Up, Tied & Dead to the World", "Little Horn" & "Deformography", all of which reside in the first half of the tracklisting so things do fade a touch over the B side. There can be no denying Manson's charisma as a front man though, even if you put aside his horrific image & stage presence. I'm happy to say that "Antichrist Superstar" is definitely worth a listen or two although I can't see myself returning to it any time soon.
For fans of Nine Inch Nails, Rob Zombie & Ministry.
3.5/5
Siouxsie & the Banshees - "Kaleidoscope" (1980)
The third album from this London-based gothic post-punk outfit is pretty decent although I do have to suggest that it's not quite as essential as many fans would have you believe it is. I enjoy the vibe & atmosphere more than I do the actual song-writing a lot of the time & find the biggest track (opener "Happy House") to be fairly lacklustre, instead preferring the darker material like "Tenant", "Desert Kisses" & closer "Skin". Front woman Siouxsie is quite unique though & is the clear focal point.
For fans of The Cure, Bauhaus & Echo & the Bunnymen.
3.5/5
Tomas Lindberg (Grotesque/At the Gates/Lock Up/The Crown/Liers in Wait) has finally succumbed to mouth cancer.
Grief - "Come to Grief" (1994)
The debut full-length from this Boston-based sludge metal outfit sees Grief taking a step up from 1993's excellent "Dismal" E.P. & has subsequently gone on to become one of my favourite sludge releases of all time. "Come to Grief" is made up of eight oppressive tracks of ultra-doomy, abrasive & aggressive pieces of rat-infested glory, highlighted by the incisive vocals of front man Jeff Hayward who is thoroughly believable throughout. This is a wonderful example of what the genre is trying to achieve & one that highlights the ease with which some of the premier American bands seem to be able to tap into a downtrodden crack den for inspiration. I'm not sure what that says about the country as a whole though.
For fans of Noothgrush, Dystopia & Eyehategod.
4.5/5
Glenn Branca - "Lesson No. 1" E.P. (1980)
The debut solo release from this Pennsylvania guitarist sees him coming up with a completely new musical concept that's based predominantly on theoretical concepts. Totalism sees an artist adding additional energy & rhythmic complexity to the ideas presented in the classical genre of minimalism & Branca pulls it off with utmost ease here, although it has to be said that this doesn't always amount to an enjoyable listen. The first of the two lengthy tracks ("Lesson No. 1 for Electric Guitar") is a beauty & sees the concept presented in an easily palatable & highly professional format that's built around repeated, rhythmically-phasing melodic phrases. The noisy & musically awkward twelve-minute B side ("Dissonance") doesn't fair nearly as well though & ruins the release's chances of making a marked impression on me. Still... I'm interested to hear what Branca would become in the future so I can see myself checking out some more of his work in the future.
For fans of Manuel Göttsching, This Heat & Steve Reich.
3/5
I've always had time for Sinmara & generally get enjoyment from all of their releases with this one being perhaps their strongest work.
I'm well across this release & have been meaning to give it a revisit & rating at some point.
I'm surprised to find that I'm still yet to submit a rating for this release which has received a fair amount of play time from me over the years. I've subsequently added it to my playlist for the coming month or so.
This old Razor hoodie packed it in last month.
I found my initial listens to be a bit flat when I checked "The Arsonist" out a few months ago so I haven't spent all that much time with it since.
Gun - "Gun" (1969)
It's my first time checking out the debut album from this London psychedelic rock outfit but it seems to be quite highly regarded these days. I've quite enjoyed it but can't see it as being any sort of underground classic. There are a couple of flatter tracks positioned early in the tracklisting (see "The Sad Saga of the Boy & the Bee" & "Rupert's Travels") which don't set a great platform but things pick up after that with the epic eleven-minute psych closer being a great way to finish & the highlight of the album. The catchy "Yellow Cab Man" is also excellent. This is worth a listen if you're into the early psych sound.
For fans of Blue Cheer, The Litter & Ultimate Spinach.
3.5/5
Nile - "Amongst the Catacombs of Nephren-Ka" (1998)
A very solid debut album from this South Carolina trio & one that shows a strong understanding of the death metal genre & what makes it so great. I really love the dark production job which further enhances the high-quality performances to make this a bit of a beast of a record. The middle eastern themes are perhaps not as prevalent as they would become in the future but that's never been the attraction to Nile for me personally. I just love the sheer relentlessness of this band & that's showcased beautifully here. Nile certainly have better records (see the classic "Annihilation of the Wicked", the excellent "Those Whom the Gods Detest" or the rock-solid "In Their Darkened Shrines" for example) but that shouldn't detract from death metal fans enjoying Nile's first-up effort as it still contains everything that makes these Americans a household name in extreme metal circles. In fact, I reckon I might even take this one over its 2000 follow-up "Black Seeds of Vengeance" these days, if by a fairly miniscule margin. Just listen to those over-the-top guitar solos which hark back to early Deicide. That's what death metal is all about guys.
For fans of Hate Eternal, Suffocation & Dying Fetus.
4/5
The Mothers of Invention - "Uncle Meat" (1969)
This is the third supposedly classic Mothers record I've challenged myself with over the last few months & I've yet again failed to connect with on any level. In fact, I'd suggest that "Uncle Meat" is possibly the one that offered me the least appeal of the three as, despite the incredible compositional & timbral complexity, there's really nothing much of any musical value here. It's just a bunch of silliness put down on tape across an overly ambitious double album format. I'm very surprised that people seem to find more than that in this music but they apparently do so what would I know.
For fans of Henry Cow, Gentle Giant & The Residents.
2.5/5
Limp Bizkit - "Significant Other" (1999)
Another pretty decent Limp Bizkit album that tends to be overly maligned due to people's hatred for Fred Durst's hobbo-isms. The band are really very capable & have a great understanding of dynamics & how to get a crowd jumping with the hip hop component being particularly strong throughout. This is a slightly stronger & more consistent record than the more popular 2000 follow-up album "Chocolate Starfish & the Hot Dog Flavored Water" in my opinion & I've actually quite enjoyed it if I'm being completely honest.
For fans of Papa Roach, Korn & P.O.D.
3.5/5
Here's my updated Top Ten Nu Metal Releases of All Time list:
01. Linkin Park - "Meteora" (2003)
02. Korn - "Korn" (1994)
03. Slipknot - "Iowa" (2001)
04. Linkin Park - "Hybrid Theory" (2000)
05. Deftones - "Adrenaline" (1995)
06. Korn - "Life is Peachy" (1996)
07. Korn - "Follow the Leader" (1998)
08. Limp Bizkit - "Significant Other" (1999)
09. Sevendust - "Animosity" (2001)
10. Korn - "Issues" (1999)
https://metal.academy/lists/single/313
Massive Attack v Mad Professor - "No Protection" (1995)
Stoners should look no further than this wonderful remix album that contains eight stripped-back takes on tracks taken from Bristol trip hop kings Massive Attack's brilliant 1994 sophomore album "Protection". Guyana dub legend Mad Professor does a wonderful job at keeping the original depth of the pieces & taking them into even more cerebral directions. I can't tell you how many times my best mate & I numbed ourselves to this record during my 2000's club days. Massive Attack are one of my absolute favourite artists & this is one of the truest examples of an underrated gem you'll find.
For fans of Thievery Corporation, Hooverphonic & DJ Shadow.
4.5/5
Armoured Angel - "Mysterium" E.P. (1994)
I was well into this Canberra trio as a young chap & they would play a serious role in inspiring me to become a musician myself. Although they may not be all that well known outside of Australia, Armoured Angel are probably the most widely respected death metal act ever to come from these shores & this release comes from their peak period, a time when I would experience them in a live environment on numerous occasions. Armoured Angel's 1985 demo tape "Banished in Blood" was a pretty lacklustre affair but it was their two late 80's thrash metal demos "Wings of Death" & "Communion" that initially gained my attention, if not leaving me totally convinced. Once they sold their souls to the burgeoning death metal sound with 1992's "Stigmartyr" E.P. then there was no going back though & "Mysterium" sees the band continuing down that route, be it with their usual thrashy edge. Listening back now, I have to say that "Mysterium" doesn't hit as hard as the career-defining "Stigmartyr" did. The two highlight tracks ("Myth of Creation" & "Enigmatize") are both excellent but the other material doesn't live up to that promise, particularly the two combined pieces that close the release in "Pray for Me/Elegy" which don't do much for me. Still... there's enough quality to keep me interested & see me donning my old "Mysterium" t-shirt with pride although I do think I'd probably take the "Communion" demo over this CD these days if I'm being honest which isn't how I felt back in the day. The "Stigmartyr" E.P. is where you should direct your attention if you're looking to experience some premium Aussie death metal though.
For fans of Ares Kingdom, House of Atreus & Mi'gauss.
3.5/5
Discharge - "Fight Back" E.P. (1980)
A short six & a half minute shot of adrenaline containing five high-octane tracks that whip past you in no time at all. The Motorhead influence is obvious throughout & this is all enjoyable stuff, even for someone like myself who doesn't class themselves as a big punk fan. It's interesting that the two songs on the B side are comfortably the best material so I feel that Discharge would have been better served with an alternate arrangement of the tracklisting. Still... this is a decent way to fill a very small gap in your day. I just can't see myself thinking to return to it any time soon.
For fans of Poison Idea, Negative Approach & Anti-Cimex.
3.5/5
Alcest - "Les chants de l'aurore" (2024)
So, I've spent a bit of time with the French post-blackgaze stalwarts' seventh full-length now & have developed the feeling that it's not a bad record, if not one that I'm likely to reach for when I feel the urge for some Alcest. The tracklisting is without blemish but the overall atmosphere is extremely whispy & melodic (even for them) with the shoegaze influence being far more prevalent than the post-rock on this occasion. The black metal shrieks aren't used as regularly as they have been in the past either but the instrumentation has plenty of black metal about it. Overall, I'm gonna suggest that "Les chants de l'aurore" is probably Alcest's least impressive album since 2014's "Shelter" but it's still worth a few listens, even if (much like the Frenchmen's previous record "Spiritual Instinct") I can't say that this is an essential release for those looking for the elite-level blackgaze.
For fans of Amesoeurs, Lantlôs & Deafheaven.
3.5/5
Monster Magnet - "Dopes to Infinity" (1995)
Not quite as strong as this New Jersey stoner rock outfit's 1991 debut album "Spine of God" but still a very solid outing nonetheless. My affection for Monster Magnet's third full-length has grown since my last visit with the incredible "Third Alternative" & excellent cerebral closer "Vertigo" being my clear highlights. This should be essential listening for any stoner worth their double-chamber bong.
For fans of Fu Manchu, Clutch & Kyuss.
4/5
The Mothers of Invention - "Absolutely Free" (1967)
The Mothers' 1966 debut album "Freak Out!" did very little for me & the same can be said for their follow-up from the next year "Absolutely Free". I simply need much more from my music than artsy humour & there really aren't any examples of classic, timeless song-writing here. Admittedly, some of the lyrics are quite witty (perhaps more so than on "Freak Out!" which I had a touch less time for than this sophomore effort) but that's unfortunately not all that I require to make for engaging music. There are a few decent numbers included (see my personal favourite "The Duke of Prunes", the jazzy "Invocation & Ritual Dance of the Young Pumpkin" & closer "America Drinks & Goes Home") but the majority of this material just washes straight over my head without much sticking from a musical perspective, even after several listens.
For fans of Captain Beefheart, Soft Machine & Gong.
2.5/5
Rotting Christ - "Non serviam" (1994)
The highly regarded sophomore album from these Hellenic black metal kings also happens to be my favourite Rotting Christ release. I picked it up on CD at the time of release & have always seen it as a step up from their debut full-length "Thy Mighty Contract". It's a measured, consistent & highly focused release that sees the band keeping well within their limited technical abilities while championing a unique atmosphere built on repetitive mid-range tempos & palm-muted death metal riffs that are given a black metal feel by shrieking vocals & subtle synthesizer use, ending up somewhere between the melodic & conventional black metal subgenres. The use of melodic lead guitar themes definitely borrows from the early doom/death movement too & sees "Non serviam" sitting in the top couple of releases from the whole Hellenic black metal movement in my opinion. Highly recommended.
For fans of Varathron, Samael & Thou Art Lord.
4/5
Here's my updated Top Ten Melodic Black Metal Releases of All Time list:
01. Dissection – “Storm Of The Light’s Bane” (1995)
02. Mare Cognitum – “Solar Paroxysm” (2021)
03. Les Chat de Nihil – “Le tyran et l’esthete” (2021)
04. Rotting Christ – “Non Seriam” (1994)
05. Dawn - "Nær sólen gar niþer for evogher" (1994)
06. Dawn – “Slaughtersun (Crown Of The Triarchy)” (1998)
07. Iskald – “The Sun I Carried Alone” (2011)
08. Naglfar – “Teras” (2012)
09. Abigail Williams - "In The Absence Of Light" (2010)
10. Dissection - "The Somberlain" (1993)
https://metal.academy/lists/single/164
Yellow Magic Orchestra - "Yellow Magic Orchestra" (1979)
The 1979 sophomore release from Tokyo synthpop act Yellow Magic Orchestra is a complete remake of their self-titled debut from the previous year, this time being achieved with a greater level of clarity & crispness in the production. I hated the original if I'm being honest &, interestingly, I've found myself going a little against the grain by hating the remake even more. This shit is as cheesy as absolute fuck & I really struggle with the vast majority of the material with only the annoyingly catchy "La femme chinoise" managing to break through my defenses. I'm quite simply not the intended audience for these early YMO records & will be giving them a wide birth in future.
For fans of Kraftwerk, Isao Tomita & Yukihiro Takahashi.
1.5/5
Cryptopsy - "As Gomorrah Burns" (2023)
The 2023 comeback record from Canadian death metallers Cryptopsy (their eighth full-length) was generally received in a pretty luke-warm fashion but is actually a really solid example of the brutal death metal subgenre as far as I can see. As with some of Cryptopsy's other releases, it's not as technical as people like to make out & shouldn't really qualify for tech death status. Instead, we find these guys playing in the space between brutal death metal & the conventional death metal of a band like Cannibal Corpse with the regular use of high-speed blast-beats being the element that sees them staying tied to BDM. The vocals of Matt McGachy are more than serviceable & benefit from a level of intelligibility that wasn't always valued by this band but the extra attention in this area has been well received by this particular listener. I also enjoy the flourishes of bass prowess from bassist Olivier Pinard (Neuraxis/Vengeful/Cattle Decapitation). My long-time bugbear with legendary extreme metal drummer Flo Mounier (Nader Sadek/Vltimas) is still evident at times as he has always had issues with the consistency of those ultra-fast blasts, this time with keeping his kick drums in time towards the end of each passage. It's not a big deal on this occasion though as the clean production job & the proficiency of the instrumentation around him is strong enough to ensure that "As Gomorrah Burns" ends up being one of Cryptopsy's best releases. You won't find anything particularly fresh or original here but I'm not sure that high-quality death metal always needs to be to tell you the truth. At least, it doesn't in my world & I've probably heard as much of the genre as anyone over the years.
For fans of Suffocation, Gorguts & Lykathea Aflame.
4/5
https://metalinjection.net/news/zoe-federoff-posts-her-contract-with-cradle-of-filth-details-how-little-she-was-paid
Wow! Not a great look for Dani Filth & management.
Korn - "Life is Peachy" (1996)
The Californian nu metal godfathers' sophomore album isn't too bad actually, even if it was a clear step down from the self-titled which I regard as one of the finest examples of the subgenre. I find it really hard to split this one with Korn's 1998 follow-up "Follow the Leader" but, if pushed, I'd probably choose "Life is Peachy" as my second-favourite Korn record.
For fans of Deftones, Limp Bizkit & Slipknot.
3.5/5
Here's my updated Top Ten Nu Metal Releases of All Time list:
01. Linkin Park - "Meteora" (2003)
02. Korn - "Korn" (1994)
03. Slipknot - "Iowa" (2001)
04. Linkin Park - "Hybrid Theory" (2000)
05. Deftones - "Adrenaline" (1995)
06. Korn - "Life is Peachy" (1996)
07. Korn - "Follow the Leader" (1998)
08. Sevendust - "Animosity" (2001)
09. Korn - "Issues" (1999)
10. Dir en Grey - "Uroboros" (2008)
https://metal.academy/lists/single/313
Angelo Badalamenti - "Twin Peaks: Fire Walk With Me" (1992)
The soundtrack to the prequel film that was released after the TV series isn't quite as good as the soundtrack for the series, although it's still worth a few listens. The dark jazz component is possibly a little stronger here although the tracklisting isn't as consistent.
For fans of Bohren & der Club of Gore, The Kilimanjaro Darkjazz Ensemble & The Dale Cooper Quartet.
3.5/5
Paradise Lost - "Ascension" [English gothic metal]
Pre-release review from another site: "Paradise Lost require no Introduction. From the UK acts beginnings as part of the pioneering Peaceville three through to their modern-day status as death/doom gothic icons. Each album is a celebration of melancholy and aggressive; Ascension is their seventeenth release after the five years wait that was Obsidian and it continues the band’s excellent return to truly heavy soundscapes.
The riffs are majestic and instantly memorable, whether it be from the almost upbeat ‘’Serpent on the Cross’’ and ‘’Silence like the Grave’’ with its instantly headbanging passages through to the grandiose Tyrants Serenade each track is unique yet an integral part that makes Paradise Lost work, from its gradual build from doom through to gothic like passages, nothing is hurried every note allowed to sear the sense and resonate in your eardrums. ‘’Salvation’’ is anything but, a monolithic riff so huge full of impending misery that its unmatched throughout the album and it proceeds to get heavier! The musicianship is of course nothing short of superb and Nick Holmes Vocals are the perfect conduit for themes of triumph and tragedy. From the inexorable build of ‘’Lay A Wreath Upon the World’’ to the metallic glory of ‘’Sirens’’ and ‘’Deceivers’’ (That solo) this is Paradise Lost at their most complete, at times reminiscent of Icon with its variations and dynamics,
Cathartic, emotive and simply heavy in places, Ascension is a pure Paradise Lost record that will not only heralds their continued fine form but will sure spark furious debate as to where it stands in their catalogue of excellent albums. An irresistible force of nature, Ascension is a great record with moments of excellence, glorious doomy and gothic, a must for all connoisseurs of the genre."
Ad Nauseam - "Live at Roadburn" [Italian avant-garde/dissonant death metal]
I don't think it's necessary to adjust your rating protocol between the two sites Sonny. Your ratings are meant to be an indication of how much you enjoyed a release so if you generally enjoy metal releases more than other genres then your scores should reflect that. You are so well versed in metal by this point in your musical journey that you will always tend to gravitate towards metal records that you're more likely to enjoy too. Should that mean that the weaker end of that should suffer more than with other genres? I don't think so. I understand why you might question yourself on a three-star rating for a metal release that you didn't enjoy much as it doesn't sound terribly harsh but if there's music out there that's several levels worse than that then you need to leave space for it in your rating system in my opinion. In saying that, I don't believe that metal is less conducive to absolute garbage than other genres. In fact, the bottom end of my ratings database if littered with metal filth, most of it being far worse than Justin Bieber.
Ambush - "Evil in All Dimensions" [Swedish heavy metal]
Get your denim and leather jackets ready for AMBUSH and their Napalm Records debut Evil in All Dimensions, out September 5, 2025! Bursting with relentless energy, this monster captures the classic essence of heavy metal - championing the genre’s roots while setting a new benchmark for modern heavy music. Formed in 2013, AMBUSH quickly became a staple of the Swedish metal scene, delivering classic heavy metal vibes with a modern twist. Drawing inspiration from the likes of Judas Priest, Accept, and Iron Maiden, AMBUSH’s unique blend of traditional metal and fierce energy has earned them a dedicated fanbase around the globe. From fingernail-shattering riffs to screaming-solos and emotional lyrics, the Swedes emerged from the underground scene landing performances at Europe's most prestigious old school metal festivals like Muskelrock, and touring as a fan-favorite next to heroes like ENFORCER and COBRA SPELL.
Marking the beginning of an exciting new chapter in their relentless quest for speed, AMBUSH are ready to rise to even greater heights with Evil in All Dimensions, and its explosive collection of high octane, riff driven anthems. The title track and opener perfectly delivers classic 80s heavy metal hooks with sleek, modern production. Taking listeners along a nightmare turned reality, this song kicks off with high energy drum grooves by Linus Fritzson and powerful riffs from guitar-virtuosos Karl Dotzek and Olof Engqvist. Bassist Oskar Andersson knows how to hypnotize the audience with his lines in the brooding “The Night I Took Your Life”, while "Maskinovka" is an anthem with a standout performance from vocalist Oskar Jakobssons. The track’s mid-tempo groove personifies the difficulties of standing up for truth in a world shaped by manipulation. But there is no rest for the wicked: whipping drums, sharp guitars, and high-pitched vocals, “Come Angel of Night”explores themes of reconciliation when the damage seems irreversible, culminating in a soaring solo that highlights the band's musical prowess. In addition to their undeniable talent to revive fast and glorious 80s headbangers, the Swedes also surprise with the gripping power ballad "I Fear the Blood”. It’s a song to pump your fist to, vacillating between themes of escapism and self destruction, amidst the battle against one’s inner demons. Founder Oskar Jakobssons screams his soul out in this heavy-hearted and honest masterpiece, which creates the perfect moment to wave your lighters in the air, passionately belting along.
Evil in All Dimensions is undeniable proof of the band's unwavering passion and talent for the genre. With Napalm Records as their partner, they are primed to take the world by storm. The evil in this world can't hide – AMBUSH will take care of it with relentless heavy metal power!
Spinal Tap - The End Continues" [US heavy metal]
The soundtrack release from the new film sequel "Spinal Tap II: The End Continues".
Before the Dawn - "Cold Flare Eternal" [Finnish melodic death metal]
Tuomas Saukkonen, Finland's most prolific musician in the field of Nordic metal, follows the motto “If you want to create, you have to destroy”. Over the past 20 years, he has created and disbanded numerous projects that have shaped the Finnish metal scene. In 2023, he brought the band Before The Dawn back after an eleven-year break with the album Stormbringers, which was celebrated as a musical comeback. Now the follow-up is already in the starting blocks, a work characterized by strong band chemistry and musical brilliance.
In the new album, Saukkonen reunites the band in its best line-up and creates a hard-hitting work that shines with aggressive yet melodic sounds. The album captures the energy and atmosphere of the band's performances and combines it with the deep, mystical beauty of Finnish nature. Saukkonen, who is also known as a solo artist with projects such as Wolfheart and Dawn Of Solace, has released several albums since 2022 and continues to perform with passion and creative energy.
Despite his intense workload, Saukkonen emphasizes that he also has more time for his hobbies such as fishing. The new album not only shows his continued passion for music, but also a tremendous energy that is reflected in both the lyrics and the music. Saukkonen remains a passionate musician who continues to focus on creating new music even after more than 20 years in the scene.
In Mourning - "The Immortal" [Swedish melodic death metal]
At some point, a band simply has to try something else in some form or another lest their sound begin to become stale and uninteresting. It can be in even the smallest ways that such a change can make for a wild difference. For some, it’s the inclusion of another band member or trying a slightly different approach. For others, something more radical and transformative must take place for the band in question to really feel as though they’re breaking new ground. After forming twenty-five years ago, it was only expected that In Mourning would eventually try something else. We’ve seen them dabble in previous efforts with their more progressive leanings, but it’s here in their seventh album that they fully take the plunge.
When dealing with a band like In Mourning, it’s important to remember where we’ve come from. For years now, this has been a band that has been massive for all intents and purposes in their own corner of death metal with their own doom and gothic leanings that have always allowed a ton of interesting flavor and vigor to pour out of virtually every performance the band has thrown down thus far. It’s only natural that after becoming certified masters of that craft that they would seek alternate avenues to explore and see what else they can do. With the nine tracks of “The Immortal”, it’s clear that In Mourning is already more than competent at their new approach with the nuance, diversity, and organic nature of the record as a whole speaking to the ingenious talent at play here. The sheer scope of this record is something to be admired. “The Immortal” is just as beautiful in its grace as it is unyielding in its intensity with In Mourning pulling from its decades of experience to ensure that these ten tracks were far from one-dimensional and can really become something to become lost within. Undeniably dynamic and able to throw down tremendous progressive passages while never sacrificing its brutality in the process, this is the kind of album that can inject all sorts of new life into a band that’s been at it for a long time.
In Mourning has never been one to doubt, and it’s with “The Immortal” that one cannot help but be overwhelmed by the excellence that’s commanded with masterful precision. If they were seeking to prove something with the crafting of “The Immortal” then I cannot but feel as though In Mourning as more than succeeded as this record makes a difficult transition seems fluid and compelling. Overflowing with light and majesty, it’s the whole of “The Immortal” that enables In Mourning to have a future not many of us could have seen coming.
“The Immortal” releases on August 24th!
Between the Buried & Me - "The Blue Nowhere"
Progressive metal visionaries Between the Buried and Me return with their most immersive and eclectic record yet—The Blue Nowhere. Mixing uncharted musical detours with their distinctive aggressive identity, the band create a conceptual world unlike anything in their incredible catalog.
releases September 12, 2025
OMG! Former-Mastodon guitarist Brent Hinds has been killed after being struck by another vehicle while riding his motorcycle.
Green Carnation - "A Dark Poem, Pt. I: The Shores of Melancholia"
No matter what stylistic path they take, GREEN CARNATION have never shied away from grand, gloomy statements.
Founded in the early ‘90s by former Emperor bassist Tchort, the Norwegian act quickly amassed a cult following thanks to one of the most ambitious epics in metal history. Even before going on hiatus during the mid-2000s, the ever-evolving auteurs still flashed a flare for the dramatic by performing their acoustic verses underneath a mountain dam. However, there was one tale — or three, to be exact — that continued to elude them. Until now. With the ‘A Dark Poem’ trilogy starting now, GREEN CARNATION finally unveil their masterpiece.
The idea for an album trilogy stems from GREEN CARNATION’s earliest yesteryears, but the first part of ‘A Dark Poem’ cites various passages from across their illustrious cannon. Lead single “In Your Paradise” reaches newfound peaks of heaviness, swept out to sea by sublime riffs and somber symphonic flourishes. While navigated with the band’s familiar mastery, the view from ‘The Shores of Melancholia’ is far from heavenly. Judgement day appears around every corner, steering them from the title track’s scarlet clouds of war toward Floydian whirlpools drenched in paranoia before being shipwrecked by second wave black metal.
“A lesson learned, now bridges burn”, bearded captain Kjetil Nordhus cries out with impassioned cleans, as if tied to the mast during the album’s fiery send-off.
On ‘A Dark Poem, Part I: The Shores of Melancholia’, GREEN CARNATION set sail on an epic journey into a dark night of the soul.
Pestilential Shadows - "Wretch"
Northern Silence, in conspiracy with Brilliant Emperor, are proud to present Pestilential Shadows' highly anticipated eighth album, Wretch.
One of Australia's longest-running and most respected black metal bands, Pestilential Shadows have been building a towering canon of work since 2003. Whereas many of their native land's extreme metal exports either tend toward the chaotic or too clean, the shadowy collective led by founding vocalist / guitarist Balam consistently create compelling swathes of drama and darkness, all-enveloping emotion and regal-yet-gritty grandeur. Truly, Pestilential Shadows are black metal classicism par excellence.
And while the last handful of their albums the past decade-plus have seen sizable gaps between them, Pestilential Shadows strike while the iron's hot with Wretch. Simply and substantially titled, Wretch follows from last year's Devil's Hammer and continues the band's progression / regression toward uglier, gnarlier expanses. Mind you, it's a lateral development rather than a vertical one - the "form" is still BLACK METAL, and its attendant contents are ruminations on death and the beyond - but the fact that Pestilential Shadows can subtly-to-significantly shift their sonic palette whilst conveying their characteristic melancholy and tragedy speaks to the enduring strength of their songwriting. What's more, the album's production is palpably professional, feeling effervescent and crisp even when running through those uglier, gnarlier expanses. If anything, said recording style of Wretch - mastered by Krvna mainman Krvna Vatra, who played on the aforementioned Devil's Hammer, with mixing done by Balam - gives the record a uniquely ethereal aspect, even when the band have kicked into ultraviolent overdrive. Above all, the eight songs that comprise the 49-minute Wretch prove Pestilential Shadows as masters of pacing, doling out the sublime and the profane with equally windswept aplomb. Of especial note is the solemn procession of "Where Sunlight Goes to Die," which features guest choral vocals from Dis Pater of Midnight Odyssey.
As always, totality is key, and thus has Greallach Art been brought back to provide stark & austere cover artwork for Wretch. On the strength of this album alone, Pestilential Shadows continue to assert their position as a classics-minded black metal vanguard, and will cement that position in the flesh with a European tour slated for late August through September and then an Australian / New Zealand tour to follow in October.
Esoctrilihum - "Ghostigmatah - Spiritual Rites of the Psychopomp Abxulöm"
From Bandcamp, “Often accused of having no sense of measure, Asthâghul churns out a new double album that is grandiose, symphonic, psychedelic, liturgical, delirious. In a word, excessive. "Ghostigmatah" is a prism that reflects every single nuance of the ESOCTRILIHUM sound. Conceptually, the album is divided into four chapters, each of which tells a ritual stage in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm, who will finally deliver them to eternal nothingness. A post-mortem ritual that is told in the secret grimoire of the “Ghostigmatah,” a sort of modern Necronomicon that constitutes another piece in ESOCTRILIHUM's phantasmagorical visionary world.”
The album has ten long-titled songs. “Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather” is first. The sounds that spew forth are like the worst utterings that Hell has to offer…thick, resonating bass notes, a wall of guitars, backing keyboards that are harrowing, machine gun drumming, and harsh vocals screams/gutturals. “Kneeling Before the Keeper of the Golden Key to the Absolute Void” has a more traditional Black Metal sound, but still, this is a lot of sonority coming from a single composer. The keyboards add a layer of melody to the song, but it’s mostly a landscape of controlled aggression. “Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, the Giant Fly” has both deeper elements on the low end, and surprisingly melodic ones on the upper end. A lot of the song seems to be part of a sight seeing trip down each plane of Hell.
“Hypnotic Danse Macabre of the Blind Noctivagants” embraces melody, and leaves some of the aggression behind. The abrupt change of pacing is a testament to the composer’s songwriting skills. “Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme” returns to some of the naked aggression of the previous songs. Harrowing elements abound, and it’s akin to being tortured over and over again. The bass work here is outstanding. “The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite” features deep, cavernous vocals and chaos that almost sees the wheels come off of the speeding bus. There is so much dissonance, it’s about all that you can peer through. “Mauled, Swallowed and Dissolved Into Nothingness by the 8-Eyed Psychopomp” features a gentler sound as well as some clean vocals, but take that with a grain of salt…it’s still dark, dangerous, and aggressive.
“Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites” is the final offering, and mysterious tones end the album. For me, the psychedelic landscape brings up more questions than answers. The album seemed to encapsulate everything that someone might come across in the underground…chaotic aggression, and vocals that can frighten you even when you are asleep. The composer is obviously talented, and the album is just diverse enough. Any fans of Extreme Metal will find this to their liking.
Vicious Rumors - "The Devil's Asylum" [The fourteenth full-length from these Californian heavy metallers]
The Rods - "Wild Dogs Unchained" [The eleventh full-length from this New York heavy metal outfit]
‘80s metal luminaries The Rods are back with Wild Dogs Unchained, a new album that combines reimagined classics from their past with masterfully crafted new songs.
Hooks, grooves, crafty, formidable, and rebellious are songwriting attributes that The Rods gladly embrace. On Wild Dogs Unchained, the veteran power trio continues their famed aural assault with songs like “Eyes of a Dreamer” and “Tears for the Innocent,” revealing heretofore unrealized musical melodicism, while re-tooled classics, “Hurricane” and “Wild Dogs Unchained,” percolate with renewed vigor. On Wild Dogs Unchained, the playing is harder, the grooving is heavier, and the singing more soulful than ever before. David “Rock” Feinstein (guitar/vocals), Freddy Villano (bass), and Carl Canedy (drums) have crafted a definitive Rods album aimed at pleasing die-hard fans and new audiences alike. Once again mixed and mastered by Chris Collier, Wild Dogs Unchained flexes considerable musical muscle and builds upon the ironclad sonic template that these three musicians have forged over recent years. Not content to rest on their laurels or their legacy, The Rods are getting tighter, more nuanced, and perhaps even more bludgeoning with age. As Derric Miller at hardrockhaven.net said, “The Rods just pummel you. There’s an insane energy coming from this band.”
Begging For Incest - "Going Postal" [German slam death metal - first album in nine years]
Pyrexia - "Unholy" [New York brutal death metal - a re-recording of their 2018 fifth full-length]
Suffocation/Malevolent Creation/Exhorder/Cancer - "Live Death" (1994)
I picked up this underground bootleg at around the time of release & quite enjoyed it to tell you the truth. It's a collection of recordings from Milwaukee Metalfest & features a fairly raw production job as you would expect. The four acts featured were all on top of their games at the time (at least from a creative point of view) so the material is all strong but the four bands have varying levels of success. The strongest contribution predictably comes from Suffocation who open the CD with two classics from their "Effigy of the Forgotten" record with opener "Jesus Wept" being the clear album highlight. These guys are quite simply on another level to the other three bands from both a production & performance point of view as they manage to pull off what is easily the tightest of the four sets, despite the much more technical song structures. Just check out those savage vocals from frontman Frank Mullin! In direct contrast, Malevolent Creation are let down a bit by the looseness in their execution, particularly that of drummer Alex Marquez whose blast beats aren't really up to scratch just yet. Thrash metallers Exhorder's trademark sound was perhaps never going to work as well in a live environment but their slower groove-oriented material works well with the ballsy vocals of Kyle Thomas, particularly on "(Cadence Of) The Dirge" which has always been one of their best pieces in my opinion. Cancer have always been a third tier death metal band & they sound every bit of it here with their two songs both being simple & entertaining, if lacking the class that hired gun James Murphy brought to the "Death Shall Rise" album. Overall, this isn't a bad listen if you like these bands studio recordings as all of the material is enjoyable. Just don't expect a polished production job or clinical performances.
For fans of Suffocation, Malevolent Creation & Cancer.
3.5/5
Miroslav Vitous - "Infinite Search" (1970)
The second solo album from Weather Report bassist Vitous has been a stellar find this week. I had no idea who the supporting cast were going into the record but was easily able to identify some of them as soon as their music hit my ears as their signature styles are so familiar to me:
Miroslav Vitouš: – bass
Joe Henderson: – tenor saxophone
John McLaughlin: – electric guitar
Herbie Hancock: – electric piano
Jack DeJohnette: – drums
Joe Chambers: – drums (on track #6, "Epilogue")
Wow! That's an unbelievable lineup, particularly given the inclusion of McLaughlin who is my all-time favourite jazz guitarist. The material sounds very similar to the classic Miles material from the period too & has clearly been inspired by those classics while also being a little more avant-garde with Vitous' bass being the main protagonist most of the time which isn't all that common. This record comes highly recommended for jazz fusion fans.
For fans of Miles Davis, Joe Zawinul & Jaco Pastorius.
4/5