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Kings Cross were another act that competed with the recently mentioned Surrender for the honour of having released the very first genuine metal release to come out of my birth city of Sydney. There's very little known about the timing of the two records though so I've had to take a guess as to which may have come earlier & have generally leant towards Surrender as their self-titled album was far more significant than Kings Cross' three-song effort. It was also miles more enjoyable too as the "Gimme" E.P. is a lacklustre affair that places all of its hopes & dreams on the back of brothers Darren "Jed" McCormack & Matt "Big Bird" McCormack whose virtuosic lead guitar skills are pretty incredible when compared with the overall package. They'd clearly been spending years kneeling at the altar of the late, great Randy Rhoads as there are some striking similarities in style. Unfortunately, it wasn't enough to save "Gimme" from the second-hand store racks though as two of the three songs are completely disposable (read: garbage) with closer "Love Machine" being one of the worst metal tunes I can remember hearing, thanks largely to the completely out of key vocal effort of front man Mark White.

Kings Cross began life as New England in 1983 before changing their name shortly afterwards. The "Gimme" E.P. would be their only metal release with their 1988 debut album "Psychedelic World" coming after they'd relocated to Los Angeles in search of international acclaim & seeing them dropping the metal component in favour of a more psychedelic glam/hard rock approach. Kings Cross were built around the three McCormack brothers who would later go on to form seminal Sydney thrash metal band Massive Appendage with Jed & Shawn also ending up in Fester Fanatics later on. The early Kings Cross sound sits right in the middle between the LA glam metal one that was so big at the time & a more muscular heavy metal one. They tended to sound closest to Skid Row due to White's similarities in tone with Skid Row's legendary Sebastian Bach in my opinion. Unfortunately, his skill set is not even close to being able to match Bach's though & his failings are the main detractor from me being able to enjoy this release. I do quite like the glammiest of the three tracks in the catchy "Back Street Theatre" but it's sadly not enough to balance out the dire nature of the song-writing on the other two inclusions so I can't in good conscience encourage any of you to actively seek out "Gimme" which should reside solely in the annuls of Australian metal history for all eternity.

For fans of Twisted Sister, Skid Row & Motley Crue.

Unexpected and completely unannounced, Myrath have landed in my world and made an almighty impact by way of this month’s Infinite feature release. On paper, there was a lot to alarm me with the tags of symphonic metal and progressive metal throwing up two of some of my least favoured sub-genres. However, the reality of the actual listening experience has proven far more empowering than I ever could have expected. Wilderness of Mirrors is catchy, hooky and as result incredibly memorable. The spontaneity that presented upon my first listen was just the catalyst to a consistently rewarding album that repeated listens through seem to only improve on that initial positive reception.

The symphonic elements are thankfully not huge orchestral movements, and nor are they washy keys that flood everything either. The Middle Eastern influences on show here are incorporated skilfully into varying tempos and rhythms. Accented vocals are not always done well (Orphaned Land come to mind here) but in the main the vocals here only add to the authenticity of the music. There is some clunkiness to them sometimes, like on the track ‘Until the End’ featuring Amaranthe’s Elize Ryd where there is the annoying extension of words to make them fit the music, or on the opening to ‘Les Enfants Du Soliel’ when the choral vocals get sung over by the band’s vocalist. Whilst they are isolated moments, they do linger on the mind for a while after.

Production wise, Wilderness of Mirrors is immaculately produced. It is to be expected though. Within a few minutes of album opener ‘The Funeral’ it becomes clear that anything less production values wise would be a travesty. This is an album that is wanting to soar from the off, taking little time to awaken that massive wingspan. I would have more stars for it if perhaps the record did not dip in quality towards the end. After my personal favourite track, ‘The Clown’ things do get a little samey for me. Even though the musicianship remains strong and exuberantly showy, there is a sense of the ideas tank starting to run on empty over the final four tracks. This has still been a revelation for my usually more extreme ear however and I must have played this album for around two weeks on a daily basis.

I must confess that at the time, back in the 1980s I gave Metal Church a wide berth, for no other reason than their name made me think they were a glam metal band and so were taboo as far as I was concerned. OK, yeah I know, but I have always been a bit of a dickhead, so more fool me. Even to this day this debut is the only album of theirs I have given much attention to. I have heard its follow up "The Dark" but it didn't make much imprssion on me so the self-titled remains my only real touchstone with the San Franciscan metallers. In addition to this I was never a very big fan of power metal, but since joining Metal Academy I have become converted to the joys of the US version which is less bombastic than its european counterpart and is much more to my liking.

"Metal Church" whilst often being touted as speed metal, or even thrash, is neither of those but rather a good example of USPM. Undoubtedly, when they put their feet on the gas, it is certainly pretty close to speed metal, the instrumental "Merciless Onslaught" for example, but overall the tempos are more varied and there is a bit more to it than the average Exciter album. The title track, (my personal favourite) whilst having a relentless riff, isn't an all-out blur of speed, but is a much more deliberate and considered medium-paced affair, meanwhile "Gods of Wrath" even has a balladic verse structure alongside a classic-sounding NWOBHM riff for the chorus.

Having formed in 1980, the band had been churning out demos prior to Metal Church and that experience served them well because I think they sound like a pretty tightly-knit unit here. Whilst the twin guitars of Kurdt Vanderhoof and Craig Wells are undoubtedly the star attraction, I think drummer Kirk Harrington deserves special mention for his performance which is pretty damn impressive and does a lot more than just keep time with his relentless and intricate drum patterns. Vocalist David Wayne has a tendency to become a bit screechy, but never to the point of annoyance, and he does inject some character with his voice. As I said earlier, though, it is those twin guitars that really dominate "Metal Church". Whether it is the charging of the rampaging riffs or the frantic shredding of the electrifying solos Vanderhoof and Wells impress with their energy and skill.

These were pretty exciting times to be a metalhead as the new wave of acts sweeping the metal world were stripping away the final vestiges of hard rock from their sound, pushing each other to be faster and more evil-sounding and with this debut Metal Church can hold their heads high with their contribution to the movement. In all honesty, though, I would have been perfectly happy without the "Highway Star" cover which feels like an unnecessary nod to the increasingly irrelevant old guard. By the way, is it just me, or is the title track a candidate for the "Influence or Coincidence, Inspiration or Plagiarism" thread because it sounds to me like Dave Mustaine ripped it off for the chorus of "Architecture of Aggression". It isn't like he was unaware of this album surely, they are contemporaries from the Bay Area and must have crossed paths in the 80s.

These occasional dips back into the heavy metal/traditional metal world seem to be a little easier on the ear than I have come to expect them to be, certainly over the past couple of months or so anyways. Another female-fronted outfit in the form of Tower follow hot on the heels of last months Serpent Rider feature release and they manage to land a bit more successfully it must be said. The spontaneity of Let There Be Dark is hard to not fall for. I recall the debut from this band back in 2021 and how it caused a minor ruckus amongst my online metal peers who celebrated it alongside many a favourable review also. I don’t recall anything particularly standout from the debut record and as such I have viewed Let There Be Dark on its own merits as a standalone record.

Tower give a good acquittal of themselves here, building a consistent and strong track listing that burns with the energy of Chastain without quite crossing into the speedier side of Sölicitör, but also espousing a health nod in the direction of Warlock along the way. The inclusion of two instrumentals feels a dubious choice in an otherwise well-constructed album, but when they focus their efforts into actual songs, Tower are at their very best I would say. Whilst the album may lack any genuinely stunning performances beyond the vocals of Sarabeth Linden, everything is played with competence with the caveat that some aspects (the drums) are a little staid overall.

It is hard for me to get too excited over such a regurgitated sound though. No matter how solidly it is played, this is nothing new to my ears and nostalgia alone is not enough to keep my scores higher than the mid-point for Let There Be Dark. Despite the unnecessary instrumentals, the album is succinct enough however, coming in at just under forty-minutes seems a sensible length to avoid boredom settling in for me and at no point do I scrabble for the skip button. For some, this record will be flying the heavy metal flag high, and I don’t dismiss that purpose. However, it is not one that I am as invested in as I was a few years ago and so it does sound to me like just another heavy metal record.

Ah, Motörhead. I can't tell you how heavily obsessed with this band I was in my secondary school days in the latter part of the 1970s. Lemmy, Eddie and Philthy were the absolute fucking peak of musical rebellion for me back then. Punks thought they were rebelling, but they were just glorified clothes horses. Nah, bikes, booze and speed as preached by this unholy threesome were where rejection of the system and true freedom really lay. Motörhead shows were special, they had a hardcore of fans who always showed up, particularly from the biker community and were a celebration for those who rejected and lived outside of the system. The band had been steadily growing their popularity with each release, but then, all of a sudden in '79 / '80, rock and metal became popular here in the UK and all manner of "normies" started taking notice. Pivotal in that metal explosion here was "Ace of Spades". It became popular here on a level that was unprecedented for UK metal bands (even Sabbath didn't really hit this level of popularity in the general populace). Shit, the 'Head were even there on Thursday night on Top of the Pops for fuck's sake. I was a naive kid and some part of my kid's mind felt betrayed by this sudden "sell out". Of course this was a great album, but my admiration of it was a bit grudging because, much as I loved it, I resented having to share something that had been so personal to me with all these newbies who had no history with the band. Stupid and naive, but my immature mind knew no better. Rather than revelling in the fact that my love of the band had been vindicated by so many others now discovering them, my connection now felt diluted.

So now, as an only marginally more mature-minded old man, what's my take on "Ace of Spades"? Well, I don't think its influence on the future of metal can be understated. Its influence on bands such as Venom is evident and therefore, by extension, on the whole extreme metal scene. It was certainly Motörhead's most truly metal album up to this point and is a long way from the material you would find on their earliest recordings such as the heavy rock 'n'roll of "On Parole". It is also one of the band's most consistent records with few real dips in quality, unlike a lot of their albums which always frustratingly seemed to have at least one "bum" track, think "Vibrator", Step Down" or "I'll Be Your Sister".

The tempo established by the iconic opening title track is maintained pretty consistently throughout the album with tracks like "Fire Fire", "We Are the Road Crew" and "The Hammer" while they shake it up with some variety of pacing as supplied by tracks like "Shoot To Win" and the brooding "Chase Is Better Than the Catch". And over all this booms Lemmy's unmistakeable, thundering basslines whilst Philthy lays into all around him like the "Animal" for which he is named, the duo combining into one of the most devastating and charismatic heavy metal rhythm sections of all times. From what I understand Eddie Clarke was already at this point becoming a little disillusioned with playing second fiddle to Lemmy, yet he was such a consummate professional that you would never guess it as this is probably his all-time best work and his riffs and solos are vibrant and energetic, playing the lightning to Lemmy and Phil's booming thunder. Sure, I will concede, sometimes Lemmy's less-than-serious lyrics can cause the odd grimace, but I think he wrote them with tongue firmly in cheek most of the time.

I don't know if they ever suspected that the title track would become the iconic track it did. I mean it is up there with songs like "Paranoid" and "Smells Like Teen Spirit" in terms of tracks that are so well known people actually become tired of hearing them over time. Whether they did or not, it is one of the best known British metal tracks ever. Hell, even my Elvis-loving mum could be caught singing it occasionally. To be fair she did once sweet-talk a bouncer into letting her in for the last half hour of one of the band's shows at our local fleapit when she came to pick me up. It blew her mind and she always loved Lemmy after that! I digress, but the material on "Ace of Spades" is so strong that even with such a titanic track opening the record, the remainder doesn't feel even remotely disappointing and a couple such as "We Are the Road Crew" and "The Hammer" are even better for my money. Ultimately the top and bottom of it is that this is one of the iconic albums of the UK metal scene alongside "Paranoid" and "Number of the Beast" and no matter what I or anyone else says that ain't changing any time soon.

On a more sombre note, I always use metal-archives as the resource for factual information about the albums I am reviewing and, rather poignantly, I thought, the full lineup page for "Ace of Spades" which includes producer Vic Maile, engineer Trevor Hallesey and even photographer Alan Ballard has R.I.P. next to each name. Fuckin' sad man.

I'm not going to get into the divisive nature of King Diamond's vocals here, I am sure I have addressed that issue elsewhere. Let's just accept for now that I actually do enjoy his idiosyncrasies and move on. The simple fact was, and remains, that Mercyful Fate wrote some absolute killer metal tracks. They gave Iron Maiden and Judas Priest-like melodic riffs a more evil bent with overtly occult lyrics, although still firmly in the literary or cinematic realm rather than the Anton LaVey serious satanism of later black metal bands. This, coupled with KD's histrionic vocals and early version of corpsepaint gave the impression that the Danes were pushing the envelope of sheer metalness ever further. MF were undoubtedly a major influence on the early exponents of extreme metal and the metal landscape may have ended up sounding quite a bit different without them.

I absolutely love the band's debut album, "Melissa" and it has several of not only my favourite Mercyful Fate tracks, but favourites of traditional heavy metal as a whole. Songs like "Evil", "Into the Coven" and "Satan's Fall" have riffs with the ability to get my head nodding and feet tapping whilst King Diamond's vocal hystrionics simultaneously set the hairs on the back of my neck on end. I think it is more than fair to say that there hadn't been anything quite like Mercyful Fate before. The band had a big task on their hands, then, to follow such an impactful record with one of similar quality that would cement their legacy as metal frontrunners. Ten months later they dropped "Don't Break the Oath" onto an expectant public and the rest, as they say, is history.

I think the first thing that hit me about "Don't Break the Oath" is that KD seems to have dialled back the vocal excesses and delivers a more controlled performance behind the mic. That doesn't mean that he took a conventional approach to his singing duties by any means and if you didn't like his vocals on the debut, then this is unlikely to change your mind as he still hits those theatrical falsettos fairly regularly, just not in as over-the-top a manner as on "Melissa". What about the riffs then? Well, DBtO is as jam-packed with riffs as a Snickers bar is with peanuts and every one registers pretty fucking high on Sonny's patented head-bangability scale. These riffs will be bouncing around your brain long after the record has ended, probably getting you very strange looks should you be using public transport at the time. On top of this Shermann and Denner's guitar work is exemplary with an energy and vitality that sounds genuinely thrilling whenever they let rip with those dynamic solos. The songwriting here also sounds more mature than on the debut, the tracks resolving themselves with a little more complexity than before. This ain't prog though and the memorable hooks are still there in vast numbers, they are just not the be all and end all on this album.

This is certainly a worthy follow-up to "Melissa" and is arguably a better record, even though the hooks on the debut are incredible, but there feels to be a bit more meat on the bones here which, when coupled with King's more restrained performance add up to one of the best traditional heavy metal records of the 1980s.

Riot kind of passed me by at the time, never penetrating my 1980s musical bubble and, frankly, this doesn't possess the energy or aggression that is likely to to draw much of my attention all these many decades later. To me this sounds like a product of its time with way too much hard rock catchiness for my comfort. I mean, come on, "Feel the Same" and "Don't Bring Me Down" are Aerosmith tracks surely. This feels like AOR metal to me, written with US FM radio play in mind and not to provide any aggression or adrenaline as that may negatively affect record sales. Basically this is SAFE and safe is not a word I want attached to my metal listening thank you very much. I guess you want a bit more from me but, frankly, I don't want to waste too much time on this because listening to it is like staring at a blank wall for thirty-seven minutes. It gives me nothing and I shall return that with nothing of my own. If this is what was passing for metal in the US back in the early 80s prior to the thrash boom then I can understand why Def Leppard became so big over there (and you were welcome to them).  I guess "Swords and Tequila" is kinda fun and "Run for Your Life" is passable, but the rest is anodyne and meaningless to me. 

I have only listened to a handful of albums from Running Wild, from various points in their career and with mixed results. Of those I have heard, for me, this stands head and shoulders over the rest. Their later "pirate metal" schtick doesn't really track and feels a bit too goofy to take seriously, whereas "Gates to Purgatory's" speed metal influenced, occult-themed trad metal is much more to my taste. They appear to have been initially influenced by the early-80s metal coming out of the UK, particularly Venom who, considering their influence here and on the likes of Sodom and Kreator, must have been huge in Germany around this time. They sound more technically adept and tighter than the Geordie trio for sure, but the influence is definitely there. Another obvious touchpoint for me is Tank with Rock 'n' Rolf's vocals sitting very firmly in the same ballpark as Algy Ward. However, with their more melodic sensibilities, twin guitar attack and proficient soloing, the additional influence of english heavyweights Iron Maiden and Judas Priest can't be understated either. In fact I suspect they are named for the Priest song of the same name from "Killing Machine" which seems to be exactly the kind of track that this album's foundations are built upon. For me this dichotomy makes for a nice balance that lends the hooky riffs and proficient guitar work a suitably raw edge that pushes it into the more aggressive regions of the speed metal world and away from the pomposity of power metal.

It isn't all headlong speed metal charging, though, with the pounding and hulking "Preacher" having more of a doomy riff and slower tempo, putting the brakes on and allowing a pause for breath after the opening dual salvo of "Victim of States Power" and "Black Demon" before diving right back into the even more adrenaline-fuelled headrush provided by "Soldiers of Hell" and "Diabolic Force". Meanwhile "Genghis Khan" does sound awfully Maiden-esque and I may be imagining it, but it feels a lot like the spiritual successor to the identically-titled instrumental from the Irons' "Killers" album. It is, however, one of the album's weaker tracks, sounding a little bit messy at times. I'm not convinced by the closer, "Prisoner of Our Time" either. I like the anthemic chorus and the soloing, but the verses just feel a bit flat in comparison.

So how does it stack up then? You know what, I am actually a bit pissed off that I never got wind of this album at the time of its release because tracks like "Diabolic Force" and "Adrian S.O.S." were exactly the kind of burnt rubber, fuel-injected riots that a bike-crazy, speed junkie like I was back then would have absolutely drooled over. A couple of misfires aside I really like this and I would certainly take it over the band's later stuff. Maybe I would be a bit more disparaging of it if I had a history with the band, but I don't so I unashamedly give this a thumbs up.

Saxon were on a roll in 1980. After a lacklustre debut album hadn't really gone anywhere the Yorkshiremen shed the more rock-oriented aspect of their sound and sharpened things up for its follow-up "Wheels of Steel". This, aided by the unlikely chart success of the lead single "747 (Strangers in the Night)", thrust them to the forefront of the burgeoning NWOBHM scene. Obviously surfing on a creative high and not wanting to lose any momentum "Strong Arm of the Law" hit the streets a mere five months after its predecessor and only a couple of weeks after their appearance at the inaugural Monsters of Rock festival at Castle Donnington, an event that was pivotal for the rock and metal fraternity here in England and which added extra impetus to the metal explosion taking place across the country.

"Wheels of Steel" was an album with some incredible peaks, "747..." and the title track in particular being NWOBHM classics, but taken as a whole I think "Strong Arm.." is the more consistent record with fewer dips in quality than its predecessor. Side One is a collection of four cracking staples of NWOBHM glory with riff after riff of headbanging magic, kicking off with the uptempo, fist-pumping anthem to metal fandom, "Heavy Metal Thunder" the band stick their sword in the ground and say, "on this we make our stand, who's with us?" Biff's nasal vocals soar over everything with his tales of life on the road that paint a picture of a band that genuinely love their fans and really get a kick out of bringing metal joy to a country that in those days was stuck in some very grey times. Saxon have always come over as a really genuine bunch of fellas who would probably still play even if no one came to see them and who don't need drugs because they get high on playing for their fans, as they say on the title track, and that integrity is yet one more reason to get on board with these plucky Yorkshiremen.

Side Two is bookended by two fantastic tracks in "20,000 Ft" and the Kennedy assassination-themed "Dallas 1 PM", and although "Hungry Years" is a decent, if somewhat basic track and "Sixth Form Girls", despite being a bit cringey lyric-wise, has a great main riff and an unpretentious solo, these two feel like a bit of a dip when sandwiched between two such monsters in the band's repertoire. "Dallas 1 PM" in particular sees the band stretching their wings with a little more ambition in the songwriting. The throbbing bass intro and opening bars of the riff remind me very much of The Sensational Alex Harvey Band's excellent "Faith Healer" and the solo that begins after the sample of the assassination commentary is one of my favourites from the band. This, when coupled with the striking subject matter, makes "Dallas" a bona fide NWOBHM classic and is a fantastic way to end the album on a high.

Saxon may not have had the publicity of some of the more notorious metal crews over the years and may even be seen by some as being a bit naff, but these guys were writers of great riffs, consummate entertainers and all-round good guys, which may have seen them overlooked by the more image-conscious metal fans, but the loss is their's, not Saxon's. I saw them play live many times in the early 80s and they were genuinely one of the brightest lights of the NWOBHM and deserve the respect of metalheads everywhere.

I did get into Scorpions a little bit around 1979, mainly because of their association with Michael Schenker who had completely transformed english hard rockers UFO, a band I was quite a fan of at the time, especially on their "Strangers in the Night" live album. I bought Scorpions' "Lovedrive" album and caught them on the subsequent tour but, in truth, I always considered them no more than second tier rockers. I don't remember listening to "Taken By Force" at that time, so my view on it is completely in hindsight.

What have we got here then? Well, I really think it is a stretch to label this as a metal record, it is hard rock pretty much through and through with "I've Got to Be Free" and "Your Light" even sounding like funky, psychedelic Jimi Hendrix tracks. The band can write some catchy melodies for sure and they are a reasonably tight unit, but that is pretty much all there is to them. The lyrics tend towards the corny, "Steamrock Fever" being particularly egregious, especially with the kids' backing chant of "Steamrock band, Steamrock band" - what the fuck, are you serious?! Also whilst I would concede that Klaus Meine does have a distinctive and instantly recognisable voice, his singing doesn't appeal to me all that much and I don't think he projects as much energy or emotion as, for example, a Ronnie James Dio with whom I have seen him compared in the past.

I would agree with the common consensus that side two opener "The Sails of Charon" is by far the best track, but even that feels like it has been truncated so as not to become too demanding on the listener. "He's A Woman - She's A Man" is a decent attempt to pump some adrenaline into proceeding, but to label it proto-thrash as some have is wishful thinking at best and delusional at worst. Then there are the awful ballads, with "Born to Touch Your Feelings" having me itching to press the skip button but, being the dedicated individual I am, I stuck it out and suffered for completions sake. But the truth is I hated this fucking song intensely and closing the album with it only leaves a lasting feeling of resentment towards the album as a whole.

There is no denying that Uli Roth is a talented guitarist and without his contributions I think this would hardly register a blip on most rock or metal fans' radars. His guitar work tranforms a track like "We'll Burn the Sky" into something far more interesting and energetic than it at first appears and he was responsible for writing "The Sails of Charon", so kudos to the guy for that at least. As I said earlier he also does a decent Hendrix impression, especially on "I've Got to Be Free" which, in the right context, I could quite enjoy, but I haven't come here to hear Jimi Hendrix, if I wanted to do that I would go to the man himself. I have never listened to Roth's solo material, so maybe I should as he is obviously the main talent in the Scorpions' camp.

Overall I would have to say this reinforces my view of Scorpions as second tier hard rock / proto-metal, several streets behind the likes of Priest, Motorhead and Thin Lizzy and they always feel to me like they had their eye on gaining radio play and the popularity that would entail. There next two or three albums were better but, for me, they will always be nothing more than a footnote in my musical world.

The amount of female-fronted bands in metal has grown over the years. And there are some bands who, after years of being all-male, add in one or two female members. I've been enjoying those kinds of bands lately. They're mostly symphonic metal though, and while I've had my on-off fondness for that genre, I felt up to exploring female-fronted bands of classic heavy metal. Seeing how well things turned out with listening to Benedictum, I shall have no problem with this band Tower...

Tower has released 3 albums and an EP. Vocalist Sarabeth Linden, guitarists James Danzo and Zak Penley, bassist Philippe Arman, and new drummer Keith Mikus have gathered together to perform their towering sound. Their 3rd album Let There Be Dark was recorded and produced by Arthur Rizk, with cover art made by Jared Fleming.

The album opens with "Under the Chapel", sounding punky in the guitars and drums, similar to NWOBHM. Sarabeth Linden's vocals can sound operatic while rocking out. The track also has a music video. Next up is the title track, with faster and more intense guitars and drums to mosh to. Sarabeth once again blows my mind with her singing. "Holy Water" has a creepy brief intro of a church sermon that then leads into another full-speed banger, having that US power metal vibe.

The incredible "And I Cry" begins sounding like a ballad, then they become more energetic in the second half and keep you hooked in no time. "The Well of Souls" is a short interlude. What follows is another hidden gem, "Book of the Hidden". And then one more half-minute interlude, "Legio X Fretensis".

You'll certainly be headbanging to "Iron Clad". Then "Don't You Say" is a slow yet brilliant track. The guitar duo sound so enthusiastic in the faster second half, and when they work together, they can prove their skills without problems. Sarabeth's vocal power shines the most in the impressive 6 and a half minute closing epic "The Hammer". The different melodies are so mesmerizing, and once it ends, you'll be begging for more.

So yeah, I enjoy Tower's contribution to the classic heavy metal revival. The different tempos work when placed right. The intense guitars and drums suit the unstoppable vocal force of Sarabeth and her talented greatness. The two interludes are a little disruptive, but every other track has given Tower a promising path in their career....

Favorites: "Let There Be Dark", "And I Cry", "Book of the Hidden", "Don't You Say", "The Hammer"

Ah, Manowar eh? If we are talking about the early years of metal then I suppose we have to talk about Manowar. Loud, crass, bouyed on by a giant, unshakeable ego and somewhat comical, Manowar were the Donald Trump of heavy metal and, as such, were equally divisive inspiring adoration and loathing in equal measure. Also, if you were a metalhead in the 80's, very much like the orange one today, you certainly couldn't avoid them. They were everywhere in the metal press because, let's face it, they were a music magazine's dream with their bold statements and distinctive (some may say cartoonish) visual aesthetic. I was initially interested in Manowar not because of any of this press hype, but because of the involvement of Ross the Boss, who had been a member of US punk / hard rock band The Dictators of whom I was a big fan and whose "Bloodbrothers" album I still spin occasionally. I actually didn't take the plunge with the band until "Hail To England" was released when I finally succumbed to the marketing and got myself a copy from my local rock and metal shop. To be honest, I wasn't particularly impressed and I certainly didn't feel it lived up to the hype and that LP has lived in the nether regions of my collection ever since, hardly ever seeing the light of day.

So, forty years on, it is time for a revisit and to see how it sits with me now, so much water having flown under that particular bridge. The thing that jumps out at me most about "Hail to England" is that it is more mid-tempo than the hi-octane riffing of the comtemporary USPM that it is usually associated with. There are few headlong charges, but rather a more hulking throb, emphasised by Joey DeMaio's basslines which, when coupled with Scott Columbus's uncomplicated, pounding drumming, provide most of the album's forward momentum. "Kill with Power" is the only track that comes close to hitting the turbo chargers, but even that wasn't going to leave the upcoming Slayers and Metallicas of the world in the dust. However, that is fine because that isn't the point here. In a metal world that was becoming obsessed with playing faster and faster with speed and thrash metal gaining in popularity daily, the title hints at Manowar's intention to pay homage to the early progenitors of metal such as Black Sabbath rather than the up and coming young bucks from their own side of the Atlantic. The opening brace of tracks, especially "Each Dawn I Die" even have a tribal-sounding rhythm track that feels almost like a native american raindance or some such ritualistic backdrop. Eric Adams is a pretty solid vocalist and he is quite adept at delivering some really cool vocal melodies, although some of his higher reaches do grind on my ears a bit.

I have to say that in revisiting this I may have been unduly harsh on Manowar in the past. Sure, I still think their whole "real men play on 10" and "death to false metal" schtick was cringeworthy, but listening to this now and with the distance of time putting all that PR bullshit to rest, this is actually a solid album of epic and melodic metal tunes that are as anthemic as they are simple, this uncomplicated infectiousness being the album's real heart and strength. I used to think that Manowar were just embarrassing metal cliches, a pantomime metal band, but truth is they were actually skilled at writing memorable metal tunes that crowds could belt out at full volume with the band at their live shows. In other words, Manowar were a band who were out to have a good time and to let their live crowds have a good time with them, presenting themselves with tongue firmly in cheek and playing with a determination to entertain. Sometimes that is enough and I stand here now, head bowed and admit I was probably wrong about them all along. "Black Arrows" is still a load of bollocks though and is the only real fly in the ointment here.

If I am going to listen to power metal, which I have started doing a bit more than I used to, then it is invariably the USPM version I turn to. I have come round to USPM rather late in life as I have spent an awful long time concentrating on extreme metal genres like doom and black metal, so I haven’t really got any contemporary history with the early USPM classics. The latter part of the eighties having saw me diving down the thrash metal rabbit hole and quickly abandoning traditional heavy metal styles almost completely. This is a great shame because there is a lot that appeals to me in any number of the earlier classics of the genre.

Standing tall amongst the formative USPM releases is Jag Panzer's debut full-length, “Ample Destruction”. It took the more uptempo riffs of Judas Priest and Iron Maiden and, taking its cues from the energetic, fast-emerging thrash metal scene, cranked it all up to 11 and delivered an exuberant celebration of heavy metal thunder as a result. Any vestige of hard rock that had survived into the NWOBHM era had been well and truly exorcised by the Americans in this fresh new take on the traditional style, giving it a more epic, harder and just downright more metal edge as a result. The riffs come thick and fast and are generally memorable, fist-pumping bangers. When these riffs are then complemented by some electrifying and exhilarating solos and an effusive vocal performance by Harry Conklin, it is surely impossible for anyone with a true metal heart not to be stirred into headbanging ecstasy.

 Coming to this after decades of being immersed in the extreme metal scene feels kind of liberating in a life-affirming way with the rediscovery that metal doesn’t always have to be po-faced and depressing or just so damned intense, but can actually be joyful and celebratory too, with absolutely no loss of integrity. It may sound a bit hyperbolic, but I am finding albums like “Ample Destruction” to be revelatory, their sheer infectious effusiveness providing some degree of relief from the daily assaults on mental wellbeing that modern living entails.

You know what, I have never really been the biggest fan of these german heavy metallers. There, I said it. I know for an awful lot of worshippers at the altar of traditional heavy metal these guys are the dog's bollocks, but I have never managed to board that train. I never listened to them much in their 80s heyday, so I have no nostalgic attachment and over the last three decades or so I have been interested in the more extreme ends of the metal world, so any exposure to Accept has been only in passing.

So, has listening to "Restless and Wild" forty plus years after its release had any impact on my tinnitus-wracked ears? Well, kinda, but its impact is more of a ripple on a pond than a tsunami. I can't fail to register the infectious nature of the riffs and the anthemic choruses but, in all honesty, these sound just like a german Saxon to me and that style of metal only has a very limited appeal now and at least I have the benefit of a nostalgic attachment to the Yorkshiremen's early stuff. Added to that is the fact that I find Udo Dirkschneider's voice pretty annoying. Now I am not so picky when it comes to metal singers, enjoying King Diamond and even Cirith Ungol's Tim Baker, but there is something in Udo's screechy singing that is a bit like fingernails down a blackboard to me. In fact, I actually enjoy some of the later Accept albums without Udo more than these earlier ones.

Guitarist Wolf Hoffmann undoubtedly knows what he is about, his solos are concise and effective and he is obviously a master writer of memorable riffs, but it all sounds so safe and I never find anything here that ignites my passion or soul. It is just kind of there and even though I may occasionally find my toe-tapping or my head nodding it never feels even close to setting the hairs on the back of my neck on end, being more of a Pavlov's Dog kind of a reaction to a catchy riff than any kind of deep engagement with the art. Now, it isn't that I dislike this album, or the band as a whole, in fact I have respect for their contribution to 80s metal and the adulation they inspire in their fans, it is just that I am unable to share in it. If I had been more exposed to their early albums at the time of their release then I may well feel better disposed towards them but, as things have panned out, they are just a footnote in my metal listening history, a band I respect more than enjoy.

I apologise in advance dear Reader, if you feel that this review is excessively autobiographical, but it is kinda relevant to my long-term relationship with glam metal generally and W.A.S.P. specifically, so here we go anyway:

I really didn't get much out of glam metal at all in the 1980s, it's celebration of "life on the Strip" just held no meaning for my life in a dirty, industrial town in northern England. The likes of Motorhead, Iron Maiden and Saxon had far more resonance with my life trying to get by, having left home in 1981 whilst still a teenager and desperately trying to pay my rent or mortgage on a young factory worker's wage. But whilst the likes of Poison and Motley Crue meant absolutely fuck all to me and just pissed me off with their poser attitudes and aesthetics, there were a couple I had a bit more time for. The first was Twisted Sister's Dee Snider. I felt TS were actually a pisstake of the whole glam scene because, not wishing to be too cruel, they were uglier-looking m-fs and the makeup and shit just seemed like a parody to me. The second was Blackie Lawless who I had heard of when he briefly joined The New York Dolls. My first wife's little sister was a big glam metal fan and talked me into taking her to see W.A.S.P., probably around '85, and you know what, they were fuckin' good and, against my expectations, I really enjoyed the show and came away with a lot of respect for how expertly Blackie worked the crowd and how effortlessly charismatic a character he was.

I later picked up The Last Command after hearing a track on the obscure late-night metal video show I used to watch on TV on Friday Nights after coming in from the boozer, the name of which I can't recall. The main draw for me was Blackie's voice which, whilst having quite a high register, also has a ragged edge that gives it a savage roughness and makes it sound way more evil than the Vince Neils or Bret Michaels of the world. And that was my sum total of involvement with W.A.S.P. pretty much up until my time here with the Metal Academy, since when they keep popping into my view from time to time in the forums or on playlists. To be honest I can take 'em or leave 'em, but it is probably a sign of a bit of a shift in my taste lately that listening to this debut album for the first time in quite a while, it is obvious to me that I am enjoying it far more than my original 2.5 star rating would suggest I did back whenever.

One thing is certain from the outset and that is that W.A.S.P.'s debut has far more metal credentials than most of the other glam metal acts of the Eighties who, in the most part, were glorified rock acts for my money. This is certainly bona fide heavy metal we are listening to here, not some lipstick-smeared version of hard rock. Even the band's glam aesthetic seemed more Alice Cooper inspired shock horror than the poor, sleazy drag acts than many of the other glam metallers aspired to. The riffs drive the tracks and whilst there is little you haven't heard before here riff-wise, they are memorable and catchy and filled with an energy and drive that becomes infectious as they thunder from hook to hook. Over all this Blackie snarls and bellows his heart out with tales of schlock and whores (sorry I couldn't resist the pun) that would act as rage bait for Tipper Gore and the tight-assed PMRC, which will always get a thumbs-up from me. The guitar soloing is decent although, again, the solos aren't really unlike many you have heard before, but are well executed and transform a track like the balladic "Sleeping (In the Fire)" from being a bit of a downer into a far more positive experience, whilst adding the icing on the cake to a top-knotch track like "Tormentor". The pacing of the album is just about spot-on too, varying from the breakneck charge of tracks like "Hellion" or "The Torture Never Stops" (my favourite here) to the more considered mid-pacing of "Tormentor" and the aforementioned ballad-like reflection of "Sleeping (In the Fire)". It isn't all good news, however, as indicated by my mid-level rating, with side one petering out badly from a strong start with the brace of "B.A.D." and " School Daze" sounding like the more usual iteration of glam metal that I dislike so much. The cringe-inducing lyrics to "On Your Knees" also ruin a perfectly good riff-led track and are a turd in the swimming pool of the otherwise much stonger second side.

On reflection I have got to say that I am rather pleasantly surprised by how much I enjoyed listening to this again and I feel I have a bit more of an understanding and respect for what Blackie and co. were doing here (probably alongside the letting go of some of my long-held musical prejudices). I am gonna call this one a win.

Thin Lizzy could sometimes be a great hard rock band and Phil Lynott was as much a lyrical poet for the common man as Bruce Springsteen across the pond. Good though most of their albums were, with some really anthemic songs in their repertoire, I don't think that their studio albums ever really captured their live energy suffciently. This is a viewpoint that I think is borne out by how much esteem people attach to the Live and Dangerous double live set. I managed to catch them on the Black Rose tour in 1979 and got to see that energy and vitality up close and was lucky enough to witness exactly how Lynott worked an audience and got them eating out of his hand. As the NWOBHM swept across the UK during the early '80s Phil and co started to develop a harder edge, both lyrically and musically with tracks like "Killer on the Loose" and "Angel of Death", which has even been covered by polish death metallers Vader, coming to the fore. Inevitably then, that they would react to the musical zeitgeist and issue an album that occasionally pushed their long-established hard rock sound over into heavy metal territory. Now let us not overstate things, Thunder and Lightning certainly isn't a "Piece of Mind", "Court in the Act" or even a "Holy Diver, it is still recognisably Thin Lizzy with more than one of its feet still in rock territory, but as the title track explodes from the speakers following a short, typically 80s synth intro, then it is obvious that the band have upped the ante on the aggressiveness of their attack. I think a significant event that contributed to this change was the replacement of the laid-back Snowy White with Tygers of Pan Tang guitarist John Sykes, a six-string slinger who had obviously grown up and paid his dues in the heart of the NWOBHM and whose harder-edged guitar style was much more suited to the younger metal audience than the bluesy, Clapton-esque White. Of course Sykes was only one half of the twin guitar attack with long-time member Scott Gorham still most definitely present. When Sykes lets rip though, even on a track like "The Holy War" then he makes it sound more metal than it actually is, so when applied to a more fundamentally metal track like "Cold Sweat" then the effect is multiplied tenfold.

I wonder exactly how much "Thunder and Lightning" can really be considered metal because, apart from those already mentioned, contemporary albums were "Kill 'Em All", "Show No Mercy" and "Melissa". Now is T&L even close to being as metal as any of those albums? No of course it isn't and the majority of the tracklist is still under the rock umbrella for my money, but Sykes' contribution and the songwriting of tracks like "Cold Sweat" and the title track hint at a more metal aspiration, probably just naturally absorbed from the audiences and support acts the band interacted with in the Brave New Metal World of the early 80s in the UK and Ireland.

So, considering this only as a Thin Lizzy album, irrespective of its metal credentials, how does it compare to past glories? Well, for me, Lizzy albums were always a little bit patchy, even classics like "Jailbreak" with Phil Lynott's excessive sentimentality sometimes getting the better of him and being reflected in the odd soppy track that really didn't do too much for me. I would say that this was a big improvement over the unremarkable "Renegade", but doesn't touch the likes of Jailbreak and Black Rose, at least as far as the songwriting goes, but it is certainly enlivened by Sykes guitar work which raises it a knotch or two in quality. Inevitably, because that is just how it was back then with legacy acts, the album also has that eighties' stadium production sound with accentuated percussion and synths that I find a little bit kitsch nowadays and which I generally struggle with (see Judas Priest's entire eighties' output for further examples) and which also drops it in position in Lizzy's overall discography for me. So once more a patchy release, but when it is good and the stars align, it is very good.

1997’s ‘Magic’ is the sixth studio album by German guitarist Axel Rudi Pell. Closely following the same formula as its predecessor, 1996’s ‘Black Moon Pyramid’, it’s a fine slab of European hard rock, similar in sound and style to artists like Yngwie Malmsteen, Rainbow and Journey.

Admittedly, this has been on my playlist for well over a year, and I’ve struggled to really think of what to say about it. I’m pretty sure this happened with the aforementioned predecessor too, because Rudi Pell albums can tend to be quite repetitive and follow the same formula. That’s not to say they’re bad though, as they are of a consistently high standard, just that some are more memorable than others.

It’s worth noting that this is the last release to feature American powerhouse vocalist Jeff Scott Soto, due to conflicting schedules and overall burnout. Perhaps this was a move that would ignite a new spark of inspiration for the band with their next release, because follow-up album, 1998’s ‘Oceans of Time’ is probably one of my favourite releases from the German guitarist.

Still, there’s some great tracks here, including ‘Playing With Fire’, ‘The Clown is Dead’, ‘Turned to Stone’, ‘Magic’, ‘Nightmare’ and closing track ‘The Eyes of the Lost’. Overall though, if you’re new to the music of Axel Rudi Pell, I think there are certainly better albums to check out, and if you’re already a fan, you’ll know exactly what to expect, and I don’t think ‘Magic’ disappoints.

Black Sabbath’s aptly titled ‘Vol. 4’ is the British metal pioneers’ fourth studio album, and once again, it’s another release that I struggle to really get into.

I don’t dislike Black Sabbath, I enjoy most genres of music and most bands, from any era. But for whatever reason, the stars just do not align because I just don’t “get” the first few Black Sabbath albums. I’m sure there’s a point, perhaps later in their career, where the band just clicks with me, but their first few records, often revered as metal masterpieces by fans, just do nothing for me.

It’s not all gloom and doom though (well, it kind of is!), as there are a couple of highlights. ‘Snowblind’ is a fantastic song, probably ranking up there as one of my Sabbath favourites, cheesy ballad ‘Changes’ has some great vocal and lyrics, and ‘St. Vitus Dance’ has some interesting guitar work. But overall, I find the rest of the tracks just seem to plod along, similarly to how I felt about their previous releases.

I’ve tried and tried, and have had this one on my playlist for a while, but it’s just not working for me. Perhaps I’ll have more luck with their next album…

Let’s just be honest here, does anyone actually go out of their way to listen to this album? The thing is, it’s not bad, it’s just, well… weird. ‘Time Requiem’, a progressive metal band specializing in lightning-fast flurries of notes in a neoclassical vein, is the product of keyboard mastermind Richard Andersson. They’d only released one studio album prior to this, so like… why produce a live album so early in their career?

It just seems unusual. I don’t know a lot about the band, but I would take a guess that, like other, similar groups, they probably don’t gig very often, if ever. And with a limited choice of songs, it just doesn’t really offer much for the listener to sink their teeth into.

For what it’s worth though, the performances are fantastic. Each member of the band plays with machine-like precision. The sound is very good, and the crowd seem quite receptive to the band, though my guess is that this isn’t typically a Time Requiem audience.

It could also just be that I’ve always preferred studio albums to their live counterparts. But overall, this isn’t a bad release, but I doubt I’ll ever listen to it again. I’ll just stick to the bands studio output instead.

Since forming in 1997, Elvenking has made their nearly 3-decade journey of blending the power metal of Blind Guardian and Helloween with the folk metal of Skyclad. They were one of my favorite bands of that sound when I was listening to a lot of those two genres at the time when this live album first came out. And revisiting them all those years later, the best live renditions of songs from their first 8 albums are all in here!

The Night of Nights consists of a special concert filled with different guests. Two hours of material from all their albums at the time in incredible live quality to please fans new and old. Released in December 2015, it was a spectacular early Christmas gift that has something for every Elvenking listener.

The folky intro "The Manifesto" starts it all. I was kinda hoping it would leading to that 13-minute epic "King of the Elves", but that doesn't happen. At least we really blast off with a classic in "Trows Kind", which I once thought was their own take on DragonForce's "Through the Fire and Flames". But that's nothing compared to the highlight that is another track from The Winter Wake, "The Wanderer". You can really rock out to the happiness and sorrow from the guitars and violins. It is one of those tracks that test out your enjoyment for this band. If you love that song, you'll love this band and the rest of this offering. Otherwise you're out of here. Everything has the right amount of cheese in this Gamma Ray-gone-Skyclad sound. "Runereader" from Red Silent Tides has the band's typical including and epic blend of metal sections and acoustic bridges. "Pagan Revolution" is fun banger of folky power metal worth many listens. The guitars, drums, and vocals are all energetic without ever relying on overproduction. This is probably my second-favorite track of Pagan Manifesto behind that 13-minute epic.

"She Lives at Dawn" is a short melancholic interlude from their acoustic/hard rock album Two Tragedy Poets. Nothing much is added here other than a nice break from all that metal fun. "Jigsaw Puzzle" is a wonderful surprise, originally in their only album without lead vocalist Damnagoras, Wyrd. Lots of Maiden-esque guitar and bass melody there. "Elvenlegions" is another short track that can still provide a lot from the band. Amazing as f***! "The Cabal" is quite catchy, and I can hear why that was released as a single. Another short atmospheric interlude "A Prayer to Cernunnos" is exclusive to this offering, basically just some eerie narration.

"Moonbeam Stone Circle" shows an increase of maturity in the band's sound, though it's still their usual folk/power metal. The melody/rhythm interplay stays strong as ever. Then comes a drum solo by Symohn with background electronic noise, aptly titled "Symohn's Bash". Quite a unique addition to the setlist! The amazing "From Blood to Stone" follows. Despite being pretty much all acoustic, I enjoy the non-electric riffing and the chorus I can almost sing along to, "Fall-ing, fall-ing!" One of the only tracks I love from Two Tragedy Poets, and one of the only acoustic folk tracks I love in general. We finally get a song from the band's classic debut Heathenreel, "Skywards". It also starts off sounding acoustic then rises into metal, even heading close to black metal. "Disillusion's Reel" allows you to take a breather as an ethereal acoustic ballad.

Then disc 1 ends, and disc 2 begins with "Elven Aftermath", an intermission track with samples of songs that weren't performed. The band comes back on with perhaps the centerpiece of this entire offering, the debut's epic "Seasonspeech". The original track included guest vocals from different vocalists, with each one representing one of the 4 seasons. Here the band stands by that aspect with two guests, female vocalists Chiara Tricarico and Whisperwind. In between the metal sections is a flute-infused acoustic bridge. And we can't forgot about the glorious ending climax. You want something from the Era album, you got it with "Through Wolf's Eyes", which is more folky while still metal. And how about the sole track chosen from the "controversial" The Scythe, "The Divided Heart". The riffing and soloing has certainly made that track a memorable one. "Neverending Nights" is another great epic! It dives deep into winter darkness, a little unlike their happier side of folky power metal. Very well done, those not as festive as "Seasonspeech". Some more headbanging power metal comes on in "The Winter Wake", which has more experimentation, particularly in the original version's guest vocals by Destruction vocalist Marcel Schmier. A solid way to end the concert, before the well-deserved encore...

As the encore approaches its start, an orchestral overture "Era Theme" plays. Then comes one more song from Era, "The Loser". This is the song that marked Symohn's entrance into the band, since Era was his first album with Elvenking. His drumming is out of this world, in perfect synergy with the folk and metal sides of the coin. No sh*t, just THE SH*T. He can do all this complex stuff at ease, and it just adds to the fantastic magic of this song. And the fact that they saved that song for the encore shows how much confidence he and the rest of the band have. There's one more track for the encore, but that doesn't come until after the flute/string intro "To Oak Woods Bestowed". You all know where this is going... The show ends with the one track that started their journey, and also the one that got me into listening to Elvenking, "Pagan Purity". The vocals and guitars shine for their last round, the latter assisted by two more guests, former members Jarpen and Gorlan.

The concert can be viewed on DVD or listened to in two CDs, and if you get the DVD, you also get some music videos they've made over the years and a teaser for Pagan Manifesto. The Night of Nights is a night for new and longtime Elvenking fans to remember, and you don't wanna miss out on getting your hands on this live gem!

Favorites (one or two tracks per album plus one new track): "The Wanderer", "Runereader", "Pagan Revolution", "Jigsaw Puzzle", "Elvenlegions", "Symohn's Bash", "From Blood to Stone", "Seasonspeech", "Through Wolf's Eyes", "The Divided Heart", "Neverending Nights", "The Loser", "Pagan Purity"

I think we can all agree in the Dark Moor fanbase that the Elisa C. Martin era is the best. The albums from that era certainly beat the ones with Alfred Romero on vocals, though I still like the new era too. Shadowland is a solid start, and The Gates of Oblivion is the fan favorite. For me personally, the highest peak in their production and classical-infused symphonic power metal sound has to be their second album, The Hall of the Olden Dreams!

The production quality is crystal clear compared to Shadowland, and the neoclassical guitar shredding has the right amount of flavor. Nothing sounds distant. And those vocals by Elisa C. Martin pack a punch in every song.

The intro "The Ceremony" starts the album sounding like it came fresh out of the Old School RuneScape soundtrack. There was a time when I was focusing on more modern and heavier genres and put those instrumentals down as cheesy and sh*tty. But now I can appreciate the classical majesty, just like in the good ol' days of over a decade before this review. Then we really blast off into "Somewhere in Dreams". When I first encountered that song all those years ago, it was love at first hearing. I knew I had to listen to the rest of the album and the band's material right away. It's one of my favorite Dark Moor songs to this day and I'll never get tired of it. "Maid of Orleans" is another popular song from Dark Moor's earlier era, following the 1990s/2000s E-flat-tuned power metal trend. Some of the best vocals by Elisa appear in "Bells of Notre Dame", especially in the verses. She can belt out her vocal melodies that perfectly align with the emotional conflict depicted in the lyrics. And those vocals fit well with the guitar rhythm too. If Disney decides to make a live-action remake of The Hunchback of Notre Dame, they better include that song in the soundtrack.

Also showing their production improvement is "Silver Lake". The fast riffing and soloing makes the song another highlight in the album and possibly the band. As perfect as this album is, I admit that there's a bit of steam lost in "Mortal Sin". It's still great though. "The Sound of the Blade" has some nice variation as a softer ballad. Adding more variety on the heavier side is "Beyond the Fire" which I enjoy for its lean into Stratovarius-esque territory.

The one track that really threatens the album's perfection is "Quest for the Eternal Flame". The riffing by Enrik Garcia doesn't sound as majestic as the earlier tracks. At least Martin is holding the track up with her vocals, though the verses are losing their flow. The keyboard melodies sound a bit repetitive. And the chorus doesn't sound quite inspired or inspiring. Believe me, I was THIS close to giving this album 4.5 stars. Luckily, "Hand in Hand" saves the day as a fantastic closing track with its divine choruses, riffing, and soloing. I also love the Bach-sampled guitar/keyboard fiddling in the bridge (the same as in Children of Bodom's "The Nail").

I would also recommend the edition released in Korea that includes "The Fall of Melnibone", a 10-minute epic based on the Elric of Melnibone, though I don't enjoy the ballad "Wood's Song" as much. Either way, I highly recommend The Hall of the Olden Dreams for any fan of Dark Moor and power metal. This is where they truly leave their mark!

Favorites: "Somewhere in Dreams", "Bells of Notre Dame", "Silver Lake", "Beyond the Fire", "Hand in Hand", "The Fall of Melnibone" (bonus track)

A week after Green Carnation's new addition to their Dark Poem trilogy, Lord of the Lost have just released another part of their own trilogy, Opvs Noir Vol. 3. That's right, it's the final part of this trilogy of albums that showcase their blend of gothic/industrial/symphonic metal. This ambitious guest-filled saga is coming to an end, and while I still think it should've ended as strongly as Vol. 1, I'm quite satisfied...

Frontman Chris "The Lord" Harms, guitarists Pi "π" Stoffers and Benjamin "Benji" Mundigler, bassist Klaas "Class Grenayde" Helmecke, keyboardist Gerrit "Gared Dirge" Heinemann, and drummer Niklas Kahl are still going. Opvs Noir Vol. 3 is the band's 12th album, and closes this long great trilogy.

Starting things off in an eerie note is "Kill the Lights". Here the verses are kept to a minimalistic style that then leads to a cool chorus. "I'm a Diamond" features Alea der Bescheidene of Saltatio Mortis. Honestly, her vocals adds more melody to this track that's already one of the most melodic ones here. "My Funeral" blends symphonic majesty with heavy dissonance. I love it! Then they really go aggro in the lyrics in "I Hate People", feature the rough vocals of Wednesday 13, plus some catchy riffing.

"The Shadows Within" has an ethereal start before reaching the more intense chorus while staying accessible. "La Vie Est Hell" is based on Les Fleurs du Mal, complete with some French singing by Kissin' Dynamite vocalist Hannes Braun. It's filled with perfect melancholy, which is kinda what I'm looking for in a ballad. "Square One" is kind of an one. The sound is generally synthwave, though I guess it allows Chris Harms to guide his vocals through those dancey verses without having to go edgy. Xandria vocalist Ambre Vourvahis appears in "When Did the Love Break?", and once again, all the vocals match with the soft verses and mighty choruses. So beautiful!

"Your Love is Colder than Death" strikes with their heavy side hard, breaking the earlier lightness with its aggression. Cats in Space's Damien Edwards comes in for the mesmerizing "Take Me Far Away". They really hit it with their respective vocal power. "The Days of Our Lives" is the grand finale of the entire saga. Chris and Gerrit perform their respective roles, shining as the vocals and keys close the gates on a solemn note.

So it seems Lord of the Lost has dropped the experimentation of the first two parts to give things more grandeur in Part 3. It's not perfect, but it's a very solid way to end this trilogy, all in the instrumentation and vocals. Serene, heavy, they can do it all....

Favorites: "I'm a Diamond", "My Funeral", "La Vie Est Hell", "When Did the Love Break?", "Your Love is Colder than Death", "The Days of Our Lives"

Apparently the guilty as charged culprit of being the very first progressive metal album is the (as of now) sole album by Seattle band Culprit, Guilty as Charged. Unfortunately, that theory has been debunked. I'm not sure how this album got tagged as progressive metal, when the sound is really just heavy metal and an early example of US power metal. And while there are prog-metal elements in the ways of Queensryche's Operation Mindcrime 5 years later, it's not enough to consider it prog-metal gate-opener...

Mislabelings aside, this is some great-a** sh*t! This is true classic heavy metal from Seattle, years before Nirvana's grunge sound took the city by storm. Such a shame they only lasted one album, though they've recently reformed with a live album and compilation. And the energy they have is like what Riot were doing at that time.

The 6-minute title opener has some heaviness in the guitar while staying melodic, which adds to the ambition. The fast pace has great variation to keep listeners awake. It's pretty much a grand example of the sound from both the album and the band. Also showing their heavy metal sound is "Ice in the Back". F***ing killer vocals and lyrics there! "Hell is but a flame..." When Jeff L'Heureux sings his highs, I get chills down my back like the title would imply. "Steel to Blood" continues pushing the guitarwork forward.

"I Am" is another great track, though sounding a little too mainstream. "Ambush" levels up the memorability as the catchy chorus is in sync with the focused instrumentation. "Tears of Repentance" is an amazing highlight.

Slowing things down is "Same to You" which has the melodic emotion of UK bands. The slow intro transitions through a mighty scream into that US power metal gallop that would be then adopted by German bands. With those f***ing powerful vocals and guitar, it's practically a bridge between Riot's first 5 albums and Thundersteel. "Fight Back" instrumentally made me remember a YouTube musician I forgot about for a while, Edward Sitnikov. I prefer his material though. "Players" plays off as a decent ending track.

All in all, Guilty as Charged is a solid underrated album, and more people need to hear about this band. A 2000 re-release includes a few live bonus tracks from one of their one-off reunion shows during their 25-year split including a cover of Queen's "Stone Cold Crazy". The leads and riffing throughout the songs make this a great offering. This was basically what people expected in heavy metal; lots of that 70s melody with a dash of the aggression hinted in later years or even later genres. What are you waiting for!? Wake up and smell the Culprit! The band Culprit's material, that is....

Favorites: "Guilty as Charged", "Ice in the Back", "Ambush", "Tears of Repentance", "Same to You"

I was 12 when this was released. I bought the album at the little record store in my town. Those were the days. Anyhow I fell in love with this album and I never got tired of it. This to me is my favorite Metal Church album. There is so much emotion and power to it. Yes it’s a tad lighter than the self titled album but there’s something richer about the music. I’m so partial to David Wayne’s voice /style. I will listen to the Mike Howe albums but I kind of pretend it’s a whole different band. 

I will be honest, when I saw this record put forward for a feature release this month, I groaned inwardly. Having tried to understand the hype around this album on many occasions previously, I could never quite fathom its cult status. For me personally, it has always been Empire that is my go-to Queensrÿche album. A factor in my opinion of Operation Mindcrime has always been its arrangement. Metal/rock operas are tedious affairs to me, often where songs get snarled up in acts at various points in the record, completely disrupting the flow of the album usually. Here on this record, there is the double whammy of two, largely non-musical intro tracks to open proceedings, so my irritation soon becomes difficult to control.

Arrangement challenges aside, this outing with album has been much more fruitful than I expected. If I divert my attention away from the actual storytelling, I can acknowledge that there are some fantastic tracks on this record. I recalled that I had always liked ‘I Don’t Believe in Love’, but on this outing the class of ‘Suite Sister Mary’ shone through. I am confident that with future listens I will be able to expand on the list of standout tracks as some made a more subconscious impact this time around.

There are still some gripes, however. I struggle to describe much of this as metal in all honesty. The extravagance of the leads perhaps is all that keeps the sound this side of the hard rock style that I recognise as being more prevalent. I don’t really buy the progressive tag either. I doubt if it were all that progressive, I would have found as much positivity in the album as I have. However, let’s try to keep those positive vibes coming and end on a high note. This has been a successful revisit for me, albeit an unexpected one. I have a feeling if I edit the track listing myself on this, I could even get a higher rating for this album in the future.

I'm pleasantly surprised by the amount of metal albums coming out in March. We already got hard-hitting new releases from more modern heavier bands like ERRA, Lost Society, Neurosis, and Poison the Well. And on the last Friday of that month, Iron Savior released a cover album, and another new album has arrived from... Myrath, with Wilderness of Mirrors! They have pleased me with their talented strength once again.

March just so happened to be the month that I've actually started listening to Myrath full-time after about 10 years of hearing about them but brushing them aside. With their 7th album, they continue to step up their game, with slight improvement in the production. I also loved how audible the bass is now. As always, the amount of worldwide influences makes Myrath one of the most diverse and versatile bands around. Middle Eastern symphonic progressive metal is a style that Myrath can perform at ease, and that's something worth praising a lot.

"The Funeral" is a complex opening track, and the one that encouraged me to listen to Myrath, via one of the monthly Infinite playlists. I honestly wasn't expecting oriental progressive metal to hit me so hard, but I'm glad it did. One of the greatest tracks here is the catchy "Until the End", in which vocalist Zaher Zorgati duets with Amaranthe female vocalist Elize Ryd. "Breathing Near the Roar" has left me breathless with its Middle Eastern take on the neoclassical progressiveness of The Human Abstract.

"Les Enfants du Soleil" (Children of the Sun) has touched my heart. The French lyrics are quite well-done, considering the fact that keyboardist Kevin Codfert is from France, and the band now reside there. "Still the Dawn Will Come" has catchy rhythms worth dancing and headbanging to. From the start of "The Clown", that song has a sound closer to heavy/power metal, and it's the somewhat generic kind. Well it's not bad, though it could've been improved for the album rating to be raised up to perfection. "Soul of My Soul" is another excellent single with different layers.

"Edge of the Night" has the catchy melody of Amaranthe, but replace the electronics with Middle Eastern vibes. I can say the same about "Echoes of the Fallen" which is an odd yet brilliant standout. Although it sounds more alt-ish, the progressiveness and the climatic chorus help the track stay good. All that's missing is for Ryd to guest appear in that track as well. "Through the Seasons" ends the album on a refined note.

All in all, Wilderness of Mirrors may be tied with Karma as my favorite Myrath album that isn't the glorious Tales of the Sands. It's too spectacular to ignore. Myrath needs to be appreciated more, and they shall!

Favorites: "The Funeral", "Until the End", "Les Enfants du Soleil", "Soul of My Soul", "Echoes of the Fallen"

Battle Ballads... That's an album title can either be aptly titled and have mostly ballads, or be misleading. Fortunately, it's the latter. I say "fortunately" because it's another good album from these Faroese metallers Tyr. In truth, there are only as many ballads as there are in a DragonForce album; one or two. The rest are power metal anthems with some melodic harmonies and bombastic orchestrations.

Oh yeah, this offering continues the band's later power metal direction, with their earlier progressive folk metal style in fragments. Their power metal side is in clearer display than before. However, the difference has caused less balance in their sound. Still there's a lot to look forward to, particularly in some of the first few tracks.

"Hammered" starts the album as an early hint at this approach. It's quite fun and hammering! Also a great way to introduce their new lead guitarist Hans Hammer, with the song title fitting well for that occasion too. Another 3-minute metal tune follows, "Unwandered Ways", yet it doesn't impress me as much as the surrounding tracks. "Dragons Never Die" is yet another 3-minute track while being another incredible standout. I especially love its chorus.

One of the most diverse songs in the vocals is "Row". While frontman Heri Joensen continues his unique singing, he also tests out some death growling (not as much as in Hel's opening track) and throat singing. Sadly it doesn't reach the heights of those earlier highlights. Still not a bad song though. Up next, "Torkils Dotur" is one of 3 songs with Faroese lyrics. It has quite some climatic emotion for a ballad. "Vaelkomnir Foroyingar" has more of their native language, while having a more straight direction in the music and vocals. However, their attempt at adding speed and heaviness comes out a bit weak and out of line. Thankfully, they still have their power in "Hangman".

"Axes" levels up the quality, showing that they still got it after around 25 years. The somewhat title track "Battle Ballad" is one of the mightiest tracks here. Everything's a small journey in this song! It's almost like Devin Townsend helped produced it alongside the album's actual producer Jacob Hansen. The bass should still be as audible as the rest, honestly. The closing "Causa Latronum Normannorum" starts off promising yet falls flat, compared to at least the previous two albums' ending epics.

Battle Ballads seems to take on the simple tight aspect of songs being mostly 3 to 4 minutes long each, similar to Valkyrja. The problem with their new album is, most of the progressiveness of their previous albums, including Valkyrja and Hel, have been discarded. At least a lot of the unique vocals by Heri Joensen is still around. And the formula they have is never downgraded to generic. Plus I am grateful for those other two albums I've checked out that make me up for more of this band. So although Battle Ballads doesn't reach that amount of greatness, nothing is jinxed, and Tyr is a band I'll never forget....

Favorites: "Hammered", "Dragons Never Die", "Torkils Dotur", "Axes", "Battle Ballad"

There's no arguing with the fact that Tyr is the most, and probably only, notable Faroese metal band. They're literally the only thing some people in the world, including myself, know about the Faroe Islands. I actually have heard of Tyr around 10 years before my new reviews, but their earlier albums from the 2000s had more of a doom-ish folk/prog-metal sound that was too dark for my bright melodic teen self at the time. However, Heri Joensen and co. would discard most of their earlier doom with fast power metal in the harmonic guitars. Of course, there;s still some of the folk/progressive part of their identity. All of that makes one of the best albums I've heard in folk/power metal!

Hel is ambitious as... well, Hel. 13 tracks cover 70 glorious minutes. Most of them are each 4 to 6 minutes long, with two 7-minute epics to bookend the album. Some persistent listening may be needed for a full rewarding experience. And just the word Hel (only one hockey stick) and artwork are enough for a great dark first impression, alongside the song titles that are as power metal as the actual tracks.

The 7-minute opener "Gates of Hel" would be quite a surprise for any longtime fan of the band, particularly in the first one or two minutes. The riffing sounds so crushing and deathly, complete with harsh vocals performed by Heri Joensen himself! Some might think, "What is this, Amon Amarth?!?" Anyway, that part is as fantastic as the rest of this song. I would love to hear more heavy growl-infused tracks like that from the band. Starting the second third of "All Heroes Fall" is some perfect soloing talent. The shredding that occurs in conjunction with the supporting riff-wrath is perhaps the best here. Next up, "Ragnars Kvaeoi" is the first of two Faroese-sung songs. It's quite great hearing those kinds of lyrics fit in with the atmosphere and folk-fueled instrumentation. Metal fury can sound so soothing in "Garmr", named after one of the hounds of Hel.

The lyrics are at their highest peak in the beautiful "Sunset Shore", especially in the chorus. We then have the melodic "Downhill Drunk", and nothing ever goes downhill there. If you're up for some really powerful riffing, that's what opens "Empire of the North", and they especially hit hard in the verses. That, along with the big layered production, help make that track another epic highlight. "Far from the Worries of the World" is another example of melodic strength. Same with "King of Time".

Some more of the greatest soloing occurs in "Fire and Flame". Then "Against the Gods" levels up the massive riffs and rhythms. We get more of the firey soloing in "Songs of War" from temporary lead guitarist Atilla Voros. "Alvur Kongur" closes it all as another 7-minute progressive epic, from the clean intro to another metal extravaganza.

However, Hel needs more praise in the metal community. If I only get to listen to half of this album, it would still sound complete. This may just surpass DragonForce's Extreme Power Metal the best power metal album of 2019 for me. Some might take some time to get used to this album, while others, such as myself, would love it instantly. Still, you may want to pay close attention for the best of this dark voyage to Hel. Once the clean guitars at the beginning get you hooked, you're all set. With any luck, Tyr might just be one of my newfound favorite bands of folk/power metal. Will I dive into more of this band's catalog? HEL YEAH!

Favorites: "Gates of Hel", "All Heroes Fall", "Sunset Shore", "Empire of the North", "Fire and Flame", "Against the Gods", "Alvur Kongur"

Y'know, I can enjoy many different metal genres as the experienced metalhead I am. Sometimes it all depends on my mood. And there was a time when I was so g****mn focused on the modern heavier genres like metalcore and industrial metal that I was blowing off the more melodic genres I once enjoyed like power metal and folk metal. I'm glad I can balance my metal palate with both sides of the coin now and can find the appeal of some bands, like this one that was just recommended to me elsewhere, Tyr!

The Faroe Islands are an archipelago off the coast of Europe, owned by Denmark. Tyr have brought those islands to greater prominence by unleashing their folk/power metal sound to the world. Valkyrja is their 7th album, and they had a temporary drummer in Nile's George Kollias, replacing founding member Kári Streymoy.

Jumping right in is the catchy riffing of "Blood of Heroes". Heroes shall be remembered when they die in blood and glory. The music sounds clearer in "Mare of My Night", as the lyrics tell the tale of a woman's struggle. "Hel Hath No Fury" continues that lyrical subject. Leaves' Eyes ex-vocalist Liv Kristine guest appears in "The Lay of Our Love". Taking some traditional native motives, it's one of the most beautiful ballads I've heard, even for a heavier metalhead like myself. The vocal alternation works like a dream.

It is followed by the anthemic highlight "Nation" with emotional soloing. Then we get some faster thrash in "Another Fallen Brother", which is quite catchy. "Grindavisan" is filled with doomy majesty in the occasional marching tempo and choirs. Although the lyrics are entirely sung in Faroese, it is one of my favorite tracks here.

"Into the Sky" exemplifies the band's typical Nordic lyrical theme, centered around Valkyries and Vikings. "Fanar Burtur Brandaljoo" is another Faroese-sung track worth listening to. The lyrical output by frontman Heri Joensen sounds so mystical, whether or not you can understand it. "Lady of the Slain" is another fast song. They've clearly taken some techniques from well-known thrash bands to make another highlight. The closing title epic is too glorious to put into words. Just listen to believe!

All in all, my first actual full-album Tyr experience in Valkyrja already shows excellent promise. Everything's listenable and never dull. What would've made this 100% perfect would be some additional folk elements that would give it the folk/power metal zest of Ensiferum, but it all works greatly as it is. Ride on, my heroes!

Favorites: "Blood of Heroes", "The Lay of Our Love", "Nation", "Grindavisan", "Lady of the Slain", "Valkyrja"

As much as I enjoy how talented the members of Myrath are, one of them that I think stood out well amongst them is keyboardist Elyes Bouchoucha. His keys and strings help give the band's sound that magic Middle Eastern folk touch. He also sang in their debut Hope, having that Russell Allen-esque edge. Bummer that he left in 2020, though we didn't know until a couple years later because of the pandemic. Taking his place is longtime contributor and Adagio keyboardist Kevin Codfert!

This small change in lineup helped the band continue to step forward. That and the amount of time the band ended up having for this album compared to Shehili, also due to the pandemic, helped give the band a little more strength in writing. As a result, Karma is another amazing album, almost reaching the glory of Tales of the Sands.

Starting the album is "To the Stars" which has a kick-A groove boosted by the incredible drumming skills of Morgan Berthet, and of course the soaring vocals of Zaher Zorgati. Kevin Codfert's keys crank up the orchestral value, which explains the band sounding more symphonic and Western than ever, and he also does some wicked soloing. "Into the Light" is another excellent track to get you pumped up. This one's more melodic and mid-tempo with a catchy chorus. This shall get the live crowd moving. Their earlier Middle Eastern vibes are still present in "Candles Cry", specifically in the strings. The catchy chorus has different layers in the vocals and instrumentation and help make any listener anywhere welcome. The keys in "Let It Go" make that song a little too much like 80s rock, but that's OK. Still far better than that song from Frozen.

"Words are Failing" is another one of my favorite tracks in the album, getting you hooked in the strings and vocals. More of those keyboard string melodies shine before ending greatly with the powerful guitar soloing and final chorus. The anthemic "The Wheel of Time" has some funky bass. The chorus encourages you to be yourself, and the bridge explodes into some heavy power. The keys ended up drowning out most of the instrumentation in "Temple Walls", though that's really my only complaint for this entire album. "Child of Prophecy" starts off soft and chill in the keys and vocals, then guitarist Malek Ben Arbia unleashes some savage riffing, leading to another inspiring chorus.

"The Empire" adds in a bit of mid-paced power metal similarly to Almah and Serenity. And even more in "Heroes", the way German bands like Helloween and Masterplan would do it. Closing track "Carry On" has heavy darkness that was almost entirely absent in the album up to that point. Nonetheless, it has the theme of perseverance as the hero narrated by Zorgati declares that he will carry on, be the one, and find a way.

Myrath has made an album that comes to the perfection of Tales of the Sands, at probably the higher part of the 4.5-star tier. They continue to show how well different sounds from across the globe fit well together. United by metal!

Favorites: "To the Stars", "Into the Light", "Words are Failing", "The Wheel of Time", "Child of Prophecy", "Carry On"

‘Fear of the Dark’ is the ninth studio album by British metal legends, Iron Maiden. Released in 1992, it comes at a time when tensions were running high in the band, in particular, between vocalist Bruce Dickinson and bassist Steve Harris. If you include shifting musical trends and Maiden’s name value dropping more and more, it’s surprising that, while things were starting to look bleak, the band still manage to pull this trick out of a hat, with one of their strongest releases, and an album that features some of my favourite Maiden tracks.

Stylistically, this isn’t much different than any previous release. Okay, it’s not quite as progressive as albums like ‘Seventh Son of a Seventh Son’, and isn’t as consistent as ‘Powerslave’, but overall, this is still unmistakeably Iron Maiden. Guitarists Dave Murray and Janick Gers continue to work well together, with the traditional metal “twin guitar assault” in full effect here, and Bruce Dickinson’s vocals are as incredible as always.

With the music world changing around them, the British quintet stuck to their guns and continue with their own distinctive style, and while it might have been unpopular at that point in time, it would serve to keep the band alive and thriving long after the grunge scene of the 90’s took over.

What makes ‘Fear…’ stand out for me though, is that it features three of my favourite Maiden tracks. ‘Be Quick or Be Dead’, ‘Afraid to Shoot Strangers’ and the title track itself, are all bloody brilliant, and showcase the band at their absolute best. With some of their most intense riffs, interesting melodies and catchiest vocals, these three songs alone make this album well worth listening to. And with other notable tracks that include ‘Childhood’s End’, ‘From Here to Eternity’, ‘Chains of Misery’, ‘Judas Be My Guide’ and ‘Fear is the Key’, there’s no doubt that ‘Fear of the Dark’ belongs in the collection of every metal fan.

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

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

Benedictum, where the f*** were you in all my years of melodic metal?! This is a band any metalhead should listen to find something classic-sounding in these modern times! And not just any band, but one that would surely kick a** and make even the unbelievers believe.

To be more specific, Benedictum is one of several bands reviving the classic 70s/80s heavy metal sound in the 2000s, plus some touches of power metal. What makes them more unique is the angelic AND devilish singing of frontwoman Veronica Freeman. And it sounds about right that she is like a female Dio (RIP). The album even includes two covers of Black Sabbath songs from the Dio era, which we'll get soon. I don't think I've heard female-fronted heavy/power metal sound this bad-a** since Sinergy.

The opening title track starts with a sinister backmasked subliminal message then rises into Sabbath-infused riffing. The chorus has a nice modern touch to balance things out. Then we get to "Benedictum", which can be considered the band's theme song. Here it starts with sinister Latin chanting then once again brings forward the blend of Sabbath and modern heavy metal in different sections. "#4" is a more progressive track with occasional odd time signature changes. The chorus has a HammerFall vibe within the chanting. "Misogyny" slows things down to a doomy pace. I like the keyboard melodies here, including the old-school-sounding synth soloing. Veronica unleashes her lyrics against those misogynistic unbelievers out there.

"Ashes to Ashes" is filled with rock-on groove. A nice song though not as magical as the others. "Wicca" is one of the most wicked tracks here. Veronica's Dio-esque range shines the most here, as does the rest of the band. But if you wanna hear how much Dio the band can add to their sound, look no further than the first of their Black Sabbath covers, "Heaven and Hell". Veronica can nail those vocals perfectly, and the riffing sounds greatly heavy, the way Tony Iommi has done in the original. Of all the covers I've heard of that song, Benedictum's take might be the best! "Them" cranks up the heaviness while including a catchy singalong chorus. Another powerful standout!

"Two Steps to the Sun" rocks out with more of that guitar heaviness. Indeed it's another more modern take on Dio's sound in both the music and vocals. "Valkyrie Rising" is the album's nearly 9-minute epic, and it shows the band in all its glory without any failure. "Mob Rules" ends this offering as the last of the two Black Sabbath covers. Again, Veronica really has done an excellent job channeling her inner Dio. As great as this one is though, the other Black Sabbath cover has a more mighty edge.

Uncreation can strike you in different moments when you're least expecting it. And those strikes are from the vocal power of Veronica Freeman, as well as the rest of the band. This is not an album or band a metalhead should go their whole life without. It's a masterpiece to tear down the conventional walls!

Favorites: "Uncreation", "Benedictum", "Wicca", "Heaven and Hell", "Them", "Valkyrie Rising"

Always love to hear Neoclassical acts that are actual bands rather than First Name Last Name guitar (or keyboard) heroes. As you might expect from a Neoclassical band, Time Requiem is filled to the brim with awe-inspiring solos that boggle the mind. But not just from the guitars.

Yes of course, the guitars are majestic. The smooth running up and down scales while essentially tremolo picking is just wild to me. Thankfully, the guitars do much more than that, offering great riffs and more traditional style guitar solos as well that offer more depth than Yngwie-style wankery. Keys are another key component (ha) to this lineup, and yeah, the keyboardist does some insane wizardry that could put any classic pianist to shame. I mean, the keyboardist is the composer, so not only is he an absolute madman at his instrument, but he’s a strong songwriter as well. Keys and Guitars duel here, but they also give each other space to show off without competing for the spotlight depending on the song.

But this album isn’t just a melodic showcase! The RHYTHM section is also flashy as hell. Obviously harder to hear, but the bassist is putting in some crazy work on this thing. It can best be heard in the mind-blowing ending to “Brutal Mentor” (which in itself is just one of the best displays of technical musicianship I’ve ever heard). And the drums! God those drums are great. Speedy, technical, progressive, and doing the perfect amount of showing off insane chops without overplaying. And of course, lets not forget the vocals. Vocalist Apollo was in one of my favorite short-lived Neoclassical bands Majestic, and he helped elevate their accessibility with fantastic choruses. He does the same here.

For anyone who enjoys technical prowess in musicianship and songwriting, a must-listen. For those who don’t, it’s thankfully full of great songs that are well-written and worth much more than their technical prowess alone.

Some nice words that could be used to describe Beyond Abilities would be insanely technical, melodic, and proficient. All the musicians here are experts at playing, and they waste no time showing that off. The keyboards are the focal point, with playing that rivals any masters of the Classical Era. Nods to Mozart are made throughout, so it’s obvious what the influences and aspirations are.

Some less kind words that could be used to describe Beyond Abilities would be sterile, emotionless, and generic. The musicians may be masters at playing, but they can’t evoke an emotion to save their lives. In fact, the only song that evokes any emotion is the cover of Alone. The songwriting is the bare minimum for Neoclassical Power Metal fare, which is quite a demanding genre; this means the band does nothing to stand out from contemporaries. The playing may be perfect, but that only goes so far. As someone else pointed out, everything sounds like it was made in a factory.

If you’re a fan of Neoclassical Power Metal, like I am, it’s a nice, enjoyable album. If you’re a fan of technical prowess exercised through music, this is admirable and probably of great interest to aspiring keyboardists. If you want something new, unique, memorable or moving, move along.

Avant-Garde Metal is one of the subgenres in which I am hardest t please. At the time of writing this, I’ve been listening to Metal for over 15 years, and haven’t awarded a single 4.5 star rating to an Avant-Garde Metal album. That is, until I took look into The Sham Mirrors.

First off, the album does something VERY important in ensuring that it’s a GOOD Avant-Garde Metal album – it’s not Circus Metal. While the album sounds bizarre and occasionally playful, it by no means ever falls into goofy territory. The arctic space aesthetic is persistent across tracks, painting a cold, surreal image of a distant future among the stars.

And then we get to the music, which is very very good. It definitely took a few listens for the non-Metal sections to grow on me (this is a very eclectic piece, with genre shifting within almost every track) but there’s a very important reason it did. You see, while each track jumps between multiple genres, they don’t feel fractured or jerky. It never feels like the band is just genre hopping for the sake of being quirky and weird. Even when shifting styles, the band retains their cold, special aesthetic. The evolution of each track feels connected, falling and rising in a fashion that feels earned. Despite the eclecticism here, there isn’t a moment that left me bored.

The Metal, which is still the meat of the album, is fantastic Symphonic Prog Metal, and the vocals, both clean and harsh, fit nicely. Drumming is fantastic, guitar leads are striking, energy is at perfect level, and tempo and intensity rise and fall to suit the music. No weak points, no wasted moments. I won’t lie and say I didn’t enjoy some sections more than others, but wow is that a well put together record, a triumph of one of the hardest genres to do well in my opinion.

A slightly heavier direction than the last albums, this one features crushing, rhythmic guitars and vocals on the gruffer side of things. Lyrics are also slightly more serious, with a few numbers about war and sombre introspection. The southern Rock tracks here are actually the best, as they force the band to craft some decent melodies and vocal lines when they can’t rely on Stoner-tinged riff and Groove chugging.

Aside from those points, it’s another Black Label Society album. Very, very Southern Metal. Passable riffs, boring drumming, mostly shallow lyrics, and a good backdrop to the type of company I would never enjoy.

Credit to “Battering Ram,” for being their heaviest and most aggressive track so far (and featuring the best riffs and drumming on the album) and to “Bridge to Cross,” for displaying the emotion and contemplation that is so scarce in this genre. Those two highlights definitely make the album worth it among the genre.

Most of the rest is unmemorable filler, a la Black Label Society’s usual fare. Decent album, fun, but lacking depth or staying power, and too long for what it offers.

Have I mentioned that Lord of the Lost's current project is a trilogy? Opvs Noir is a series of albums released in just months-long intervals, all that continue their blend of gothic/industrial/symphonic metal. I mean, we won't get Vol. 3 until this April, but at least we have the first two volumes. I've already checked out Vol. 1, and now we're gonna explore Vol. 2. Not as varied as their previous album, yet still great...

Frontman Chris "The Lord" Harms, guitarists Pi "π" Stoffers and Benjamin "Benji" Mundigler, bassist Klaas "Class Grenayde" Helmecke, keyboardist Gerrit "Gared Dirge" Heinemann, and drummer Niklas Kahl keep up their talents here. Opvs Noir Vol. 2 is the band's 11th album, and the second part of this ongoing trilogy.

Starting the album is "The Fall From Grace". Unlike the first volume's opener, it starts off gentle in the keys as the rest of the metal instrumentation drifts in smoothly. Chris Harms' vocal sorrow shines especially in the chorus. And in between the second and final choruses is some of the most intense screaming I've heard from him, in perfect contrast with the gothic bliss. "Would You Walk With Me Through Hell?" has the first of several guest vocalists here, Infected Rain vocalist Lena Scissorhands. It's one of the more industrial songs in the album, and the heavier parts are worth moshing to, particularly when there's harsh aggression from both vocalists. After all that massive power, "One Of Us Will Be Next" is a soft ballad with angelic choruses. Then "Walls of Eden" can really get people moving in concerts.

"Raveyard" is an impressive highlight of pure dance-metal fire. I especially enjoy the rapping by Kaarija. Turning up the heaviness is "The Last Star", the verses are soft so that all the energy is used in the chorus. Sadly, some of the vocals don't hit as hard as in other songs. More of the dark fury is covered in "What Have We Become", which includes more experimentation including vocals by IAMX founder Chris Corner. The baritone/growls of Harms and the falsetto of Corner make another perfect duet in the sea of industrial darkness. Then we reach the cold melancholy of "Winter's Dying Heart", an epic ballad with the instrumentation and vocals in excellent balance.

"Scarlight" starts off calm in the intro and first verse then explodes into a speedy chorus. Now, "Please Break the Silence"... Is that a more polite take on Beyond the Black's new album Break the Silence? I mean, Chris Harms has guest appeared in a song from that album and the female vocalist sounds like Jennifer Haben. Oh wait, that's Anna Brunner from League of Distortion. Still a beautiful energetic highlight! Finally, "Sharp Edges" is a soft and sweet ending track with some background noise in the climax.

So the second volume of Opvs Noir has a more experimental direction than the first. However, I feel like there should've been more of the variation Vol. 1 had. Maybe more guest vocalists? Well, Vol. 3 apparently has a little more of them, so that's promising. But until then, enjoy Vol. 2....

Favorites: "The Fall of Grace", "Walls of Eden", "Raveyard", "What Have We Become", "Winter's Dying Heart", "Please Break the Silence"

With the band having expanded their sound into more artistic territory on their second album, Dreamweaver, further emphasis on that was placed on their third, which was ironically the last thing they ever produced.  Now there seems to be a kind of alienation that the fans felt, which would explain a collective of negative reviews on the internet.  This alienation likely stems from the further forays into standard heavy metal, ballads and prog metal.  As well, there's a new vocalist with a stronger melodic voice rather than the raspy thrash voice everyone who knows the band is familiar with.  Personally, I don't think this is much of a problem.  This new singer seems to fit the more dramatic side of the music that the band was going for.  On top of that, the majority of this music is actually pretty good, sometimes flat out banging.  These guys really pushed themselves in the creativity department, but never once make the album feel inconsistent or messy.  But be prepared for a very different kind of album, this more melodic, focused and versatile album just doesn't sound like the original Sabbat at all.  Having said that, they pushed that specific sound as far as it could go without breaking new territory, so an album like this was gonna happen eventually.

73

There really isn't much I wanna say about this debut album except that it's pretty basic.  Everything about this debut album is a product of its time.  The production and melodic quality sound a bit like this one hair metal band that went nowhere: Nitro, which my stepfather told me about, considering them one of the worst bands ever.  This album might have some genre appeal for metalheads because the sound is so nostalgic, but it's too easy to compare this fuzzy 150 BPM-central thrash album to so many better albums of its type.  I would even go as far as to say those two crappy Nitro albums have a couple better guitar solos in them.  Our singer isn't that great, either.  He sounds like a bad, noisy knockoff of the singer from Metal Church.  They pull off some decent tricks throughout the album, but overall this early speed metal release is too generic for my tastes.  In fact, it can be so generic that I was even getting tired of it about halfway through.

Riot started out as one of the earliest notable American heavy metal bands, but with their 6th album, they brought in some speedy power metal. NO I don't mean US power metal, although they have that too. I'm talking about the European power metal that was first building up in Germany at that time. The speed metal elements would also pave the way for Judas Priest's Painkiller a couple years later. Evil ones beware of a cyborg tank warrior made of thunder and steel. This is Thundersteel!

Nowadays, metal is judged more by music that image, so people can recognize the Judas Priest-isms more musically now, rather than visually in the 80s. You can hear the high berserk vocals of Tony Moore, the guitar work of axeman Mark Reale (RIP), the pounding drums of Bobby Jarzombek, and solid basswork by Don Van Stavern.

The lightning fast title opener shows a lot of the speedy side of Judas Priest, and it shall be praised by the Metal Gods. Also having your money's worth is the next track "Fight or Fall". There's more monstrous riffing to be found in "Sign of the Crimson Storm". It's still a metal anthem despite slowing down into the hard rock-ish sound of the band's early material, maybe even Deep Purple.

"Flight of the Warrior" is another memorable highlight. The chorus is quite awesome, as is the speedy riffing and leads. I'm familiar with that one via HammerFall's cover. "On Wings of Eagles" is also pretty great, having some of the grit of early Metallica. From the bass intro onwards, "Johnny’s Back" runs wild with its speed.

Then we slow down for the power ballad "Bloodstreets" with its heavy/mellow blend that they can pull off as greatly as Manowar and Crimson Glory. "Run for Your Life" cranks up the speed a little more in the guitar. The chorus is the best part when the vocals switch from high and low. I love it better than that similarly titled song from Fire Down Under. Now, the 9-minute epic "Buried Alive (The Tell Tale Heart)" I enjoy, but when I first listened to this album, the aforementioned opening title track was my favorite here. But as I revisit it, this epic is now my favorite! Must've been my growing appreciation for epics. Anyway, an odd voice sample leads into solitary guitar soloing similar to Crimson Glory throughout the first 3 minutes. Then the rest of the song carries on in an Iron Maiden mid-paced groove. Brilliant!

All in all, the historical value for Thundersteel is off the charts! It has the speedy melody of power metal and the glory of classic heavy metal all in one mighty masterpiece. If anyone is up for some of the earliest Euro-style power metal besides Helloween and Running Wild, it's all right here. Onward, my fellow warriors of steel!

Favorites: "Thundersteel", "Sign of the Crimson Storm", "Flight of the Warrior", "Run for Your Life", "Buried Alive (The Tell Tale Heart)"

Having completely missed his debut solo outing from five years ago, I can thank the algorithm gods for placing Kirk Windstein’s sophomore effort into my feed suggestions. With 2025 being the year that I finally got to grips with doom as a sub-genre, and with Crowbar being something of an unsung sludge favourite of mine, I soon found myself approaching Ethereal Waves with a heightened sense of excitement. Whilst I cannot profess to being massively in love with Kirk’s vocal style, his riff mentality more than floats my boat.

As expected therefore, Ethereal Waves is stocked full of riffs. Soon enough I was nodding along respectfully, appreciating the Iommi-inspired chugs as they landed consistently in front of me. Not that this is solely what the record I about by any means. Windstein has some straight up heavy metal on display here also which makes for a positive slant on the aesthetic of the album overall. For all the misery that exudes from tracks such as ‘Eulogy’ there is enough mid-paced activity, including an unexpectedly upbeat cover of The Beatles’ ‘Eleanor Rigby’, to keep things interesting. Whilst the doom credentials are hard to ignore on the album, it does contain some depth for the bullet belt and denim cut trad metallers out there.

Having former Exhorder guitarist, Vinnie LaBella provide leads, as well as producing the record, certainly adds character to proceedings along the way. Whilst not exceptional, the solos are able to paint some further emotion into songs, that makes up for the singular style approach that Kirk has around his vocals. Lyrically, the album isn’t all that strong and they do come across as half-baked, if not borderline amateur on a couple of occasions. However, I am not here for the lyrics, more the huge riffs and those enriching leads. During the past few days of listening through this album, I have at the same time been visiting Dream in Motion and I have concluded that Ethereal Waves is a step up from the debut.

Possessing more memorability than its predecessor, Ethereal Waves avoids the need for catchiness still, coming off as a more succinct listening experience as a result. The instrumentation is well balanced across guitars, percussion and keys. The Hammond Organ sound on ‘Rise from the Wreckage’ is an absolute joy to my ears. For all the positives, I still only like the album, I am not madly in love with it. Whilst it most certainly is accessible enough without being mainstream, it lacks any true bite to make it outstanding at any point. We still have a perfectly respectable album from one of sludge metals legends, albeit him showing a softer side than usual in some places.

I've certainly taken my time getting to Metallica's latest full-length but that's perhaps no surprise when you consider that I haven't enjoyed any of their albums since the Black Album way back in 1991. Things were looking up early in my initial listening experience though with Rhino Bucket guitarist Greg Fidelman's crisp & well-separated production job giving this material the chance to fully capitalize on any merit that can be found in the song-writing. The first three songs are all pretty decent too so there was some reason for optimism. Sadly though, despite being arguably the best record Metallica have produced since 1991, "72 Seasons" suffers from many of the same misguided failings as 2016's "Hardwired...to Self-Destruct".

With twelve lengthy songs spread across a gargantuan 77-minute run time, this record is incredibly self-indulgent with every idea being milked for far longer than it has any right to be. There are also more losses than there are wins here, although admittedly none of those losses are as bad as the weaker inclusions on some of their other post-Black Album releases. The tightness in the performances is part of the reason for that as this is a clinically produced record that's been meticulously compiled to be as perfect as it's humanly possible to be with each component having been layered in just the right pocket. Unfortunately, the age of the various band members is certainly showing at this point though. Jame Hetfield's vocals have been pretty annoying for a long time with little of the aggression of a record like "...And Justice For All". Lars' drumming is very basic & quite rocky, seemingly attempting to emulate AC/DC drummer Phil Rudd a lot of the time which may suit the crunchy hard rock-infused production job but was never going to afford the riffs maximum metallic incision. And Kirk's guitar solos are incredibly uninspired, seemingly having been phoned in & offering nothing much to enhance the song-writing. There are a couple of stretches that have seen me enjoying myself though &, like with all of Metallica's modern-day records, those stretches live up to their name by squeezing every last drop of value out of their instrumental & vocal hooks. The opening three songs mentioned earlier are backed up by the one-two punch of "Chasing Light" & my album highlight "If Darkness Had A Son" to give me some sort of respite from the drearier material like "Crown of Barbed Wire" & "Too Far Gone?".

Overall, this isn't a horrible Metallica record but it's not one that I'd recommend to anyone either. It's just another example of how this ridiculously popular band has become so incredibly detached from their original fanbase & any sort of reality with self-indulgence being the driving force behind their ongoing existence. Despite the inclusion of a couple of thrashers here & there, I've long since accepted that Metallica are no longer a thrash metal band per se so it's not about that. "72 Seasons" simply isn't a high-quality heavy metal album when compared with the rest of the modern-day global metal market so it's not deserving of the attention it's received from an audience that is unwilling to dive deeper than what's fed to them by the commercial media.

For fans of mid-90's Megadeth, "The Ritual"-era Testament & post-2000 Anthrax.

What is it with live shows being better than albums for some bands? Not that I would ever complain because this one is so awesome and beautiful! The power and emotion are to be checked out to believe. It's a true swan song show for the band, grand enough to make history.

X Japan is pretty much the Queen of Japan. And I mean the rock band Queen. X Japan is a band pretty much everyone in the country has adored, and the live shows can be considered an audio-visual treasure. So it was a sad day when the band announced their intention to call it quits. The band knew they had to end their journey in a proper bang, hence their concert at the Tokyo Dome on New Year's Eve 1997. It would be the final time many of 50,000 fans would see them live.

The smooth peaceful overture "Amethyst" fills the stadium, sending fans on a cheering frenzy once it begins. Soon the band members enter the stage as the noise from the crowd rises and the announcer introduces... X Japan! The band begins performing "Rusty Nail" as vocalist Toshi screams "LET'S GO!!!" in Japanese. Although this is still a heavy metal song, it has a similar vibe those J-pop rock antime themes. It's actually the first song I've heard from this band, mainly because of Dragonland's cover. "Week End" is a catchy song to get the crowd going. But then we have a tricky turn in "Scars" into mainstream electro-industrial rock. It's still a good energetic track though. The title opener of Dahlia blends heaviness with accessibility. If there wasn't any metal, it would've been more like an upbeat J-pop song, with the verses and chorus having that vibe. Then we have a quick two-minute "Drum Break" from Yoshiki. "Drain" is another more industrial track, and it actually rules! I enjoy the heavy groove despite being different from any of X Japan's albums before Dahlia. After that is a "Piano Solo" from Yoshiki to make up for not having the epic piano-led "Art of Life" in their setlist.

"Crucify My Love" is a short ballad, at least short compared to the other 3 ballads in Dahila that are each more than 7 minutes long. One such song being "Longing ~Togireta melody~" which is perhaps the greatest ballad by X Japan and one of the best ballads I've ever heard, and I'm speaking as someone who doesn't enjoy a lot of ballads. I can really feel how moving it is! And then we get back to the earlier heavy stuff with "Kurenai", still one of my favorite tracks from their debut Vanished Vision, with a total catchy headbanging chorus. The riffing and the soloing are some of the best from the band. I'm still amazed by their ability to go from a slow love ballad to a fast speed/power metal song. And that alone is enough to make that song a remarkable one, along with everything else within. And the fast speed doesn't end there, as we switch to the short swift "Orgasm". Well, the original song is short, perhaps their shortest non-interlude song. However, they've actually extended it into perhaps their longest track! Besides "Art of Life" of course. Yeah, this is the point where the tracks begin to get extended to over 10 minutes each, almost like prog-metal epics! But if you think that's impressive, get a load of Yoshiki's 14-minute drum solo. Amazing f***ing strength, just hitting those drums until he practically passes out. I sense some jealousy from Mike Portnoy of Dream Theater. While Yoshiki has some to rest, Toshi steps in to sing "Forever Love", another breathtaking ballad. In all honesty, if I was listening to ballads like that a few years before this review before restoring my interest in more melodic metal genres, I would've probably dozed off. And now I don't, I can just listen to them nice and awake.

It leads to the only short track in the second half, "Prologue", which is the intro to Blue Blood that originally has the subtitle "World Anthem". It sounds like a happy Maiden-infused march that's never a drag. It segues straight to the highlight of the entire concert, the band's own theme song, the catchy speedy "X". I'm sure the original song has planted the seed for international power metal bands like Stratovarius. The crowd really goes wild, participating as they should, with their "X" shouts and forming the "X" symbol. And as the music gets extended, it never drags. An absolute banger that never lets itself down! Amazing piano can be heard in "Endless Rain", proving that the band can make a tearjerking ballad without it coming out as cheesy sh*t. After that is another contender for one of the most beautiful power ballads ever, "Say Anything". I swear this can practically make a grown man like me cry. If you can translate the lyrics to English, you would know the tragic tale of a man's futile attempt at saving his relationship, "Say anything, you can dry my every tear". Now the thing is, the band didn't actually perform the song in this show. Really the only live thing to occur there is the audience singing along. The band was too busy handing out different gifts to the fans, as their way of saying "thank you" (or in Japanese, "Arigato"). At last we get to the aptly titled final single "The Last Song". Yoshiki begins playing his piano, and the rest of the performance is emotional history. Once it ends, the band members exit the stage one by one, and Yoshiki is the last to leave after playing the final notes. The true final song is the 10-minute ballad "Tears". It plays during a montage screening of the band over the years. And to end it all for real, an excerpt from "Unfinished" is heard, "Oh, I'm looking at you, can't control myself, nothing but pain for me." And that's the end. Happy New Year!

Fast forward to now, X Japan is back together and having been trying to make their 6th album for nearly two decades. Sadly, just a little over 4 months after their then-final show, Hide hung himself to death. It was widely believed to be suicide, but the band insisted that it was an accident. So that show was truly a heartbreaking farewell to Hide. RIP... Also, Heath passed away from colon cancer two years before this review, but he already completed his recordings for the upcoming album. RIP him too... Anyway, any fan of X Japan, metal, or music in general should encounter this live beauty. Perhaps one of, if not THE, greatest live show in Japan, and possibly the world!

Favorites: "Rusty Nail", "Week End", "Dahlia", "Longing ~Togireta melody~", "Kurenai", "Drum Solo", "X", "Endless Rain", "Curtain Call (Say Anything)", "The Last Song"

The first impression I have regarding this album is that it lacks the musical integrity Abigail has. In other words, the album doesn't sound as monolithic as its predecessor. But don't get me wrong, Them isn't bad at all. Indeed, it's one of the best albums King Diamond has ever produced. The major drawback is that in Abigail, the story and the music were so in tune and integrated that the whole album flowed like a stream, while in Them, the technical proficiency of the band and the level of progressiveness in song structures seem to level up, but this also makes the album less fluent, less memorable, and naturally, more ambitious. Even the album cover, showing a house in the night, seems to evoke "A Mansion in Darkness" in Abigail, as if pointing out an idea that the major story was told previously. Nevertheless, you still have a very good record and one of the finest moments in King Diamond's career.

Recommended songs for the first listeners:

- "Welcome Home": the legendary opener of the album - if you don't count the intro "Out from the Asylum" - and one of the most popular King Diamond songs.

- "The Invisible Guest": a song that is quite "power metal" in essence, but delights in horror!  Also, many good solos.

- "Bye, Bye Missy": I think the best riff in the album opens this song.

- "Twilight Symphony": the last show in the album is there.

If you loved King Diamond at first sight, it is almost impossible to neglect Them.

When I was revisiting the music of Fates Warning, I've realized that I enjoy the earlier heavy/progressive metal era of their first 3 albums more than their subsequent melodic progressive metal era. John Arch is one of the best vocalists of the genre. He may sound annoying at first but then you realize how amazing he is with his unique voice. The vocals aren't the only great thing about this album though.

The Spectre Within is a true progressive/US power metal gem! It even has a slight edge over their next album Awaken the Guardian that other fans prefer. Their second album with they really start to add progressiveness to their US power metal sound. My first full experience with this band's material was 5 years ago. I was more focused on heavier modern metal than the more melodic old-school metal of yore. I enjoyed the music a lot but eventually got tired of it, especially the vocals. Some things need some time away from me to restore the glory, and when I came back just a few days before this review, I can hear it again as the masterpiece I first thought it was. So worth the wait!

The progressive changes begin to shine in the 7-minute opening track "Traveler in Time", one of the best tracks here and the perfect way to start. Then we have the more mid-paced while still sometimes upbeat track, "Orphan Gypsy". One track that has really gotten me excited is "Without a Trace". It sounds like a song Iron Maiden could've written, only made better and more progressive.

"Pirates of the Underground" is another long track, and it levels up the progressiveness with the structure not having a set chorus. "The Apparition" still remains as my favorite track of the album on the US power metal side, with the best vocals from Arch.

There's more of that heavy speed in "Kyrie Eleison" while having some doomy sections. The perfect grand finale is the 12-minute epic "Epitaph". It's Fates Warning's first ever 10+ minute epic that would hint at the ones they would make in later albums. It starts off all atmospheric and doomy, almost like what Katatonia would make a decade later. Then it impresses me with everything from the guitars, bass, drums, and of course, the vocals, all heard loud and clear. Absolutely memorable!

This has to be said: The Spectre Within may just be the true start to the progressive metal genre. Every metalhead should get that offering and listen to this incredible talent, especially from the vocals. It's honestly quite underrated compared to the popular Dream Theater. All praise Fates Warning!

Favorites: "Traveler in Time", "Without a Trace", "The Apparition", "Epitaph"

Dust off those hand-painted lead figures, dig out the D20s and fill your personalised, engraved pewter tankard with foaming ale, because Blazon Rites are here with their Battleaxe of +4 Damage to deal righteous retribution to the evildoers and ne'er-do-wells that plague the lives of mere simple folk. Yes, Blazon Rites leave no uncertainty as to their love of fantasy with both their cover art and their, frankly, exceedingly cheesy lyrics. But, you know what, as a one-time table-top role player myself, back in my youth, I thoroughly enjoyed this romp through the wilds and taverns of fantasy stereotype.

Musically and, to a degree, aesthetically, they remind me somewhat of Solstice, or, to be more accurate, Rich Walker's short-lived side project, Isen Torr, whose Mighty & Superior EP may have been a touchstone for BR. Vocalist Johnny Halladay very much reminds me of Sami Hynninen, to the point where I had to check that they weren't yet another project of the Reverend Bizarre frontman himself (they aren't, they are from Philadelphia). Anyone thus familiar with old Witchfinder will also realise that, in a Maiden-esque, heavy metal set-up this means there are limitations in the vocal department. For me this isn't a problem, but anyone looking for power metal hystrionics (which you may well be justified in doing considering the album's optics) you are going to be severely disappointed. In truth, Blazon Rite aren't particularly sophisticated song writers, with the opener "Autumn Fear Brings Winter Doom" probably being the pick songwriting-wise and this is an area where they leave scope for improvement. That said, they do kick out decent, fist pumping heavy metal riffs and lead guitarist Pierson Roe delivers Adrian Smith-like leads with aplomb. What they do exude by the barrel-full, though, is enthusiasm and a seemingly genuine love of heavy metal and its fantasy trappings and that is not to be underestimated in a world where musical experimentalism and po-faced seriousness threaten to crush all sense of fun out of the genre. I think us internet metal nerds sometimes forget that metal can just be entertaining and fun without us feeling guilty about not pushing ourselves with every release we listen to, or not contemplating the depths of our psyche with every lyrical musing. So crack open a beer, kick back and feel a smile crawl across your face thanks to the simple metal fare that Blazon Rite have served up here.

Until now, the only band to have 4 releases with 5-star ratings from me in a row was Kamelot. And now, another band has joined in from the extreme side of the symphonic metal spectrum, Lorna Shore! 3 years after their previous album Pain Remains, the masters of symphonic deathcore are back with their new album I Feel the Everblack Festering Within Me, continuing the sound that made them popular while adding in some surprises to keep things exciting.

The new album really is similar to Pain Remains. Elitists can put their hand down though, because as I've said just now, there are some fantastic surprises that not even Pain Remains has, which we'll get to as the review goes on. The album doesn't have a multi-track suite like that of Pain Remains, let alone have it released alongside 3 singles. Less singles, more anticipation, am I right? And guess what, there are more songs that have no breakdowns! As much as I like breakdowns, it's nice to not hear them in nearly every song. Those songs without breakdowns end up sounding closer to straight-up extreme symphonic metal, so I don't mind this album sitting in The Guardians.

For the songs with breakdowns, the track with the best one is the opening "Prison of Flesh", which is a grand rollercoaster ride through stampeding deathcore. A killer way to start this offering! With their next track and first single "Oblivion", I enjoy the music that throws back to 5 years ago in the Immortal era, along with the lyrics growled by Will Ramos. Another epic highlight! The first of the 3 tracks without breakdowns is "In Darkness", which is almost like their attempt at combining the title track of And I Return to Nothingness and one of my favorite Mechina songs "Anagenesis", including the double key-change final chorus of the former but excluding the clean singing and cyber synths of the latter. It still can't beat those two tracks though.

Speaking of the title track of And I Return to Nothingness, "Unbreakable" has the potential to surpass that as my new ultimate favorite Lorna Shore track (a couple other songs later on would take that throne, keep reading). Lots of Parkway Drive-like melody, and the lyrics are so motivational, "And after it all, our hearts are invincible, like diamonds we glow, WE ARE UNBREAKABLE!!!!" However, its throne is stolen by the next track "Glenwood" (again there's another track lurking in the shadows to take that throne). Absolutely epic and emotional, and with the lack of breakdowns, this is really extreme power-ish symphonic metal, enough to make a genuine Guardians track. More of those heartful melodies appear in "Lionheart". The melody and occasional choir adds to its uniqueness, and the breakdown is never out of place. The anthemic "Death Can Take Me" has the blackened vibe of Mental Cruelty's new album Zwielicht, while ending with another one of the most crushing breakdowns in Lorna Shore's career.

"War Machine" is another standout and a different one at that. The tempo is slowed slightly for just full-on deathly groove-thrash that can fit well in a video game like DOOM Eternal and Metal Hellsinger, especially with its "f*** enemies up" attitude. So different yet so wild! Increasing the synth orchestration is "A Nameless Hymn". It's generally Lorna Shore's take on the symphonic black metal of Dimmu Borgir and later Behemoth, though a little too pompous. At least the skillful soloing and breakdown compels me. And now comes the true ultimate best track of this album and possibly by the band, the glorious finale "Forevermore", their longest track at nearly 10 minutes, a tear-jerking atmospheric epic of triumph and emotion. Probably the best symphonic deathcore closing track EVER!!! I'm not gonna put it into words, just listen to it to believe me.

And now this masterpiece album is over, so what can we take away from it? Well, they don't make a complete turn back into their earlier sound, nor did they make an all-out Pain Remains clone. They've just taken the best of those eras and added a few new things like that one different heavier track. In their perfect 2020s melodic symphonic blackened deathcore era, I Feel the Everblack Festering Within Me might just be the best of the best. Extreme vocals, drumming machinery, blazing guitars, booming bass, and cinematic orchestration make a recipe of unbreakable epicness. And I'm grateful that something like this can be heard all over the world!

Favorites: "Prison of Flesh", "Oblivion", "Unbreakable", "Glenwood", "Death Can Take Me", "War Machine", "Forevermore"

I'm honestly a little surprised I haven't heard a lot of this band. Lord of the Lost has worked up a catalog of their gothic/industrial metal sound, and somehow that didn't peak my interest. However, things have turned out promising when I checked out their previous two albums Blood & Glitter and Weapons of Mass Seduction. And now I might get even closer with the new adventurous Opvs Noir Vol. 1!

Frontman Chris "The Lord" Harms, guitarists Pi "π" Stoffers and Benjamin "Benji" Mundigler, bassist Klaas "Class Grenayde" Helmecke, keyboardist Gerrit "Gared Dirge" Heinemann, and drummer Niklas Kahl are back at it again. Opvs Noir Vol. 1 is the band's 10th album, as well as the start of an exciting new trilogy.

Starting off hard is "Bazaar Bizarre", a majestic opener with Chris' haunting verses. The softness of those verses are in contrast with the chorus of aggression and beauty. Then it switches to "My Sanctuary", which is half the first song's length and has a dancey beat and simplistic riffing. After that is the lovely "Light Can Only Shine in the Darkness". Lord of the Lost and Sharon den Adel of Within Temptation are practically a match made in metal heaven! Her vocals shining in the band's symphonic/industrial metal sound adds a new dimension of dark yet bright serenity. "I Will Die in It" is another well-done piece of gothic/industrial metal. It's quite catchy while staying massive, as the keyboard orchestration adds in all that grandeur.

Breaking boundaries further is "Moonstruck". Chris sings and screams alongside the Stimmgewalt choir, sounding similar to Moonspell's more symphonic works. Next up, "Damage" is all about industrial metal aggression. The guest vocals by Deathstars' Whiplasher Bernadotte makes things sound more extreme. And even without that, it still sounds a lot like Deathstars. "Ghosts" is an amazing piece of beauty and intensity! I love the cello by Tina Guo here. "Lords of Fyre" is up next. Wow, 5th collaboration track and the 4th in a row! This one has good medieval industrial/rock metal, but it sounds cheesy, and bringing in Feuerschwanz is unnecessary. The only slight misstep here.

We then get into the melancholic "The Things We Do For Love". The first verse might make you think it's a calm ballad, but once in a while, it becomes destructive especially at the bridge. "The Sadness in Everything" features Anna Maria Rose, vocalist of symphonic metal newcomers Tales of Time, with her soft singing contradicting the heavy intensity. Finally, "Dreams are Never Alone" is a haunting closing track with the last of their melodic majesty.

Lord of the Lost continue their journey with a new phase starting with Opvs Noir Vol. 1. It's a promising start to this trilogy, and I especially enjoy most of the collaborations. Let's hope for more of that greatness in Vol. 2 coming out at year's end and Vol. 3 appearing next year. Bring it the f*** on!

Favorites: "Bazaar Bizarre", "Light Can Only Shine in the Darkness", "I Will Die in It", "Moonstruck", "Ghosts", "Dreams are Never Alone"

With my recent return to The Guardians, I've become more determined to discover more heavy/power metal that's either brand-new or I haven't heard before but wish I had 10 years ago when those two genres were my main focus. This month's Guardians feature release is worth continuing my journey. It's time to check out this band Blazon Rite and listen to them sing their Wild Rites and Ancient Songs!

It's quite a promising album with tough instrumentation and melodic writing. I also love the song titles, even though they all look like those AI-generated song titles with at least 5 words each. Considering the amount of bands who get put down for any alleged usage of AI, I just hope this band doesn't get wrongfully accused.

We already get to a great start that isn't so weird and cheesy with the opening track "Autumn Fear Brings Winter Doom", which made me remember a band I haven't heard of in a few years, Slough Feg. Then "Salvage What You Can of the Night" cranks up the tempo. The chorus is worth singing along to in determination. Next song "The Fall of a Once Great House" slows things down for a bard-sung waltz before speeding up again in the second half.

"Mark of the Stormborn Riders" is more midpaced while driving the riff melodies forward. The title track has an acoustic intro then carries on in a marching pace and ends up in wild speed for a power-ish heavy metal song.

We have blazing speed in "Troubadours of the Final Quarrel". In the modern age of metal, not many people expect epic melodies within the way of classic heavy/power metal, but bands like Blazon Rite still have their exciting glory. And finally, there's the epic wonder of "The Coming Tide of Yule". It's probably the most Christmas-like melodic metal song since some songs by Trans-Siberian Orchestra and Majestica's Christmas Carol. That should be worth listening to in the holiday season!

I enjoy what Blazon Rite has had to offer Wild Rites and Ancient Songs. It's great hearing this band bring more life to a style of metal that has withered decades after its highest peak. This offering shall appeal to listeners wanting more epicness and melody in metal without any cheese or orchestra. It's a Blazon Rite of passage!

Favorites: "Autumn Fear Brings Winter Doom", "Mark of the Stormborn Riders", "Troubadours of the Final Quarrel", "The Coming Tide of Yule"