Daniel's Forum Replies

I'd take "Frost" over the "Nema" & "Yggdrasill" demos but I agree that it's the least impressive of Enslaved's first three proper releases.

Enslaved - "Frost" (1994)

I was already a big fan of these Norwegian black legends by the time their sophomore album appeared, having thoroughly enjoyed their "Hordanes Land" E.P. & "Vikingligr veldi" debut full-length & also quite liking their second demo tape "Yggdrasill" from 1992. So "Frost" was very well received from both Ben & I at the time & it's pretty easy to see why when listening back now because there's some classy shit going on here. The highlights represent some of the best material these guys would ever produce with the rip-roaring "Loke" & "Wotan" being my favourite Enslaved tracks to the time. Unfortunately though, the quality of the nine tracks included on "Frost" fluctuates a bit in much the same way that it does stylistically. The two Viking metal tracks "Yggdrasil" & "Isöders dronning" are disappointing & don't do much for me at all which contributes to the album not really fulfilling the potential it showed on great songs like "Jotunblod". It's probably no surprise that I enjoy the most blackened & relentless material the most with drummer Trym Torson's powerful blast beats & front man Grutle Kjellson's vocal performance being clear highlights. Overall though, I think I'd take "Vikingligr veldi" & "Hordanes Land" over "Frost" but there's not a lot in it as "Frost" is still an excellent example of the early Norwegian black metal scene.

For fans of Borknagar, Emperor & Windir.

4/5

Andrés Segovia - "The Segovia Collection, Vol. 3: My Favorite Works" (1988)

A compilation CD I purchased back in the 1990's when I was absolutely obsessed with guitar technique & wanted to hear the best the world had to offer. Segovia certainly delivers in terms of Spanish classical guitar too with all ten tracks on offer showcasing his incredible abilities in solo performances that sound to the average listener as if there are multiple instrumentalists contributing, given his unparallelled skill in managing disparate basslines & melodies simultaneously. I enjoy this as relaxing background music more than anything these days.

For fans of Julian Bream, Narciso Yepes & David Russell.

3.5/5

Slipknot - "Iowa" (2001)

I didn't mind the 1999 self-titled debut album from Iowa's Slipknot when I checked them out for the first time only within the last few years although it was certainly let down a bit by a poor production job. The 2001 follow-up fares better in that department & is also a slightly heavier & more extreme record overall which helps it to slightly eclipse its predecessor. It's easy to pick up on Slipknot's influences here with Korn, Nine Inch Nails, Pantera, Slayer & Morbid Angel all receiving some attention & assisting in the creation of a slew of high-quality groove-laden material. Unfortunately, there's also a couple of clear creative failures included too & these generally align with the band's more commercially focused clean-vocal choruses (see "My Plague" & "Left Behind"). I really dig the slower, sludgier moments, as well as the more death metal inspired ones while Corey Taylor's aggressive delivery is well up to the task. There's little doubt that "Iowa" is one of the better nu metal releases I've heard but I couldn't quite bring myself to award it the four stars I was hoping it would achieve in order to place it alongside records like Linkin Park's "Meteora" & Korn's self-titled.

For fans of Korn, System of a Down & Mudvayne.

3.5/5

If it was a legit primary genre then we'd select the single clan that's the best fit for it (i.e. The Infinite in this case) as we've been down the path of dual clan genres before & it's far too messy.

The sound that people are calling "thall" is so clearly just a slight variation on djent that I see no real reason to consider it as it won't add much (if any) benefit for our members. My personal preference is to avoid dissecting our music into more & more silly pigeonholes wherever possible. The more we do it, the less variety there is in each subgenre for people to discover. 

John Lee Hooker - "The Healer" (1989)

A heavily underrated electric blues album that's centered around collaborations with a number of other high-profile artists such as Carlos Santana, Bonnie Rait, Los Lobos & George Thoroughgood. Perhaps it makes for a more commercially accessible listen than most diehard blues fans would like but I really enjoy it nonetheless, particularly the really stripped back stuff like wonderful album highlight "My Dream".

For fans of Lightnin' Hopkins, Howlin' Wolf & Muddy Waters.

4/5

 David Lynch & Alan R. Splet - "Eraserhead" soundtrack (1982)

The score/soundtrack to one of my all-time favourite movies. David Lynch's debut effort was one of the most bizarre & deeply disturbing pieces of film you're ever likely to encounter & the soundtrack release captures that atmosphere brilliantly. There are two lengthy tracks included but they're essentially one longer piece that's been broken in half to fit a vinyl release. You'll find plenty of spoken snippets from the film scattered across the runtime but they're placed over some of the darkest ambient backdrops ever to have existed to the time. It takes me right back to those drug-fueled viewings my best mate & I enjoyed back in the early-to-mid 1990's. You can expect this album to offer more of an experience than most music can accommodate because it instils a genuinely sinister feeling in the listener that you'll rarely find in modern music.

For fans of Terry Gilliam, Alejandro González Iñárritu & Anne Guthrie.

4/5

Mortuary Drape - "All the Witches Dance" (1994)

The debut album from this Italian extreme metal outfit who hail from the First Wave of Black Metal movement of the late 1980's. As with so many of those early black metal releases, Mortuary Drape are very difficult to pigeon-hole into any one genre as they tend to combine elements of black metal, death metal, thrash metal, speed metal & even a bit of doom metal, all with moderate tempos & an occult atmosphere. Drummer Wildness Perversion opts for more of a death metal growl than a black metal shriek but it doesn't feel right to tag this as a death metal release for some reason. These ten tracks are all simple stuff but are mostly pretty effective, although the ambitious guitar solos end up coming across as trying a little too hard. While I have no doubt that "All the Witches Dance" is heavily overrated, it does take me back to my tape trading days more clearly than 99% of the other material of the time so it's not without merit. I just can't see it as being essential listening for members of The North though.

For fans of Necromantia, Mystifier & Master's Hammer. 

3.5/5

Deftones - "Adrenaline" (1994)

Upon returning to Deftones' very popular debut album, I've realised that I've been significantly underrating it for the entire fifteen years since I first discovered the Sacramento alternative metal legends through excellent "Diamond Eyes" record back in 2010. I think there are a few reasons for that. 1. There's a lot more nu metal here than on their other records, 2. Chino Moreno's vocal melodies aren't fully developed as yet & he tends to do a lot more nu metal style screaming (admittedly very well), 3. the guitar tone is very dry which gives the album an under-produced feel & 4. there aren't any obvious classics included here. Looking at it with fresh ears though, there's still a lot to like about "Adrenaline". It showcases Deftones at their rawest & most visceral with the heavy riffs offering a savage edge that oozes of the tortured youth that their audience were craving so much on the back end of the grunge movement. It's taken me by surprise really & I actually wasn't too far off scoring this release even higher. "Adrenaline" may be the weakest Deftones' full-length I've encountered to date (Note: the only one I'm still yet to experience is 2016's "Gore" which seems to be frowned upon) but it's certainly not the disappointment I originally thought it was so perhaps I'm softening in my old age.

For fans of Ikd-sj, Nothingface & Ocean Grove.

3.5/5

Here's my updated Top Ten Ambient Releases of All Time list after revisiting Klaus Schulze's classic 1975 fifth album "Timewind" this week:

01. Biosphere – “Substrata” (1997)

02. Robert Rich – “Somnium” (2001)

03. Steve Roach – “Mystic Chords & Sacred Spaces” (2003)

04. Brian Eno – “Ambient 1: Music for Airports” (1978)

05. Stars of the Lid – “The Tired Sounds of” (2001)

06. Stars of the Lid – “And Their Refinement of the Decline” (2007)

07. Steve Roach – “Structures from Silence” (1984)

08. Klaus Schulze - "Timewind" (1975)

09. A Winged Victory For The Sullen – “A Winged Victory for the Sullen” (2011)

10. Klaus Schulze - "Cyborg" (1973)

Dream Theater - "Awake" (1994)

Dream Theater's third full-length "Awake" was a MASSIVE record for me back in the late 1990's, perhaps even contributing to them becoming my favourite metal band for a short period after I'd started my hiatus from the extreme metal scene. Listening back now with more critical ears though, it's not really the undeniable classic I led myself to believe it was at the time. In fact, I'd suggest that it's actually a step down from Dream Theater's previous material which was all solid gold & I'm gonna go out on a limb & say that the reason I've overrated it over the years is the fact that it's potentially the best guitar album of all time. Yeah, you heard me. John Petrucci is my favourite guitarist ever & this is his possibly his finest work as it consistently sees me picking my jaw up off the ground but that doesn't mean that "Awake" is without its faults. The band's record label had been pushing them to make a more commercially accessible & more metallic record & you can see both of those elements here. Petrucci uses a seven-string guitar for the first time so there are some great heavy metal riffs here with Mike Portnoy's ridiculously complex drumming providing the perfect accompaniment. But then there are a couple of clear filler tracks that sound like obvious attempts at radio play too (see "The Silent Man" & "Lifting Shadows Off A Dream"). I think I've been guilty of letting the highlights cloud my judgement of the overall product over the years as songs like "Erotomania", "The Mirror", "Lie" & album highlight "Voices" are without doubt some of Dream Theater's best work but I just don't think there's enough in that space to justify one of my elite scores these days so "Awake" sits more comfortably alongside a record like "Train of Thought" than it does an "Images & Words", "Metropolis Pt. 2: Scenes From a Memory" or "When Dream & Day Unite" in my opinion.

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

4/5

Deftones - "Saturday Night Wrist" (2006)

After really enjoying 2010's excellent "Diamond Eyes" record last week, I thought I'd investigate Deftones' previous album from four years earlier which I don't recall ever hearing before. It was the band's first album without long-time producer Terry Date & would also represent their last with bassist Chi Cheng who was unfortunately involved in a serious car accident that would eventually prove to be fatal a couple of years later. "Saturday Night Wrist" was well worth the commitment too as their fifth full-length is yet another high-quality alternative metal release that sees the Sacramento five-piece taking a more ambitious route than "Diamond Eyes" which was generally a pretty standard effort. There's more variety here with a number of creative risks being taken & it amounts to a less accessible & immediate record which isn't a bad thing as I think I slightly prefer it over "Diamond Eyes" for exactly those reasons. I'd probably take it over Deftones' earlier efforts like "Adrenaline" & "Around the Fur" too actually as it's another highly consistent record that I'd suggest should be essential listening for our The Gateway clan members. 

For fans of Hum, Faith No More & Chevelle.

4/5

Dead Can Dance - "Dead Can Dance" (1984)

The debut album from this wonderful Aussie artist is an underrated classic in my opinion. The self-titled album sees them alternating between gothic rock & darkwave with hints of their future ethereal wave sound popping up on occasion too. The highlights are devastating & generally occur when legendary female vocalist Lisa Gerrard makes an appearance but I also love the soothing, atmospheric sounds of Brendan Perry. The darkwave material appeals to me a little more from a stylistic point of view but there's something about DCD's gothic rock sound that draws me in too. It's as dark as they come but the post-punk basslines drive the song-writing into a cool place that sees me swaying along in a dreamy, brooding headspace. I can't recommend this one enough as it will always have a strong place in my heart & will forever remind me of late nights in Sydney goth clubs back in the mid-1990's.

For fans of Lisa Gerrard, Clan of Xymox & Cocteau Twins.

4.5/5

Dawn - "Nær sólen gar niþer for evogher" (1994)

Unlike many fans, I slightly prefer the debut album from these Swedes over their more widely celebrated 1998 third full-length "Slaughtersun (Crown of the Triarchy)". It's an extremely consistent record that's highlighted by some powerfully executed drumming from Karsten Larsson (Falconer/King of Asgard). Henke Forss' (Niden Div. 187) blackened shrieks are rip-roaring too which sees him nicely complimenting the sophisticated & melodic guitar riffs which showcase an early Emperor influence at times. There are no weak numbers included which makes it hard to ignore Dawn's claims in the melodic black metal space. I think most The North members will get something out of this one.

For fans of Sacramentum, Vinterland & Dissection.

4/5

Here's my updated Top Ten Melodic Black Metal Releases of All Time list:

01. Dissection – “Storm Of The Light’s Bane” (1995)

02. Rotting Christ – “Non Seriam” (1994)

03. Mare Cognitum – “Solar Paroxysm” (2021)

04. Les Chat de Nihil – “Le tyran et l’esthete” (2021)

05. Dawn - "Nær sólen gar niþer for evogher" (1994)

06. Dawn – “Slaughtersun (Crown Of The Triarchy)” (1998)

07. Iskald – “The Sun I Carried Alone” (2011)

08. Naglfar – “Teras” (2012)

09. Abigail Williams - "In The Absence Of Light" (2010)

10. Dissection - "The Somberlain" (1993)

https://metal.academy/lists/single/164

"Heartwork" has overtaken "Symphonies of Sickness" for my second favourite Carcass album in recent years to be honest. I saw them on the tour for it & they absolutely slayed which took some of the pain of missing the support slot away temporarily.

4/5

Here's my old review of this one:

1980’s “Give ‘Em Hell” was the first & most celebrated album from this seminal four-piece English heavy metal band from Mansfield but they actually formed way back in 1973 so it’s not surprising that Witchfynde had a pretty well-defined sound by this point, even though they offered plenty of variety in style from track to track. The album cover features some of the earliest Satanic imagery in metal music with the inclusion of the now obligatory goats head & pentagram while the lyrics also hint at the band’s fascinations with the more sinister side of life, although it has to be said that (unlike NWOBHM contemporaries like Angel Witch & Venom) Witchfynde’s sound isn’t always a good fit for the thematic concepts the band are depicting.

Witchfynde are often sighted as an early influence on black metal although I think that’s stretching things a bit from a musical point of view. In fact, their sound doesn’t fit too comfortably under the NWOBHM banner either to be honest. Most of their musical influences are drawn from the 1970’s & they generally opt for a more restrained & controlled mid-paced delivery. They also possessed a darker atmosphere than the material really justified which has a fair bit to do with a thick, warm & moody production job that includes a fair amount of space. I find it to be a little muffled to be honest, but it doesn’t see the instrumentation losing definition. This may be an unusual sound but it really stands out from the rest of the NWOBHM movement & is more memorable as a result.

Witchfynde’s sound is best described as a blend of 70’s hard rock, heavy metal & progressive rock with touches of psychedelics here & there. Kinda like 70’s Black Sabbath meets the progressive hard rock of Rush. They’re at their best when they’re heading in more expansive & progressive directions with shifting time signatures & epic arrangements in my opinion. At times I can clearly hear the influence on bands like Mercyful Fate, Celtic Frost & Samael in the atmosphere & controlled aggression & if that’s not a feather in Witchfynde’s cap I don’t know what is. “Give ‘Em Hell” is definitely worth a listen for fans of the darker end of the NWOBHM.

3.5/5

Deftones - "Diamond Eyes" (2010)

The sixth full-length from these Sacramento alternative metal legends was my introduction to Deftones back at the time of release & I quite liked what I heard which triggered me to go back & explore the remainder of their back catalogue. Listening back now though, I can see that I underrated "Diamond Eyes" as it's another extremely consistent effort from one of the classier exponents of their craft on the global scene. While it may not be as classic as records like "White Pony", "Ohms" or "Koi no Yokan", it's the invariable & unwavering quality that allows "Diamond Eyes" to be able to overcome its lack of any real experimentation on previous Deftones affairs but there is also a clear lack of classic songs with only the utterly sensational closer "This Place Is Death" qualifying for my all-time favourites list & it's that omission that ensures that "Diamond Eyes" remains in the also-rans list for arguably the most consistently impressive alternative metal artist of all time.

For fans of Korn, Superheaven & Slipknot.

4/5

Elliott Smith - "Either/Or" (1997)

I don't mind this American indie folk singer/songwriter although I do have to admit that I can't see why he's quite as revered as he is. I don't think he has enough depth to his music for that but I can still appreciate the appeal of these short-&-sweet folk songs.

For fans of Bright Eyes, Daniel Johnston & Sufjan Stevens.

3.5/5

The Soft Machine - "The Soft Machine" (1968)

The debut album from this pinnacle of the Canterbury scene. It's a heavily psychedelic record that certainly has its moments but fails to deliver consistently enough to warrant the high praise it generally seems to garner in my opinion. I do admire the artistic risks the band takes here though with psychedelic rock, progressive rock & jazz fusion all being combined very well into Soft Machine's sound.

For fans of Gong, Caravan & Kevin Ayers.

3.5/5

Paramæcium - "Exhumed of the Earth" (1993)

The debut full-length from a relatively underrated Melbourne doom/death trio who built up quite a reputation in the local scene at the time. Ben & I picked up on Paramæcium very early on & "Exhumed of the Earth" received a lot of play time around our family home during the mid-1990's. Listening back with more mature ears now, it's very easy to see that My Dying Bride were the primary influence here as there are quite a few moments that I'd border upon plagiarism, especially when they bring out the violin. This is high quality stuff though nonetheless with the riffs all showing a clear understanding of the elements that make for great death doom metal. The dual vocal attack is a little flat though due to the cookie monster delivery being fairly generic & reminding me of fellow Aussie doom/death icons Cruciform's debut album "Atavism" from the same year. There are a couple of tracks included where the pace is picked up a bit but these offerings are clearly less effective than the deeper & more atmospheric inclusions as Jayson Sherlock (Horde/Light Force/Mortification) employs simple punky one-two beats that sound pretty dumb in this context. Still... I can't help but to buy into the product that Paramæcium are selling here as the rest of the album is simply so well executed. The Christian themes shouldn't be much of an obstacle as they're not all that easy to pick up if you're not made aware of it through the media first.

For fans of My Dying Bride, Cruciform & Schaliach.

4/5

Here's my newly created Top Ten Australian Extreme Metal Releases of 1990 list:

01. Spectral Birth - "Raze" demo [Melbourne thrash metal]

02. Bezerker - "Lost" [Adelaide thrash metal]

03. Martire - "Demo 1990" demo [Adelaide blackened doom/death]

04. Sanctum - "To Dust" demo [Melbourne brutal thrash metal]

05. Iron Sheiks - "Do You Fancy Me?" [Adelaide crossover thrash]

06. Inflictor - "Jesus Wept" demo [Adelaide thrash metal]

07. Acheron - "Eternal Suffering" demo [Melbourne death metal]

08. Redeemer - "The Light is Struck..." [Sydney power/thrash metal]

09. Necrotomy - "Cranial Dismemberment" demo [Melbourne death metal]

10. Armoured Angel - "Communion" demo [Canberra thrash metal]

Bezerker - "Lost" (1990)

The very impressive debut album from an Adelaide thrash metal band who would never fully realised their potential. It's a sophisticated, classy & well produced record that relishes the opportunity to up the ante on the technicality on occasion while never hinting at a ballad. Front man Patrick Cummins opts for a higher register vocal delivery that sit somewhere between Bruce Dickinson (Iron Maiden/Samson) & Joey Belladonna (Anthrax) & he is probably the limiting factor here given that his performance is a little inconsistent. The guitars are rip-roaring throughout though &, while I thoroughly enjoyed my revisit of Bezerker's 1988 "Laugh at the Light" demo a month or so back, "Lost" is even better & should appeal to most of our The Pit clan members.

For fans of Flotsam & Jetsam, Rampage & "Spreading the Disease"-era Anthrax.

4/5

Giacomo Puccini's "Teatro alla Scala: Tosca" (1954)

A 110-minute Italian opera from the Romanticism movement that's broken up into in three acts. Unfortunately, I found the first act (which makes up the first half of this release) to be a bit of a chore but I quite liked the second & third acts, particularly the final one. I tend to enjoy the more dramatic & firey sections the most with the more theatrical stuff largely going over my head.

For fans of Giuseppe Verdi, Gioachino Rossini & Georges Bizet.

3/5

Necrotomy - "Cranial Dismemberment" demo (1990)

This Melbourne four-piece was the first death metal band I ever saw play live & I still really enjoy their fun blend of goregrind & traditional death metal today. The 1980's Carcass influence is massive for these guys but they pull it all off beautifully, particularly during the blast beat sections which are surprisingly tight for this sort of release. Interestingly, vocalist/bassist Mark Schilby also spent some time playing guitar for Abramelin while lead guitarist Dean Ruprich played bass on diSEMBOWELMENT's "Mourning September" demo.

For fans of Carcass, Decrepit Artery & Mortician.

3.5/5

Armoured Angel - "Communion" demo (1990)

The third & final demo tape from these Australian extreme metal legends & I think it's the best of them too. It contains four songs that perfectly round out Armoured Angel's second era i.e. their thrash metal one following their early heavy metal ones during the mid-1980's & preceding their death metal heyday that dominated the remainder of the 1990's. Despite the consistency of this release, I still feel that it's a step down from the death metal model the trio would go on to become known for. In fact, I still regard this Canberra establishment as one of the most premium examples of the genre to come out of this country. Perhaps the controlled, mid-tempo formula they tend to stick to doesn't translate quite as well to the thrash metal genre? Still... I don't think "Communion" is gonna disappoint too many of our The Pit members & I know a few people that swear by it to this day which isn't surprising given just how influential these guys were to our local scene..

For fans of Sepultura, Sodom & Slayer.

3.5/5

Krucifior - "Live 90" demo (1990)

Krucifior's first demo tape "1989 Radio Air Play & Interview" is arguably the worst thing I've ever heard so I wasn't holding up hopes of their sophomore release being anything to write home about & that position has proven to be correct, although I'd suggest that it still offers a touch less embarrassment than their debut did. This time we find the Tasmanian four-piece taking on a slow-to-mid paced death/thrash sound that's admittedly a little easier to stomach than their earlier deathgrind one, although the lack of any sort of production leaves the listener struggling to identify the guitars or bass on this crude live recording which is mainly drums & tape hiss with the vocals coming in a distant third. The cassette documents Krucifior's appearance at a battle of the bands that took place somewhere in Hobart & includes just the two songs, one being a cover version of Celtic Frost's "Dethroned Emperor" & the other being an original track called "Valley of the Burning" which is slightly less crap. Anyone who claims to like this shit is seriously trying too hard though as you won't find a much less vital metal recording than this one.

For fans of Celtic Frost, Hellhammer & Dream Death.

1.5/5

Cathedral - "Statik Majik" E.P. (1994)

I'd struggled my way through the previous couple of releases from these English stoner doom legends & still managed to call myself a fan, even though their subsequent efforts came nowhere near their classic debut album & earlier demo tape. But that would change with 1994's "Statik Majik" E.P. which certainly has its moments but goes a little too far over the top with the stupidity & grooviness for my taste, particularly on the first two tracks which I genuinely dislike.

For fans of Electric Wizard, Trouble & With The Dead.

3/5

Thrust - "Mindless" (1990)

The sole full-length from this melodic hardcore/skate punk outfit from my adopted stomping ground of the Gold Coast. It's very well produced & executed & has a bit of a heavy metal edge to it at times too.

For fans of The Ramones, Bad Religion & Motorhead.

Episode 10 of the Currumbin Chill Council playlist went live yesterday.

https://open.spotify.com/playlist/3FsJyrptRqac1gBaZlgOz6?si=7411968ecf49489c

Here's the tracklisting:

01. Tajao Ijima - "Dusk 'til Dawn" (from "Dusk 'til Dawn")

02. Natural Calamity - "Lotus Field" (from "Let It Come Down")

03. Kruder & Dorfmeister - "Deep Shit Pt. 1 & Pt. 2" (from "G-Stoned" E.P.)

04. United Future Organisation - "NEMURENAI insomnie" (from "Jazzin'")

05. Deep Forest - "Sweet Lullaby" (from "Deep Forest")

06. Duran Duran - "Come Undown (FGI Phumpin' 12" Mix)" (from "Come Undone" single)

07. Sade - "Feel No Pain" (from "Love Deluxe")

08. Bjork - "Play Dead (Tim Simenon Instrumental Mix)" (from "Play Dead" single)

09. Seefeel - "More Like Space" (from "More Like Space" E.P.)

10. Massive Attack - "Hymn of the Big Wheel" (from Blue Lines")

11. Stereo Nova - "O Exostis" (from "Stereo Nova")

12. Workdub - "Caravan" (from "Workdub II")

13. Strawpeople - "Help Me Michael" (from "World Service")

14. William Orbit - "Water From A Vine Leaf" (from "Strange Cargo III")

15. Enigma - "The Eyes of Truth" (from "The Eyes of Truth" single)

16. D-Influence - "Sign" (from "Good 4 We")

17. Single Gun Theory - "Surrender (Extended Mix)" (from "Millions, Like Stars in my Hands, The Daggers in my Heart, Wage War")

18. Spill - "Don't Wanna Know 'Bout Evil (Rumble Mix)" (from "Don't Wanna Know 'Bout Evil" E.P.)

19. Opus III - "Into This Universe" (from "Mind Fruit")

20. Chapterhouse - "Delta Phase (Retranslated by Global Communication)" (from "Blood Music: Pentamerous Metamorphosis")

21. Sven Vath - "L'esperanza" (from "Accident in Paradise")

Despite being Metallica's best record since the Black Album, I found "Hardwired...to Self-Destruct" to be incredibly self-indulgent. The songs were extended far further than they had any right to be & so was the tracklisting. All of the thrashier parts were blatant examples of self-plagiarism too. They should just have concentrated on song-writing & forgotten about what their fans want. I still haven't bothered with "72 Seasons" to be honest as I expected more of the same.

Still 9.5 to Streetcleaner at least for how original the "general" sound is, and major kudos to them for finding a signature.  The rest kinda fluctuates between 7 and 9.

That's pretty much how I've scored Godflesh over the years although by my scoring system that makes them one of my all-time favourite bands.

Inflictor - "Jesus Wept" demo (1990)

The first of two demo tapes from this capable Adelaide-based thrash metal outfit. It contains five songs that could easily have come from the second tier of the Bay Area thrash scene with the primary differentiator being the super-shreddy lead guitar work of Scott Maxwell whose ambition is admirable but whose execution can still with a little more work. I really dig the gruff vocals of front man Chris McKenzie while the five-piece lineup also includes drummer Paul Reilly who also played on Bezerker's excellent "Laugh at the Light" demo from two years earlier. I quite like this cassette but unfortunately not all of this material is of the high standard set by highlight tracks "Manic Depressant" & "Haemorrhage".

For fans of Exodus, Testament & Vio-lence.

3.5/5

That's an interesting take Rex. Godflesh have a very original sound of their own as you certainly know them when you hear them. Their albums all have their own unique personalities too as they tend to change their sound up a bit with each release. I can see why you might say that those releases tend to stick with similar formulas across their tracklistings though as the cold industrial atmosphere is unanimous throughout the vast majority of their classic material. There's no doubt that they are less song-writing oriented than the other artists you mentioned too, instead tending to focus more on riffs & textures which sees them coming across as more blatantly industrial than most other artists from the genre.

Godflesh - "Selfless" (1994)

The Birmingham industrial metal legends' third full-length is yet another in their string of classic releases. This time they've gone for a cleaner production job that works splendidly while you can also pickup the riff structures that would dominate Godflesh's next album "Songs of Love and Hate" starting to take shape. "Selfless" doesn't sit far behind "Streetcleaner" for the Englishmen's best album to the time & I still genuinely love it today, particularly the highlight tracks which drive the album's higher scoring potential. "Selfless" should be essential listening for all of our The Sphere members.

For fans of Pitchshifter, Fall of Because & Jesu.

4.5/5

Here's my adjusted Top Ten Industrial Metal Releases of All Time list:

01. Mick Gordon – “DOOM (Original Game Soundtrack)” (2016)

02. Fange – “Pantocrator” (2021)

03. Godflesh - "The Peel Sessions" E.P. (2015)

04. Godflesh – “Streetcleaner” (1989)

05. Ministry – “Psalm 69” (1992)

06. The Amenta – “Flesh Is Heir” (2013)

07. Kill The Thrill – “Tellurique” (2005)

08. Godflesh - "Selfless" (1994)

09. Nine Inch Nails – “Broken” E.P. (1992)

10. Godflesh – “Pure” (1992)

https://metal.academy/lists/single/184

Sanctum - "To Dust" demo (1990)

The debut release from this Melbourne outfit & a damn fine one it is too just quietly. Sanctum would go on to become a death metal band in the coming years but here we see them taking on a techy brutal thrash metal sound that I've always found to be highly appealing. "To Dust" is definitely worth checking out if you enjoy the comparison bands I've listed below.

For fans of Sadus, Exhorder & Invocator.

4/5

Abigor - "Verwüstung/Invoke the Dark Age" (1994)

The debut album from this popular Austrian black metal outfit isn't a bad first up effort but it's also not anything particularly special. It's all pretty standard stuff for a European act of the time although there are signs of the experimentation Abigor would undertake in future years, particularly in a melodic sense as there's a clear melodic black metal influence to the way the tremolo-picked guitar lines interact with each other. The vocals aren't all that great but I find that the band sound at their best when they get their blast beats on & focus on laying waste to the listener's ear drums. Abigor would improve their game noticeably before their next couple of releases which would surface just a year later.

For fans of Amestigon, Dødheimsgard & early Emperor.

3.5/5

The Byrds - "Fifth Dimension" (1966)

I quite enjoy the third album from this Los Angeles outfit who had previously played in the poppy folk rock space but this time appear with a brand-new sound that may well represent the first psychedelic rock release ever to see the light of day. There are a few duds spread across the eleven tracks on offer but they're comfortably outweighed by the stronger material with the incredible "I Come and Stand at Every Door" being the clear highlight for me personally.

For fans of Dusty Springfield, Jefferson Airplane & Love.

3.5/5

Mortal Sin - "Face of Mayhem - Live" (1990)

A legendary local show at Sydney's Enmore Theatre which pretty much signaled the end of the Aussie thrash metal icons first era with bass player Andy Eftichiou the opening remaining member by the time 1991's "Every Dog Has It's Day" third album saw the light of day. Original drummer Wayne Campbell (Baltak/Grungeon) had already left by this stage & was replaced temporarily by well-known comedian Steve Hughes (Nazxul/Sadistik Exekution/Slaughter Lord). The tracklisting is pretty solid with three-quarters of the eight songs being taken from 1989's "Face of Despair" sophomore album & a couple from Mortal Sin's 1987 debut "Mayhemic Destruction". I have to admit that I would have liked to see the title track from the debut included here as it's always been my favourite cut from the band's 80's era while "Martyrs of Eternity" has never been a song that appealed to me much so it would have been the obvious one to lose out in that battle. As it stands though, "Lebanon" & "I Am Immortal" are unsurprisingly the two standouts with the rest of the material offering a pretty reasonable, if largely uneventful & fairly basic, array of 80's thrash prowess. 

For fans of Xentrix, Stone & Testament.

3.5/5

Currumbin Chill Council Vol 9. has just gone live.

https://open.spotify.com/playlist/6alhqTXp6OPBxopuiJdP1a?si=760359e4f2c94183

Here's the tracklisting:

01. Strawpeople - "The Slide" (from "World Service")

02. Single Gun Theory - "Great Palaces of Immortal Splendor" (from "Millions, Like Stars in my Hands, the Daggers in my Heart, Wage War")

03. Opus III - "Stars in my Pocket" (from "Mind Fruit")

04. Natural Calamity - "Let it Come Down" (from "Let it Come Down")

05. David Sylvian - "Heartbeat (Tainai Kaiki II - Returning to the Womb)" (from "Everything & Nothing")

06. Takashi Kokubo - "Good Morning" (from "Tokyo ~ Noise Aesthetics ~")

07. Ultramarine - "Geezer" (from "Every Man & Woman is a Star")

08. Poison Girl Friend - "Melting Moment" (from "Melting Moment")

09. The Times - "Lundi bleu" (The Grid Praise the Lord Mix)" (from "Alternative Commercial Crossover")

10. Massive Attack - "Lately" (from "Blue Lines")

11. Perfume Tree - "Dreaming" (from "Dust")

12. Recoil - "Edge to Life" (from "Bloodline")

13. Deep Forest - "Deep Forest" (from "Deep Forest")

14. One Dove - "Fallen" (from "Fallen" single)

15. The Orb - "Majestic - Mix 1" (from "U.F.Orb")

16. Divina Gloria - "Ondulante" (from "Mar de amores")

17. Stereo Nova - "Evdokia" (from "Stero Nova")

18. D-Influence - "Changes" (from "Good4We")

19. Jon Secada - "Just Another Day" (from "Jon Secada")

I guess in your case it would be more appropriate to see if you have one of those top tens.

Not as yet but it would be an interesting undertaking at some point.

Samael - "Ceremony of Opposites" (1994)

Ben & I jumped all over this release when it first came out & the Swiss black metallers' third full-length would play a significant role in how our 1994 turned out. If you had of asked me back then I think I would have told you that "Ceremony of Opposites" was Samael's first & only genuine classic actually but this revisit has seen me reassessing that position a little bit as, not only do I no longer find it to be as classic as I might have in the past, but I'm not sure it's my favourite Samael record any more either. The elements that I enjoy so much about Samael's first two albums are still clearly in effect here with the chunky mid-tempo riffs possessing a clear Celtic Frost groove to them. This time though, they've been bolstered by a thicker, clearer production job & a slightly gothic atmosphere. The tracklisting starts out in really solid fashion but I do tend to think that it becomes a little less consistent after the first three songs. There's nothing I don't enjoy but it can tend to get a little safe & samey & I don't think that every track perfectly encapsulates the atmosphere of the better material. I do love the blackened vocals & those tend to carry some of the less impressive songs but not enough to see me claiming "Ceremony of Opposites" as the classic I may once have as I don't think there are any classic songs included as such. In fact, I think "Blood Ritual" might be my favourite Samael record these days which I'm sure might surprise a few people.

For fans of Rotting Christ, Alastis & Celtic Frost.

4/5

Rex, despite what Ben may think, I don't think there's anything wrong with having a passionate conversation about musical appreciation & I didn't appreciate being mocked for it by him earlier in the thread either to tell you the truth. People will always place value on different things & have a right to express that openly as long as they're doing it in a respectful way. If others don't wanna read it then they can feel free to go about their days & we shouldn't be made to feel guilty for using the forums for what they're intended for. But let me be very clear that you can come across as talking down to others in the way that you express your musical opinions at times. The fact is that literally ALL of our regulars are obsessive with their musical journeys like yourself. They ALL indulge & involve themselves really deeply in the music they choose to explore so you're not isolated in that respect.

The truth of the matter is that I have just as broad a taste profile as yourself & spend a significant amount of active listening time with every release I listen to in order to get a deep enough understanding of the artistic expression to develop a well-informed opinion. I'm reasonably well across the new age genre too so it annoyed me that you automatically assumed that I haven't given new age music a proper chance & that I have a bias that's hindered my ability to make an informed judgement on the release in question. In doing so, you came across like you felt you needed to teach me about music appreciation & this isn't the first time that it's happened either so it got me offside pretty quickly. You may not think you did that but when I express my opinion & you start your response with "Certainly not" & then proceed to tell me that it takes practice & an "awareness of the genre" to appreciate a release like the one I was referring to then you can expect the recipient of your comments to take it that way. I knew it wasn't intentional which is why I toned down the responses I really wanted to write but I'm not gonna lie & pretend that I don't find statements like that to be patronizing & condescending.

Anyway... I don't wanna argue as I have better things to do with my time but I hope that you can accept what I've said & we can move on amicably because we do value you here at the Academy. Let's move on from this conversation now & get back to enjoying music together mate.

I love it when you get all condescending & elitist Rex, looking down on all of us mere mortals from above. It makes me feel all warm & fuzzy. My point stands though as nothing you said attempts to combat it. In my world, a rating is simply a numerical representation of how much you enjoy a release in comparison to all other music you've heard. Enjoyment is the only criteria that matters. Not originality, variety, cultural impact, whether it's the best example I've heard from its subgenre or any other element. It's all about how many jollies it gives me. That's how I see it & you can feel free to disagree with me at your leisure.

It's probably worth mentioning that labelling Tim Hecker as a drone artist is stretching the truth a bit too. That's probably why you like him more than artists with a genuine claim to the tag.

S.I.C. = Screaming in Churches AND Spastics Inflicting Carnage.

I have a pretty reasonable understanding of the subgenre Rex as almost all of the artists you mentioned were played around our family home when Ben & I were young. I disagree that we should put our own personal taste preferences & prejudices aside when rating a release though. On the contrary, I believe that a rating should solely be a reflection of how much you enjoy a release when compared to every other release in existence, otherwise it comes across as disingenuous as it's not a true reflection of the reviewer's feelings. It's like me saying "if I liked folk metal then this release would be the pinnacle" & awarding it five stars when the fact is that I enjoy even a subpar death metal release over the most highly regarded folk metal records. That's why we have this whole clan system in the first place i.e. so that we can voice our honest opinions without tainting the potential for a release to appeal to others. That's just my two cents though so please take it for what it is.

You need a little cheese to properly get into prog, IMO, as much of it is rooted in classical cheese.

I don't think that's the case at all Rex. But then it's already been well established that you have a much higher threshold for cheese than I do so I guess that's hardly surprising. I enjoy myself some new age music on occasion but the cheesier Celtic end of the spectrum is often too much for me.

Mike Oldfield - "Ommadawn" (1975)

I grew up with Mike Oldfield's classic 1973 debut album "Tubular Bells" being played regularly around our household as my father was quite a fan. I struggle with his third album "Ommadawn" a bit though with the two lengthy pieces traversing a real mixed bag of sounds & textures. The progressive rock of Oldfield's roots is further diluted with a Celtic new age sound that borders on the cheesy a bit too often for my taste while there are also traces of progressive electronic to be found here & there. I do quite enjoy "Ommadawn Part Two" but the slightly longer "Ommadawn Part One" is more challenging as its highlights are overpowered by its weaknesses, subsequently leaving me feeling like I'll perhaps never fully appreciate this record which was quite significant & highly regarded amongst the prog rock crowd of the mid-70's.

For fans of Alan Parsons, David Arkenstone & Jon Anderson.

3/5