Daniel's Forum Replies

I don't think it's necessary to adjust your rating protocol between the two sites Sonny. Your ratings are meant to be an indication of how much you enjoyed a release so if you generally enjoy metal releases more than other genres then your scores should reflect that. You are so well versed in metal by this point in your musical journey that you will always tend to gravitate towards metal records that you're more likely to enjoy too. Should that mean that the weaker end of that should suffer more than with other genres? I don't think so. I understand why you might question yourself on a three-star rating for a metal release that you didn't enjoy much as it doesn't sound terribly harsh but if there's music out there that's several levels worse than that then you need to leave space for it in your rating system in my opinion. In saying that, I don't believe that metal is less conducive to absolute garbage than other genres. In fact, the bottom end of my ratings database if littered with metal filth, most of it being far worse than Justin Bieber. 

Ambush - "Evil in All Dimensions" [Swedish heavy metal]

Get your denim and leather jackets ready for AMBUSH and their Napalm Records debut Evil in All Dimensions, out September 5, 2025! Bursting with relentless energy, this monster captures the classic essence of heavy metal - championing the genre’s roots while setting a new benchmark for modern heavy music. Formed in 2013, AMBUSH quickly became a staple of the Swedish metal scene, delivering classic heavy metal vibes with a modern twist. Drawing inspiration from the likes of Judas Priest, Accept, and Iron Maiden, AMBUSH’s unique blend of traditional metal and fierce energy has earned them a dedicated fanbase around the globe. From fingernail-shattering riffs to screaming-solos and emotional lyrics, the Swedes emerged from the underground scene landing performances at Europe's most prestigious old school metal festivals like Muskelrock, and touring as a fan-favorite next to heroes like ENFORCER and COBRA SPELL.

Marking the beginning of an exciting new chapter in their relentless quest for speed, AMBUSH are ready to rise to even greater heights with Evil in All Dimensions, and its explosive collection of high octane, riff driven anthems. The title track and opener perfectly delivers classic 80s heavy metal hooks with sleek, modern production. Taking listeners along a nightmare turned reality, this song kicks off with high energy drum grooves by Linus Fritzson and powerful riffs from guitar-virtuosos Karl Dotzek and Olof Engqvist. Bassist Oskar Andersson knows how to hypnotize the audience with his lines in the brooding “The Night I Took Your Life”, while "Maskinovka" is an anthem with a standout performance from vocalist Oskar Jakobssons. The track’s mid-tempo groove personifies the difficulties of standing up for truth in a world shaped by manipulation. But there is no rest for the wicked: whipping drums, sharp guitars, and high-pitched vocals, “Come Angel of Night”explores themes of reconciliation when the damage seems irreversible, culminating in a soaring solo that highlights the band's musical prowess. In addition to their undeniable talent to revive fast and glorious 80s headbangers, the Swedes also surprise with the gripping power ballad "I Fear the Blood”. It’s a song to pump your fist to, vacillating between themes of escapism and self destruction, amidst the battle against one’s inner demons. Founder Oskar Jakobssons screams his soul out in this heavy-hearted and honest masterpiece, which creates the perfect moment to wave your lighters in the air, passionately belting along.

Evil in All Dimensions is undeniable proof of the band's unwavering passion and talent for the genre. With Napalm Records as their partner, they are primed to take the world by storm. The evil in this world can't hide – AMBUSH will take care of it with relentless heavy metal power!

Spinal Tap - The End Continues" [US heavy metal]

The soundtrack release from the new film sequel "Spinal Tap II: The End Continues".

Before the Dawn - "Cold Flare Eternal" [Finnish melodic death metal]

Tuomas Saukkonen, Finland's most prolific musician in the field of Nordic metal, follows the motto “If you want to create, you have to destroy”. Over the past 20 years, he has created and disbanded numerous projects that have shaped the Finnish metal scene. In 2023, he brought the band Before The Dawn back after an eleven-year break with the album Stormbringers, which was celebrated as a musical comeback. Now the follow-up is already in the starting blocks, a work characterized by strong band chemistry and musical brilliance.

In the new album, Saukkonen reunites the band in its best line-up and creates a hard-hitting work that shines with aggressive yet melodic sounds. The album captures the energy and atmosphere of the band's performances and combines it with the deep, mystical beauty of Finnish nature. Saukkonen, who is also known as a solo artist with projects such as Wolfheart and Dawn Of Solace, has released several albums since 2022 and continues to perform with passion and creative energy.

Despite his intense workload, Saukkonen emphasizes that he also has more time for his hobbies such as fishing. The new album not only shows his continued passion for music, but also a tremendous energy that is reflected in both the lyrics and the music. Saukkonen remains a passionate musician who continues to focus on creating new music even after more than 20 years in the scene.

In Mourning - "The Immortal" [Swedish melodic death metal]

At some point, a band simply has to try something else in some form or another lest their sound begin to become stale and uninteresting. It can be in even the smallest ways that such a change can make for a wild difference. For some, it’s the inclusion of another band member or trying a slightly different approach. For others, something more radical and transformative must take place for the band in question to really feel as though they’re breaking new ground. After forming twenty-five years ago, it was only expected that In Mourning would eventually try something else. We’ve seen them dabble in previous efforts with their more progressive leanings, but it’s here in their seventh album that they fully take the plunge.

When dealing with a band like In Mourning, it’s important to remember where we’ve come from. For years now, this has been a band that has been massive for all intents and purposes in their own corner of death metal with their own doom and gothic leanings that have always allowed a ton of interesting flavor and vigor to pour out of virtually every performance the band has thrown down thus far. It’s only natural that after becoming certified masters of that craft that they would seek alternate avenues to explore and see what else they can do. With the nine tracks of “The Immortal”, it’s clear that In Mourning is already more than competent at their new approach with the nuance, diversity, and organic nature of the record as a whole speaking to the ingenious talent at play here. The sheer scope of this record is something to be admired. “The Immortal” is just as beautiful in its grace as it is unyielding in its intensity with In Mourning pulling from its decades of experience to ensure that these ten tracks were far from one-dimensional and can really become something to become lost within. Undeniably dynamic and able to throw down tremendous progressive passages while never sacrificing its brutality in the process, this is the kind of album that can inject all sorts of new life into a band that’s been at it for a long time.

In Mourning has never been one to doubt, and it’s with “The Immortal” that one cannot help but be overwhelmed by the excellence that’s commanded with masterful precision. If they were seeking to prove something with the crafting of “The Immortal” then I cannot but feel as though In Mourning as more than succeeded as this record makes a difficult transition seems fluid and compelling. Overflowing with light and majesty, it’s the whole of “The Immortal” that enables In Mourning to have a future not many of us could have seen coming.

“The Immortal” releases on August 24th!

Between the Buried & Me - "The Blue Nowhere"

Progressive metal visionaries Between the Buried and Me return with their most immersive and eclectic record yet—The Blue Nowhere. Mixing uncharted musical detours with their distinctive aggressive identity, the band create a conceptual world unlike anything in their incredible catalog.

releases September 12, 2025

OMG! Former-Mastodon guitarist Brent Hinds has been killed after being struck by another vehicle while riding his motorcycle.

Green Carnation - "A Dark Poem, Pt. I: The Shores of Melancholia"

No matter what stylistic path they take, GREEN CARNATION have never shied away from grand, gloomy statements.

Founded in the early ‘90s by former Emperor bassist Tchort, the Norwegian act quickly amassed a cult following thanks to one of the most ambitious epics in metal history. Even before going on hiatus during the mid-2000s, the ever-evolving auteurs still flashed a flare for the dramatic by performing their acoustic verses underneath a mountain dam. However, there was one tale — or three, to be exact — that continued to elude them. Until now. With the ‘A Dark Poem’ trilogy starting now, GREEN CARNATION finally unveil their masterpiece.

The idea for an album trilogy stems from GREEN CARNATION’s earliest yesteryears, but the first part of ‘A Dark Poem’ cites various passages from across their illustrious cannon. Lead single “In Your Paradise” reaches newfound peaks of heaviness, swept out to sea by sublime riffs and somber symphonic flourishes. While navigated with the band’s familiar mastery, the view from ‘The Shores of Melancholia’ is far from heavenly. Judgement day appears around every corner, steering them from the title track’s scarlet clouds of war toward Floydian whirlpools drenched in paranoia before being shipwrecked by second wave black metal.

“A lesson learned, now bridges burn”, bearded captain Kjetil Nordhus cries out with impassioned cleans, as if tied to the mast during the album’s fiery send-off.

On ‘A Dark Poem, Part I: The Shores of Melancholia’, GREEN CARNATION set sail on an epic journey into a dark night of the soul. 

Pestilential Shadows - "Wretch"

Northern Silence, in conspiracy with Brilliant Emperor, are proud to present Pestilential Shadows' highly anticipated eighth album, Wretch.

One of Australia's longest-running and most respected black metal bands, Pestilential Shadows have been building a towering canon of work since 2003. Whereas many of their native land's extreme metal exports either tend toward the chaotic or too clean, the shadowy collective led by founding vocalist / guitarist Balam consistently create compelling swathes of drama and darkness, all-enveloping emotion and regal-yet-gritty grandeur. Truly, Pestilential Shadows are black metal classicism par excellence.

And while the last handful of their albums the past decade-plus have seen sizable gaps between them, Pestilential Shadows strike while the iron's hot with Wretch. Simply and substantially titled, Wretch follows from last year's Devil's Hammer and continues the band's progression / regression toward uglier, gnarlier expanses. Mind you, it's a lateral development rather than a vertical one - the "form" is still BLACK METAL, and its attendant contents are ruminations on death and the beyond - but the fact that Pestilential Shadows can subtly-to-significantly shift their sonic palette whilst conveying their characteristic melancholy and tragedy speaks to the enduring strength of their songwriting. What's more, the album's production is palpably professional, feeling effervescent and crisp even when running through those uglier, gnarlier expanses. If anything, said recording style of Wretch - mastered by Krvna mainman Krvna Vatra, who played on the aforementioned Devil's Hammer, with mixing done by Balam - gives the record a uniquely ethereal aspect, even when the band have kicked into ultraviolent overdrive. Above all, the eight songs that comprise the 49-minute Wretch prove Pestilential Shadows as masters of pacing, doling out the sublime and the profane with equally windswept aplomb. Of especial note is the solemn procession of "Where Sunlight Goes to Die," which features guest choral vocals from Dis Pater of Midnight Odyssey.

As always, totality is key, and thus has Greallach Art been brought back to provide stark & austere cover artwork for Wretch. On the strength of this album alone, Pestilential Shadows continue to assert their position as a classics-minded black metal vanguard, and will cement that position in the flesh with a European tour slated for late August through September and then an Australian / New Zealand tour to follow in October. 

Esoctrilihum - "Ghostigmatah - Spiritual Rites of the Psychopomp Abxulöm"

From Bandcamp, “Often accused of having no sense of measure, Asthâghul churns out a new double album that is grandiose, symphonic, psychedelic, liturgical, delirious. In a word, excessive. "Ghostigmatah" is a prism that reflects every single nuance of the ESOCTRILIHUM sound. Conceptually, the album is divided into four chapters, each of which tells a ritual stage in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm, who will finally deliver them to eternal nothingness. A post-mortem ritual that is told in the secret grimoire of the “Ghostigmatah,” a sort of modern Necronomicon that constitutes another piece in ESOCTRILIHUM's phantasmagorical visionary world.”

The album has ten long-titled songs. “Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather” is first. The sounds that spew forth are like the worst utterings that Hell has to offer…thick, resonating bass notes, a wall of guitars, backing keyboards that are harrowing, machine gun drumming, and harsh vocals screams/gutturals. “Kneeling Before the Keeper of the Golden Key to the Absolute Void” has a more traditional Black Metal sound, but still, this is a lot of sonority coming from a single composer. The keyboards add a layer of melody to the song, but it’s mostly a landscape of controlled aggression. “Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, the Giant Fly” has both deeper elements on the low end, and surprisingly melodic ones on the upper end. A lot of the song seems to be part of a sight seeing trip down each plane of Hell.

“Hypnotic Danse Macabre of the Blind Noctivagants” embraces melody, and leaves some of the aggression behind. The abrupt change of pacing is a testament to the composer’s songwriting skills. “Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme” returns to some of the naked aggression of the previous songs. Harrowing elements abound, and it’s akin to being tortured over and over again. The bass work here is outstanding. “The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite” features deep, cavernous vocals and chaos that almost sees the wheels come off of the speeding bus. There is so much dissonance, it’s about all that you can peer through. “Mauled, Swallowed and Dissolved Into Nothingness by the 8-Eyed Psychopomp” features a gentler sound as well as some clean vocals, but take that with a grain of salt…it’s still dark, dangerous, and aggressive.

“Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites” is the final offering, and mysterious tones end the album. For me, the psychedelic landscape brings up more questions than answers. The album seemed to encapsulate everything that someone might come across in the underground…chaotic aggression, and vocals that can frighten you even when you are asleep. The composer is obviously talented, and the album is just diverse enough. Any fans of Extreme Metal will find this to their liking.

Vicious Rumors - "The Devil's Asylum" [The fourteenth full-length from these Californian heavy metallers]

The Rods - "Wild Dogs Unchained" [The eleventh full-length from this New York heavy metal outfit]

‘80s metal luminaries The Rods are back with Wild Dogs Unchained, a new album that combines reimagined classics from their past with masterfully crafted new songs.

Hooks, grooves, crafty, formidable, and rebellious are songwriting attributes that The Rods gladly embrace. On Wild Dogs Unchained, the veteran power trio continues their famed aural assault with songs like “Eyes of a Dreamer” and “Tears for the Innocent,” revealing heretofore unrealized musical melodicism, while re-tooled classics, “Hurricane” and “Wild Dogs Unchained,” percolate with renewed vigor. On Wild Dogs Unchained, the playing is harder, the grooving is heavier, and the singing more soulful than ever before. David “Rock” Feinstein (guitar/vocals), Freddy Villano (bass), and Carl Canedy (drums) have crafted a definitive Rods album aimed at pleasing die-hard fans and new audiences alike. Once again mixed and mastered by Chris Collier, Wild Dogs Unchained flexes considerable musical muscle and builds upon the ironclad sonic template that these three musicians have forged over recent years. Not content to rest on their laurels or their legacy, The Rods are getting tighter, more nuanced, and perhaps even more bludgeoning with age. As Derric Miller at hardrockhaven.net said, “The Rods just pummel you. There’s an insane energy coming from this band.”

Begging For Incest - "Going Postal" [German slam death metal - first album in nine years]

Pyrexia - "Unholy" [New York brutal death metal - a re-recording of their 2018 fifth full-length]

Suffocation/Malevolent Creation/Exhorder/Cancer - "Live Death" (1994)

I picked up this underground bootleg at around the time of release & quite enjoyed it to tell you the truth. It's a collection of recordings from Milwaukee Metalfest & features a fairly raw production job as you would expect. The four acts featured were all on top of their games at the time (at least from a creative point of view) so the material is all strong but the four bands have varying levels of success. The strongest contribution predictably comes from Suffocation who open the CD with two classics from their "Effigy of the Forgotten" record with opener "Jesus Wept" being the clear album highlight. These guys are quite simply on another level to the other three bands from both a production & performance point of view as they manage to pull off what is easily the tightest of the four sets, despite the much more technical song structures. Just check out those savage vocals from frontman Frank Mullin! In direct contrast, Malevolent Creation are let down a bit by the looseness in their execution, particularly that of drummer Alex Marquez whose blast beats aren't really up to scratch just yet. Thrash metallers Exhorder's trademark sound was perhaps never going to work as well in a live environment but their slower groove-oriented material works well with the ballsy vocals of Kyle Thomas, particularly on "(Cadence Of) The Dirge" which has always been one of their best pieces in my opinion. Cancer have always been a third tier death metal band & they sound every bit of it here with their two songs both being simple & entertaining, if lacking the class that hired gun James Murphy brought to the "Death Shall Rise" album. Overall, this isn't a bad listen if you like these bands studio recordings as all of the material is enjoyable. Just don't expect a polished production job or clinical performances.

For fans of Suffocation, Malevolent Creation & Cancer.

3.5/5

Miroslav Vitous - "Infinite Search" (1970)

The second solo album from Weather Report bassist Vitous has been a stellar find this week. I had no idea who the supporting cast were going into the record but was easily able to identify some of them as soon as their music hit my ears as their signature styles are so familiar to me:

Miroslav Vitouš: – bass

Joe Henderson: – tenor saxophone

John McLaughlin: – electric guitar

Herbie Hancock: – electric piano

Jack DeJohnette: – drums

Joe Chambers: – drums (on track #6, "Epilogue")

Wow! That's an unbelievable lineup, particularly given the inclusion of McLaughlin who is my all-time favourite jazz guitarist. The material sounds very similar to the classic Miles material from the period too & has clearly been inspired by those classics while also being a little more avant-garde with Vitous' bass being the main protagonist most of the time which isn't all that common. This record comes highly recommended for jazz fusion fans.

For fans of Miles Davis, Joe Zawinul & Jaco Pastorius.

4/5

Lustmord - "Lustmørdekay (Live Evil)" (1982)

I wasn't a fan of the Welsh dark ambient legend's self-titled debut album but this obscure cassette is less palatable again, being more experimental & weird. There are a couple of enjoyable tracks included but on the whole it can feel pretty isolating & insignificant, particularly through the back half of the tracklisting.

For fans of SPK, Sutcliffe Jugend & Zero Kama

2.5/5

Bring Me The Horizon - "Sempiternal" (2013)

I have to admit that I've never explored a full Bring Me The Horizon record until now but, on the evidence of this fourth full-length, it would seem that I could have been missing out because "Sempiternal" is a really solid outing that proves that stadium metal anthems can be appealing to your average extreme metalhead too. Terry Date's production job is clear & attractive, the consistent use of electronics is used very tastefully throughout & front man Oli Sykes gets his scream-factor just right so if you like your alt-metalcore thing with a side helping of post-hardcore then you'll definitely wanna explore this release which is buoyed by consistently strong song-writing.

For fans of Of Mice & Men, A Day To Remember & Architects.

4/5

N.W.A. - "Straight Outta Compton" (1989)

I find N.W.A.'s debut album to be a little bit overrated to be honest. It certainly kicks off in fine fashion with the first couple of tracks (particularly the opening title track) being iconic gangsta rap anthems but the rest of the record is a little inconsistent. It's still definitely worth exploring but I feel that "Straight Outta Compton" is far more culturally important than it is musically essential with earlier releases from Public Enemy, Eric B. & Rakim & (to a lesser extent) Ultramagnetic MC's being superior.

For fans of Ice Cube, Public Enemy & Geto Boys.

3.5/5

Dave Mustaine has announced that next year's Megadeth album will be their last & that the associated tour will be their farewell.

Grungeon - "End of the Trail" demo (1993)

This one-off demo tape represents the only release from a pretty decent Sydney thrash metal act that I enjoyed live on more than one occasion, the most notable being an excellent support slot for Bolt Thrower on their tour for "The IVth Crusade". These guys offered a gruff thrash sound that seems to have been highly influenced by classic Sepultura. Neither one of the two tracks included should be regarded as being essential but there's a naive energy to them that gives the song-writing a bit of extra oomph. The vocals of bassist David Colless (Apostasy/Tribe Maelstrom) are nice & masculine, almost touching on death metal a lot of the time, while guitarists Greg Morelli (Nazxul) & Anthony "Hefty" Hoffman (Baltak/Mortal Sin) & legendary drummer Wayne Campbell (Baltak/White Trash/Mortal Sin) lay down a competent brand of extreme metal that was always going to offer more appeal in a live environment than in the studio.

For fans of Sepultura, Mortal Sin & Tribe Maelstrom.

3.5/5

Tenhi - "Maaäet" (2006)

The third full-length (or fourth if you include Harmaa's "Airut:aamujen" album from 2004) from these Finnish dark folk leaders is arguably my favourite release from the whole movement. I find it's stripped back post-rock-inspired vibe to give it a deeper & more introspective feel which appeals to me greatly. The vocals aren't quite captivating enough to see me reaching for my higher scores but "Maaäet" is still a really strong & consistent release that never fails to engage with the patient listener.

For fans of Forndom, Kauan & "The Mantle"-period Agalloch.

4/5

Beherit - "The Oath of Black Blood" (1991)

A compilation of two early war metal releases from these Finnish underground heroes. I'm not a huge fan of 1990's "Demonomancy" demo to tell you the truth but the "Dawn of Satan's Millenium" E.P. makes up for it with a more consistent level of execution. This is super-raw shit right here & you may struggle with it a bit if you haven't spent time in the tape trading scene of the 1980's & 1990's. I love those demonic vocals which were clearly an influence on what was to come. The grindcore influence is obvious at times & it's also worth remembering that this material was drawn from well before the Norwegian Second Wave of Black Metal explosion in 1992. Beherit's 1993 debut album "Drawing Down the Moon" was a clear step up from here but that's not to say that "The Oath of Black Blood" isn't worth seeking out if you're into the war metal sound.

For fans of Blasphemy, Archgoat & Von.

3.5/5

Demonomancy demo - 3/5

Dawn of Satan's Millennium E.P. - 3.5/5

Jan Jelinek - "Loop-Finding-Jazz-Records" (2001)

This debut album was huge for me during my 2000's electronic music obsession & still holds up beautifully today. I'd describe it's sound as sitting somewhere between glitch & microhouse with layers of intricate blips & bleeps being interwoven to create a deep, dubby atmosphere that proved to be perfect comedown material after a big night out dancing.  I even played a few of these tracks in some of my opening DJ sets over the years (see "Rock in the Video Age", "They, Them" & "Tendency"). It's pretty much impossible to identify that the vast majority of the samples were taken from old jazz records because they sound nothing like traditional instruments. "Loop-Finding-Jazz-Records" is an unmitigated electronic classic that I can't recommend enough.

For fans of Rechenzentrum, Farben & AOKI takamasa.

4.5/5

I always intended on checking out Rammstein's popular sophomore album after quite liking their career-defining 2001 third full-length "Mutter" several years ago now but it's been a lot longer between drinks than I originally intended. "Sehnsucht" offers a very similar level of appeal for me though, without quite managing to match its younger sibling. The electronic dance music influence is quite prominent here while the vocals of front man Till Lindemann often remind me of System of a Down's Serj Tankian during the more subdued moments. The simple yet chunky riffage is clearly influenced by Ministry although it lacks the chaotic edge of those Americans & can sound a little samey with similar formulas being utilized across the tracklisting. Interestingly, it's not the big hits that I most connect with with lesser-known material like "Spiel mit mir" & "Alter Mann" being my picks of the bunch. There are a few duds included (see "Tier", "Bestrafe mich" & "Eifersucht") but the positives outweigh the negatives fairly comfortably & I've ended up quite enjoying my time with "Sehnsucht" without being able to see myself returning to it any time soon.

For fans of Oomph!, Lindemann & Eisbrecher.

3.5/5

Look who's in my part of the woods (i.e. their home town) this month then.

Have finally had to kiss goodbye this classic Dissection hoodie which became too dodgy looking to wear out in public some time ago. I did the gardening in it this morning & it got so covered in thorns that I decided it was easier to simply toss it out than to remove them all effectively.

This oldie has seen better days. I picked it up for free as compensation for the headline act Ozzy Osbourne dropping off the bill for the Sydney festival in 2019. This was the flyer for the event:

This Heat - "Health & Efficiency" single (1980)

This single from a critically acclaimed London experimental rock outfit contains just the two lengthy tracks but spans over nineteen minutes in duration. The title track is an ambitious & highly engaging eight-minute rock effort while the B side "Graphic/Varispeed" represents one of the earlier forays into drone territory & sounds nothing like the rest of This Heat's material. I thoroughly enjoy the title track as it possesses a live electricity & vitality that's rarely found in rock music these days. "Graphic/Varispeed" is probably the reason a lot of people discover this E.P. & it's not bad but does tend to suffer from being overly long at over eleven minutes with very little variation on its theme.

For fans of Can, The Fiery Furnaces & Matmos.

3.5/5

Rage - "The Missing Link" (1993)

I've never been able to get into these German power/heavy metal stalwarts & their seventh full-length (arguably the most highly regarded of their 27 albums) is not gonna break that cycle. There is some more than decent material here but it's generally cancelled out by more subpar song-writing, even if the thrashy speed metal riffage is often really solid. I think 1995's "Black in Mind" is probably a touch better than "The Missing Link" but neither do much for me to be honest & I think I'm gonna have to keep Rage at the bottom of my "none of my business" bin for the foreseeable future.

For fans of Grave Digger, Running Wild & Avenger.

3/5

Osamu Sato - "Transmigration" (1994)

The second full-length from this Japanese electronic producer features two tracks from the "Eastern Mind: The Lost Souls of Tong-Nou" video game soundtrack. You can expect a combination of downtempo IDM & dancefloor acid techno with the quality levels generally being very high. Closing track "Tong-Nou (Esoteric Mix)" is an absolute belter & caps things off beautifully too. This is well worth seeking out.

For fans of Ken Ishii, PilotRedSun & Soichi Terada.

4/5

Alcest - "Spiritual Instinct" (2019)

The sixth full-length from these French blackgaze gods probably isn't one of their finest releases to date but it's still worth checking out as there are no weak tracks included & it oozes of professionalism. I'd suggest that the track programming could have been a little better because the best material doesn't arrive until right at the end of the tracklisting with the very solid "Le miroir" & album highlight "Spitirual Instinct" being comfortably my pick of the six songs on offer. I don't think it's a coincidence that those two are also the only tracks that I'd call post-metal either as I've found myself appreciating that side of Alcest's sound a touch more than their signature blackgaze one here. I don't think I can see myself reaching for "Spiritual Instinct" over records like "Kodama", "Les voyages de l'âme" or "Souvenirs d'un autre monde" but it's certainly not a creative failure & is easily more rewarding than 2014's "Shelter".

For fans of Amesoeurs, Lantlôs & Deafheaven.

3.5/5

Scorn - "Lick Forever Dog" E.P. (1992)

I've always had time for the early Scorn releases, particularly their excellent debut album "Vae Solis" & this spin-off remix E.P. which is my pick of their three 1992 records. It features an alternate edit of the title track (which was taken from "Vae Solis") & three excellent remixes, all of which shun Scorn's early metal sound for their genre-defining new "illbient" one which combines elements of their metal roots with dub, ambient & traditional industrial loops. The title track is OK but it's really the remixes that are the star attraction here, particularly the brilliant "On Ice (Disembodied in Dub)" which I regard as somewhat of a classic. Those looking for a metal release will probably find themselves to be somewhat disappointed but this is great stuff & comes highly recommended nonetheless.

For fans of Godflesh, Techno Animal & The Third Eye Foundation.

4/5

Dream Theater - "Octavarium" (2005)

I have to admit that I hadn't heard anything these Boston progressive metal legends have done since 2003's very solid "Train of Thought" album prior to entering into their eighth full-length "Octavarium" this week. The generally luke-warm response to it is warranted though as I think it's one of the least impressive Dream Theater release I've experienced to date, even if I did still leave it with a generally positive feeling. It's definitely a less complex record than I'm used to from the band & is also a little more commercially accessible with the more radio-friendly tracks like "The Answer Lies Within" & "I Walk Beside You" doing very little for me. Things start to get significantly more proggy later in the tracklisting & there are some nice chunky metal tunes like "These Walls" (my personal favourite), "Panic Attack" & "Sacrificed Sons" included but I don't think there are any genuine classics here to balance out those weaker numbers which leaves me feeling like I'm unlikely to return to "Octavarium" in the future, particularly when there are so many great Dream Theater releases out there to fulfill my needs.

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

3.5/5

I've had a bad dose of COVID for the last four days which has pretty much wiped me out & is the reason I haven't been listening to much music. The rest of the family has either COVID or RSV with our middle child having both so it's been a really fun time to be in my household this week.

A lot of people agree with you on "Speak of the Devil" with many punters criticizing guitarist Brad Gillis' contribution. I really loved the modern take on the old Sabbath model that he brought to that record though, particularly the flashy 80's tone & technique which was something that I was heavily indulging in at the time. Ozzy's performance is brilliant too. In fact, I have a sneaking suspicion that he recorded his vocals in a studio outside of the live performance because they're a little too perfect to be believable. At the end of the day though, I'm sure that my take on that album is heavily skewed by the impressionable age I was when it first hit my ears, especially given that I'd only recently gotten into Black Sabbath at the time.

I find "Diary of a Madman" to be darker & less commercially focused than "Blizzard of Ozz" which gives it a slight edge for me.

*sighs*    It's a constant challenge for Ben to keep this rubbish out of the site & always has been. It's not just us either. It's an inherent failing of the internet these days.

I'd suggest that Portal would arguably be the most important death metal band to come out of my homeland these days. It took me a while to get into them when I first returned to the metal scene in 2009 but they eventually clicked for me & I've never looked back. I do have to say that they've always bored me in a live environment though. I tend to reach for Portal's earlier albums before I do "Vexovoid" but it's still a release that I have a fair bit of time for.

Yeah, Aeturnus' first few releases were very solid, weren't they? If memory serves me correctly, I think this one may be my favourite of theirs though.

Interesting choice. I'm not aware of these guys.

Wow! Sounds great from your review. I haven't heard of these guys before so will add them to my to-do list.

If I'm being honest, the most important Ozzy solo records for me personally were his live ones, particularly 1982's "Speak of the Devil" album which has always been one of my favourite heavy metal releases of all time with 1990's "Just Say Ozzy" E.P. & the essential Randy Rhoads "Tribute" album from 1987 also being pretty significant releases in my life. When it comes to his studio efforts though, I've always found them to be nothing more than mildly enjoyable, mainly because the song-writing is generally so commercially accessible & radio-friendly. Don't get me wrong, "Blizzard of Ozz" was a massive record for me as a guitarist with Randy being one of my top three guitar influences but the remaining elements don't share that impact for me personally. These days I find myself regarding "Diary of a Madman" as the best studio effort I've heard from Ozzy with "No More Tears" in second place & "Blizzard of Ozz" rounding out the top three but I don't find myself reaching for any of them terribly often, instead preferring the electricity of his live releases (likely also due to the Black Sabbath components too as I've always had a strong preference for Ozzy-period Sabbath over his solo work). I'm afraid I can only muster 3.5 stars for "Blizzard of Ozz". Hell, I can't stand "Goodbye to Romance" to tell you truth & "No Bone Movies" is well below par too. "Crazy Train" is an undeniable classic though.

Original Iron Maiden & eventual More front man Paul Mario Day has died at the age of 69.

Tangerine Dream - "Phaedra" (1974)

An early Berlin School classic from these legendary progressive electronic adventurers. I don't think it has the quite the aura of 1972's "Zeit" (i.e. my favourite Tangerine Dream studio album these days) but it was still miles ahead of its time & offered obvious appeal for all of those with a penchant for ingesting the odd acid trip.

For fans of Jean-Michel Jarre, Klaus Schulze & Kraftwerk.

4/5

Secret Stairways - "Enchantment of the Ring" (1997)

This eight-track demo tape is somewhat of a dungeon synth gem with US producer Matthew Davis producing some splendidly ethereal & epic atmospheres.

For fans of Depressive Silence, Solanum & Kirkwood.

4/5

Bobby Prince - "DOOM" (1993)

A bootleg of the original soundtrack to the "DOOM" video game. I've been absolutely infatuated with the 2016 Mick Gordon version of "DOOM" for a number of years now so I thought it was about time that I checked out the original but the experience has left me sorely disappointed because this is nothing like the incredible blend of techno, dark ambient & djenty metal that took a three-pronged approach to encapsulating my closest musical passions. Instead, we receive a cheap, home-made MIDI backdrop that sounds every bit as you would expect from an early video game. Fuck knows how two thirds of those voting for genre-tagging on RYM could possibly associate this release with metal. Those people clearly no fuck-all about what constitutes a metal release. The more eerie & atmospheric numbers are by far the most effective & I have to admit that I've got a bit of enjoyment out of them but the ones that try for a rockier feel inevitably fail to engage. It is worth mentioning that the attempts to cover bands like Pantera & Slayer in a synthesized format are fucking hilarious though & are worth hearing simply to enjoy how conceptually misguided they were.

For fans of ZUN, Ian Taylor & dai.

2.5/5

Massive Attack - "Blue Lines" (1991)

Here we have the debut album from one of my all-time favourite artists, an act that very much changed the course of my life for the next decade during the late 1990's. And while it may not be the Bristol trip hop legends' finest hour, there can be denying the impact that "Blue Lines" had on the global music scene with the chillout movement pretty much exploding off the back of it. It's an absolute stormer of a record too, it's tracklisting being littered with seriously mature & impeccably produced classics that were just as heavily influenced by dub, EDM & hip hop. The three-track run that contains "Five Man Army", Unfinished Sympathy" & "Daydreaming" is utterly earth-shattering & would challenge any trio of songs from the subgenre overall. I'll always prefer later releases like "Mezzanine" & the incredibly underrated "100th Window" but "Blue Lines" is an undeniable classic in its own right too.

For fans of Portishead, Tricky & Air.

4.5/5

Cryptopsy - "And Then You'll Beg" (2000)

I have to admit that I've never quite understood the public reaction to Canadian brutal/technical death metallers Cryptopsy. I got into them quite heavily with their 1993 "Ungentle Exhumation" demo tape at around the time of release but didn't like their debut album "Blasphemy Made Flesh" much & have never thought that "None So Vile" was anything terribly special. They reached their peak once they headed into more technical territories with 1998's "Whisper Supremacy" third album in my opinion which certainly isn't a common position to take but I also have to question the lethargic reaction to records like 2000's "And Then You'll Beg" too as it's really not that bad a record. Sure, Mike DiSalvo's vocals aren't the best you'll find on a death metal record but that failing is made up for with some interesting & inventive instrumentation & some generally consistent song-writing with opener "...And Then It Passes" being the clear highlight. Just don't go in expecting to hear a brutal death metal release because Cryptopsy no longer fell into that category by this point in their evolution. I know how big a call it is to say this but I'd take "And Then You'll Beg" over either of Cryptopsy's supposedly classic first two mid-1990's albums & the same can be said for 2005's more widely appreciated "Once Was Not" record too.

For fans of Suffocation, Gorguts & Wormed.

3.5/5

My Top Ten Ozzy Releases:

01. Speak of the Devil

02. Paranoid

03. Sabotage

04. The End: 4 February 2017 Birmingham

05. Just Say Ozzy E.P.

06. Black Sabbath

07. Randy Rhoads Tribute

08. Master of Reality

09. Sabbath Bloody Sabbath

10. Reunion

Mr. Fingers - "Amnesia" (1989)

This highly regarded compilation of early Chicago house tracks from legendary house icon Larry Heard is a bit too hit & kiss for my taste. I really enjoy most of the deep house material & also the genuine techno inclusions but some of the acid house tracks are pretty messy in my opinion. I think this one will end up being the source of playlist material more than it will a cohesive album experience.

For fans of Frankie Knuckles, Larry Heard & Moodymann.

3/5

Deftones - "Gore" (2016)

What exactly is people's problem with Deftones' eighth full-length? Of all of their back catalogue, it's this one that seems to cop the heat but, to my ears, it doesn't stand out from the rest much at all, instead being very much another high-quality effort from an act that probably couldn't produce something crap if they tried at this point. "Gore" is known for being Deftones' experimental record & for being a touch less heavy than the rest of their releases but neither of those things make it sound like anything other than another Deftones record with their impact being dramatically overstated. There's not a dud amongst the eleven tracks on offer &, even though there aren't a lot of clear highlights, the overall consistency makes this a highly rewarding experience for fans of the band. In fact, I'd comfortably take "Gore" over Deftones' popular 1995 debut album "Adrenaline" & would even go so far as to place it ahead of 2003's self-titled as well. People need to stop believing everything they read & give this record a chance because the rewards become visible pretty quickly with a little patience.

For fans of Fleshwater, System of a Down & Kittie.

4/5

I don’t really know who I am today in a world without Ozzy. There are so many moments that he’s left me with, not to mention records that have truly mattered to me.