Daniel's Forum Replies

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.

Buffalo are another artist whose association with the early metal scene is based solely on a few tracks rather than any genuine claims to being a legitimate metal band. Seriously, how much does front man Dave Tice sound like Chris Cornell though! So fucking cool!

Basic Channel - "Phylyps Trak" E.P. (1993)

Arguably the release that first put the dub techno sound on the map & a highly consistent release it is too with all three tracks having received play time from me during my DJ days back in the 2000's. It's stripped back, repetitive & cerebral stuff at a much higher tempo than you would usually expect from the subgenre & isn't the most accessible dance music you'll find however the more devoted techno fans out there should lap this shit up.

For fans of Maurizio, Rhythm & Sound & Vainqueur.

4/5

Bolt Thrower - "Spearhead" E.P. (1992)

A ripper of an E.P. that's built around two of the finest death metal classics you'll ever hear in an extended version of the title track & the wonderful "Dying Creed" which is also taken from my favourite Bolt Thrower release in "The IVth Crusade". The other two tracks are just acceptable but can't taint the glow that's exuded from the highlight tracks. Goddamn I love Karl Willet's vocals & Andy Whale's signature drumming which never overplays its hand! The glory days of death metal for sure.

For fans of Benediction, Asphyx & Hail of Bullets.

4.5/5

The Angels of Light - "How I Loved You" (2001)

The 2001 sophomore album from Swans mastermind Michael Gira's folk rock side project is utterly sublime at times, being heavily driven by its incredible highlight tracks which are easily the longest inclusions on the album. The gothic country element has been really well received from this particular punter & Gira's voice works perfectly in this Swans-like structure. Fucking lovin' it mo'fuckers!

For fans of Michael Gira, Swans & Wovenhand.

4.5/5

I missed a word there. I meant "I'm NOT surprised" as I'm aware of your aversion to the more chaotic & abrasive stuff.

"One of Us is the Killer" is my Dillinger release of choice these days & I'm surprised that you might find it a little more palatable than a more abrasive & chaotic record like "Calculating Infinity" Sonny.

Blood Incantation - "Starspawn" (2016)

The debut full-length from this Denver four-piece is a little more traditional than we've heard from Blood Incantation's more recent releases. It's still progressive enough to command its position in The Infinite but I wouldn't say that it's anything particularly ground-breaking. Instead, we receive a well composed & executed brand of progressive death metal that's fairly accessible when compared to much of the competition. I'm not sure I've ever felt that these guys were a top tier death metal act but there can't be any denying their talent & pedigree. The vocals guitarist Paul Riedl aren't the most menacing you'll find but the riffs showcase a clear understanding of the underground scene which the arrangements displaying a penchant for the ambitious without deviating from the death metal model all that much. I'd suggest that "Starspawn" is the least impressive of Blood Incantation's three albums to date but there's very little between them & all three are fairly essential for those that want to keep abreast of the modern scene.

For fans of Timeghoul. Tomb Mold & Chthe'ilist.

4/5

That's awful Sonny. I've recently had a bit of a health scare myself so I know how stressful it can be for you & your family. We have a lot of love for you at the Academy & aren't ready to let go of you any time soon so I very much hope that following the doctor's orders is all that's required to keep you free from any long-term concerns.

On my side, I discovered that I have high iron levels in my blood which is very bad for your internal organs. After having a series of tests done, I've been diagnosed with having one of the two genes relating to a condition called hemochromatosis which is a genetic disorder that causes your body to absorb too much iron from food. I've inherited it from my father who, unbeknownst to me at the time, was diagnosed with the same condition a couple of years ago. We've both been forced to give up red meat & to give blood regularly in order to control it. Apparently, my family's Scottish heritage from many generations ago has seen us picking this condition up as hemochromatosis first came about because Scottish Vikings would accidently (or not) inbreed with family members. So, we're related to the Vikings which is fucking brilliant but we're also inbred which isn't quite as amazing but does explain Ben.

Zbigniew Preisner - "La double vie de Véronique (The Double Life of Veronika)" (1991)

Some time during the mid-1990's I discovered Polish film director Krzysztof Kieślowski & very quickly became enamored with his brilliance. I soon find myself to be somewhat obsessed with his last four films in particular & their soundtracks played a very strong role in the unique atmospheres they created so I would purchase them all on CD & give them a heavy rotation in the home I shared with my de facto partner at the time. After one of the worst break-ups ever to take place in human history, I couldn't bare to face these CDs for several decades but I've recently found myself bold enough to give the first of the four a few listens & it's seen my passion for Kieślowski & Polish composer Zbigniew Preisner being relit with a flame that I'm not sure I can douse again. You see, these film scores are so much a part of the films that it's hard to separate the two which is the sign of a truly great soundtrack. The main theme reminds me very much of "The Godfather" & sees me being overcome by a feeling of peace & calm. There are incredible dynamics to this material as well as an amazing sense of subtlety throughout the short release. I will certainly be exploring my other three CDs (i.e. the "Trois couleurs" series) in the coming weeks.

For fans of Arvo Pärt, Gavin Friday & Michael Nyman.

4.5/5

We’re talking about two different things Rex. You’re talking about music production. I’m talking about clubs & DJing. It’s certainly common for EDM producers to make 10+ minute tracks. It’s not as common as you think for DJs to play those tracks in clubs to their full length as they’re looking to fully showcase their taste palate & also give the audience plenty of variety. Those tunes take up a large chunk of your set when the majority of DJs are playing 1-2 hour sets. They also leave you standing there looking like you’re doing very little for a long period which isn’t what clubbers come to see. They create more risk for the DJ too as if the crowd isn’t digging it you have to try to bale out mid-track. At least that’s my experience from having spent a good decade DJing in clubs. I will say that I used to drop long tracks if I needed to take a toilet break mid-set though.

Slipknot - "All Hope is Gone" (2008)

The fourth full-length from these Iowa-based nu metal legends saw them heading further away from their roots with a sound that is built just as much on groove metal as it is alternative metal. I'd suggest that it's a slightly heavier record than 2004's "Vol. 3: (The Subliminal Verses)" which originally saw Slipknot opening themselves up to a more expansive sound. Those clean vocal choruses are still there though & have mixed success to be fair. The shredding guitar solos are a welcome addition & I also really enjoy the thrash & death metal inspired moments that you'll usually find on a Slipknot record. The album kicks off really well with the first couple of tracks being the strongest on the album. Unfortunately, there are a few duds included though with "Gehenna", "This Cold Black" & the God-awful "Psychosocial" all falling short of the mark although there's easily enough decent material included to see me deciding that "All Hope is Gone" is an underrated Slipknot album. In fact, I actually prefer it to their poorly produced self-titled debut & it doesn't finish too far behind 2001's "Iowa" or the previously mentioned "Vol. 3: (The Subliminal Verses)" either. I think it's probably just the fact that the band had headed away from nu metal by this point that has seen Slipknot's fourth album receiving lackluster reviews from a portion of the marketplace.

For fans of System of a Down, Stone Sour & Mudvayne.

3.5/5

Gary Moore - "Blues for Greeny" (1995)

Our father got really into this Irish guitarist through his 1990 ninth album "Still Got the Blues" which was a huge commercial breakthrough for Moore who had spent the majority of his career in hard rock up until that point. That record was played on repeat around our house & in our car for many years & saw Dad also picking up this Peter Green (Fleetwood Mac/John Mayall's Bluesbreakers) covers album on cassette five years later. While it certainly wasn't as strong as "Still Got the Blues", Gary's one of the most talented blues guitarists I've ever heard so I've always maintained a soft spot for this release, even if it is a bit inconsistent in its appeal for this ol' shredhead. I tend to enjoy the more atmospheric & stripped back numbers over the groovier blues stompers but there's certainly enough to keep me interested here, even if I can't necessarily see myself returning to "Blues for Greeny" in the future.

For fans of Peter Green, Eric Clapton & Stevie Ray Vaughan.

3.5/5

There are very few DJs that can get away with playing 10+ minute tracks as you risk boring your audience & losing the dancefloor with club-goers becoming less & less patient in the Spotify age. Most DJs would only play a portion of an eleven-minute track. It's really just the big-name international stars that can confidently get away with playing the full run time as their audiences will generally lap up whatever they dish out & are usually off their heads anyway. For your average club DJ, the full length of a track like "Undisputed Attitude" would probably only be safe as a closer to a headline or closing set. The uplifting, euphoric atmosphere making it work really well in that capacity too.

Cenotaph - "The Gloomy Reflections of Our Hidden Sorrows" (1992)

Time has seen the debut album from these Mexican death metallers being hailed as somewhat of an underground classic, although I didn't think of it as anything terribly special at the time. The primitive musicianship & dodgy production job are definitely limiting factors here but I can't deny the cool atmosphere that Cenotaph create as they have a clear knack for writing catchy riffs & melodies. They also struggle to play them a lot of the time though which I find to be strangely endearing & frustratingly annoying at the same time. The cookie monster vocals are pretty cool even if they're nothing terribly original but the album isn't done any favours by its tracklisting which kicks off with the weakest two songs on the album. Despite the obvious flaws, all of the other material kept me interested though so I've felt compelled to award "The Gloomy Reflections of Our Hidden Sorrows" a reasonable rating.

For fans of The Chasm, Shub Niggurath & Gorement.

3.5/5

Lustmord - "Paradise Disowned" (1986)

The second studio album from this Welsh dark ambient god sees Brian Williams returning with a similar sound to his 1981 self-titled debut album which was very much a dark ambient/industrial hybrid, only this time Williams leans more heavily towards the dark ambient sound & with a greatly improved result. This record is often overlooked in the Lustmord back catalogue & I'm gonna suggest unfairly too as "Paradise Disowned" is a high-quality record in its own right. It's somewhat of a tale of two halves as the A side is jam-packed with excellent dark ambient music while the B side is covered in industrial noise which is something that you have to have a taste for so I'm not surprised to see a lot of Brian's ambient fans struggling a bit with this release. But if you can stomach the abrasive nature of the early industrial movement then there's plenty of good shit on offer here, particularly "Dreams of Dead Names" which is an undeniable classic of the dark ambient genre.

For fans of raison d'être, Kammarheit & Robert Rich's "Stalker".

4/5

Dying Fetus - "Descend into Depravity" (2009)

The sixth full-length from these Maryland-based death metallers is one of their more brutal & sports a clinically executed production job. It's also one of Dying Fetus' more technical records with a whole bunch of those pointless sweep-picking exercises I've always struggled with inserted into the song-writing for no real reason. Thankfully, the rest of the instrumentation is very entertaining & the dual vocal attack is some of their best work which sees "Descend into Depravity" sitting right in the middle of their back catalogue but once again failing to overcome that inevitable 3.5-star rating I always reach for with this band.

For fans of Suffocation, Misery Index & Skinless.

3.5/5

Korn - "Issues" (1999)

The fourth full-length from these Californian nu metal legends is another decent one, this time seeing them doubling down on their signature chunky groove-laden riff techniques to create a record that offers a crap-load of moshpit appeal, even if it can be a little bit samey at times. There are a few flat songs included (see "Wake Up", "Hey Daddy" & "Wish You Could Blame Me") & the last track "Dirty" is ruined but the inclusion of a pointless four minutes of continuous white noise at its completion but the stronger moments easily outweigh the weaker ones here with popular single "Make Me Bad" being the clear highlight & one of the better songs of Korn's entire career. "Issues" isn't on the same level as Korn's self-titled debut album but it's still an enjoyable enough listen, despite not offering me quite as much appeal as 1998's "Follow the Leader" album which is generally regarded as the weaker of the two.

For fans of Deftones, Slipknot & Limp Bizkit.

3.5/5

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

01. Linkin Park - "Meteora" (2003)

02. Korn - "Korn" (1994)

03. Slipknot - "Iowa" (2001)

04. Linkin Park - "Hybrid Theory" (2000)

05. Deftones - "Adrenaline" (1995)

06. Korn - "Follow the Leader" (1998)

07. Sevendust - "Animosity" (2001)

08. Korn - "Issues" (1999)

09. Dir en Grey - "Uroboros" (2008)

10. Limp Bizkit - "Chocolate Starfish & the Hot Dog Flavored Water" (2000)

https://metal.academy/lists/single/313

Technical Space Composer's Crew - "Canaxis 5" (1969)

A wonderful one-off album from a German duo that includes Can's bass player Holger Czukay. "Canaxis 5" contains two lengthy tracks that utilize early tape-looping & sound collage techniques to create a surprisingly classic ambient sound that even draws upon world music for inspiration in a way that was miles ahead of its time. The second & longest of the two pieces "Shock Eyes Ammunition' is an absolutely stunning affair that has left me deeply effected & wondering how I can not have heard this record before as it's simply so essential. Humanity is incredible in its ability to spawn musical genius' like these two guys who had no blueprint for this stuff but still managed to achieve something that's completely stood the test of time.

For fans of Holger Czukay, Klaus Schulze & Brian Eno.

4.5/5

To be fair, Cash is responsible for influencing a lot of the gothic stuff I do enjoy so he has his moments.

Yep... along with most country music outside of the gothic stuff, although I admittedly have a Townes cover album that I absolutely love.

Yay! Now I’ll know which folk records to steer clear of. ;)

Here's my review from many years ago:

After a string of four subpar albums in succession I was happy to hear a noticeable improvement on Megadeth’s 2007 release “United Abominations”. Not only was it a bit more consistent than the previous records but it was also a little heavier. There were still a few flat songs here & there but the highlights were enough to pull me through & I was left with some optimism with regard to future releases. Yet more cause for optimism could be found in various reports that 2009’s follow-up album “Endgame” was the long sought-after return to form that fans had been waiting on. I often find that my opinions don't always match up with the common concensus so I reserved my judgement & sat down to my first listen with an open mind.

My first impression was that ”Endgame” is not drastically different from the last record. In fact Megadeth haven’t made any huge changes to their sound since they bombed out completely with 1999’s appropriately named “Risk” album. Instead Dave Mustaine has chosen to make more subtle changes with each album so as to slowly improve on the weaknesses of the last. If you listen to each successive release from 2001’s “The World Needs A Hero” onwards you can hear the band getting slightly less commercial, a little bit heavier & a touch more consistent each time without ever losing focus on hooks & song-writing. It hasn’t always worked but that seems to have been the goal. Subsequently we’ve ended up with a faster & thrashier Megadeth than we’ve heard since 1990’s “Rust In Peace” but not one that sounds like they’ve made enormous alterations or taken substantial risks. The illustrious “thrash metal” label is not out place when describing “Endgame”. There are certainly a lot of thrashing riffs on offer but Mr Mustaine hasn’t let go of his commercial aspirations altogether just yet. You’ll still hear some fairly radio-friendly choruses on occasion but with a little more subtlety than we’ve seen in recent times.

I was very impressed with new lead guitarist Glen Drover’s performance on “United Abominations” so I was a little annoyed to find that he had then left the band before the recording of “Endgame”. However I needn’t have worried too much because Dave then recruited former Jag Panzer guitarist Chris Broderick & he shows that he really has some amazing chops. I’m not sure I enjoy his solos as much as Drover’s (or other Megadeth guitarists of the past like Marty Friedman & Chris Poland for that matter) as he can sound a little over-clinical & mechanical but that’s not a big complaint as I still find plenty to enjoy in Chris’ display of virtuosity. Dave’s riffs have rarely been as aggressive in recent years & the production is very solid as expected. So really all of the ingredients are there for a classic Megadeth album. The only question is in the quality of the songs.

As far as overall consistency goes “Endgame” is probably as solid an album as Megadeth have recorded since “Countdown To Extinction”. There aren’t any real clangers amongst this lot. But having said that there probably aren’t any bona fide Megadeth classics included either. The title track is my personal favourite & it’s unquestionably some high quality metal. The other songs are generally entertaining but seem to fall a touch short of the top shelf without really having too much wrong with them. I quite enjoy instrumental opener "Dialectic Chaos", thrashier numbers like "This Day We Fight!", "1,320'" &"Bite The Hand", the catchy hooks of "Bodies" & the very power ballad-ish "The Hardest Part Of Letting Go... Sealed With A Kiss" but they're also unlikely to change my life. The last three songs in particular feel a bit flat to me. So does “44 Minutes” which sounds quite a bit like a subpar track from the band's mid-90's period.

Overall, I’m not sure “Endgame” is quite the muscle-flexing return to form that Megadeth’s fan base were crying out for but it’s definitely another step in the right direction. If Dave could keep this sound together & do a bit more work on the hooks & song-writing then something more special may be just around the corner. There’s not much in it but I think I probably prefer the underrated “United Abominations” just slightly over this one. It had a couple of tracks that were weaker than anything on “Endgame” but it also had more highlights to draw me in. Regardless, it’s nice to feel like Megadeth are worth listening to again.

3.5/5

Yeah, I'm a long-time fan of this record which obviously sits right inside of my wheelhouse. Iniquity's other releases are all worth checking out too but "Serenadium" is clearly the standout in my opinion.

I tend to agree with you Vinny. I've never been much of a fan of "Noregs vaapen" & don't think any of Taake's subsequent full-lengths are a match for their first three full-lengths to be honest.

I think you'll find that if you've already rated a release & then add a review to it then it'll maintain the original date & won't be pushed onto the main page. Could that be the case here Rex? To get around that you need to delete your rating before posting your review.

Cocteau Twins - "Sunburst & Snowblind" E.P. (1983)

This short four-song E.P. makes for an excellent accompaniment to the Scottish dream pop/ethereal wave acts "Head Over Heels" album from the same year & shares its excellent opening track "Sugar Hiccup" with that release. The other three songs are all worth hearing too though, particularly the very solid "Hitherto" which utilizes Elizabeth Fraser's powerful vocals really well. "Sunburst & Snowblind" comes highly recommended for metalheads who fancy themselves as a closet goth.

For fans of This Mortal Coil, Dead Can Dance & early Slowdive.

4/5

Grief - "Dismal" E.P. (1992)

The first proper release from this Boston-based five-piece is the sort of oppressive, drug-riddled outing that only the Americans know how to create. The four songs included here are all relatively simple in their structure but the atmosphere that's created is suffocatingly dark & heavy with Grief sitting right over on the doomier end of the sludge metal scale. Second track "Isolation" is particularly gripping & is one of the finest examples of the genre I've ever encountered. I can see myself exploring more of this band's back-catalogue in the near future. 

For fans of Noothgrush, Corrupted & Eyehategod.

4/5

Stereolab - "Dots & Loops" (1997)

This was my first time with this popular London artist & I've quite liked their highly acclaimed fifth full-length, even if I do have to admit that I find it to be a bit overrated. RYM has "Dots & Loops" tagged as art pop, indietronica, ambient pop & neo-psychedelia & even has it attached to the Chicago School post-rock movement but the reality is that this isn't a pop, rock or psychedelic record. I think the indietronica tag is the only one that I'd suggest has much relevance here as the instrumentation is generally electronically composed & taking influence from lounge, acid jazz & downtempo. The female vocals haven't exactly blown me away & the album succeeds mainly during the parts where the vocal melodies are strongest. I'm not sure I can see myself returning to this one but it's certainly a pleasant enough release to play as background music on a chilled weekend afternoon.

For fans of Broadcast, Electrelane & Vanishing Twin.

3.5/5

Ὁπλίτης - "Παραμαινομένη" (2024)

The fourth full-length from this unique Chinese solo act is probably his best work in my opinion. It's certainly his most ambitious & unusual sounding release to date with the six tracks flowing freely into musical territory that is yet to be attempted with a sound that I feel is best described as avant-garde/dissonant black metal. There's a wonderful energy to this material with the well-programmed drum programming & powerful bass guitar giving the music a strong basis for the thrashy guitars to work off. The production job is excellent & is one of the main selling points here too. Πτολίπορθος's last record "Ἀντιτιμωρουμένη" took a step up from the interest I found in his previous two full-lengths & "Παραμαινομένη" provides further consolidation & proof that Ὁπλίτης is somewhat of an enigma in the current extreme metal scene.

For fans of Serpent Column, Theophonos & Plebeian Grandstand.

4/5

Scott Kelly - "Spirit Bound Flesh" (2001)

I initially didn't get on with the debut solo album from the Neurosis front man when I first discovered it many years ago but its charms have slowly become more apparent to me over time & I now find myself thoroughly enjoy it. It's a seriously depressing listen which is probably why I (& most others I would imagine) struggled with it so much to begin with. You can expect a very stripped back contemporary folk sound that's largely made up of just Kelly & an acoustic guitar with very little accompaniment. You're left with his deep vocal tone & the general darkness & negativity to hold onto & it can be a tough slog if you're not in the mood for it but, thankfully, I've given "Spirit Bound Flesh" enough time to sink in now & have come to understand what it was trying to achieve. While it may not be Kelly's finest solo work, I hold it in fairly high regard these days & would recommend it to all of our folk-inclined members who share my penchant for the darker end of the genre.

For fans of Steve Von Till, Blood & Time & Mike Scheidt.

4/5

Between the Buried & Me - "Colors" (2007)

North Carolina progressive metallers Between the Buried & Me & I have had a mixed relationship over the years. I first discovered them through their 2011 "The Parallax: Hypersleep Dialogues" & 2012 "The Parallax II: Future Sequence" releases with neither of them giving me much to hold onto. Then I stumbled over their 2008 "Colors_Live" live album & my opinion on them quickly turned around. I've since returned to that record a number of times & have subsequently added 2009's excellent "The Great Misdirect" to the list of Between the Buried & me releases that I hold in high regard. Strangely though, I'd never explored the studio version of "Colors" until now but I thought I'd rectify that oversight this week & it's resulted in an interesting disparity. You see, for one reason or another, I haven't connected with it as strongly as I do with the live album. I've certainly found enjoyment in  all eight songs on offer but there's something missing here that seems to give "Colors_Live" a clear edge over its studio counterpart & it's resulted in me falling just short of awarding "Colors" the four-star rating I felt certain it would receive going in. It's not a bad progressive metalcore record but I think some of the melodic exploration tends to be a little too far away from my comfort zone for me to fully commit to.

For fans of The Contortionist, The World Is Quiet Here & Persefone.

3.5/5

I've passed this nomination uncontested Andi.

High Tide - "Sea Shanties" (1969)

The debut album from this London four-piece offers an unusual take on the early heavy psych sound with the prominent use of violin & extended jazz fusion improvisation giving it a unique aesthetic. The influence of Jimi Hendrix, The Doors & the Mahavishnu Orchestra is plainly obvious however "Sea Shanties" doesn't really sound like anything I've heard before. Unfortunately, the guitar skills of Tony Hill aren't strong enough to fully capitalize on such an original concept but that doesn't stop High Tide from creating one of the more interesting releases to come out of the late 60's psychedelic rock scene.

For fans of May Blitz, Edgar Broughton Band & Blue Cheer.

3.5/5

Abhorrence - "Abhorrence" E.P. (2000)

This is the first proper release from these Finnish death metallers & followed quickly on the heels of the very solid "Vulgar Necrolatry" demo tape from earlier the same year. I've always been a big fan of this 7" E.P. as it possesses an underground feel that oozes of the early 90's tape trading scene that played such a strong role in my formative years. While it's short thirteen-minute run time is over in a flash & doesn't really present anything you haven't heard before, Abhorrence are still able to make a lasting impact through their clear understanding of what made the early death metals scene so great, even showcasing a strong affection for the early grindcore of Napalm Death in their use of blast beats. I'd suggest that most of our The Horde members should find a lot to enjoy here.

For fans of Bolt Thrower, Purtenance & Convulse.

4/5

Defeated Sanity - "Passages into Deformity" (2013)

The fourth full-length from this highly consistent German brutal/technical death metal outfit is also their best in my opinion as it gets the balance between brutality & technicality just right which, when complimented by a suitably dense & dark production job, creates a slightly more accessible, if no less savage, result. The ridiculous musicianship & chaotic riff structures are still well in effect here but they sound just a little less like they're on the verge of wildly flailing out of control while the intelligible vocals of new front man Konstantin Lühring are a little easier to tolerate for long periods than some other brutal death metal gurglers. Still... there's something that stops me from ever reaching for my more elite ratings with this band &, in much the same way as Dying Fetus who I reviewed earlier this week, I get a strong feeling of groundhog day every time I assess a Defeated Sanity record with the result invariably ending up being the same.

For fans of Disgorge, Wormed & Deeds of Flesh.

4/5

Necrodeath - Into the Macabre (1987)

The best ever thrash album to come out of Italy is probably not that well-known, but it is a super-intense blast through riffs and thrashbeats that is both wild and exhilharating. Vocalist, Ingo, has a really evil-sounding bark that gives the album even more of a dark edge. If you have listened to much South American thrash then you will feel perfectly at home here. Driving right up to the border between death and thrash metal, whilst definitely remaining on the thrash side, this takes the intensity of the Big 3 teutonic thrashers and injects it with the evil darkness of atmosphere found on Possessed's Seven Churches. In common with most people I suspet, this passed me by in the Eighties, but I am glad I stumbled upon it years later and it still carries an effective and vital intensity even nowadays. A much overlooked 80's thrash metal gem.

4.5/5

I've been a big fan of this record since way back in the day & you're 100% correct. Teutonic thrash fans should be all over it. (4/5)

Sacrilege - Behind the Realms of Madness (1985)

Because I lived in a nowhere industrial town in England's north Midlands back in the day, I had to rely on magazines and music papers to suggest new bands for me to try so I could expand my listening. Unfortunately, they only really covered already fairly well-known bands or those who had created a bit of a buzz (usually begun by industry insiders), so many great releases from the 1980s escaped my notice until much later. Seeing as the UK had very few decent thrash acts it is weird that Sacrilege never got any coverage from the music press and it also means that I almost missed out on a brilliant slab of crusty, Discharge-influenced thrash metal from my own neck of the woods. The production is crap, but this only adds to the album's crustiness and gives it a DIY air that I really love. It has the kind of energy the majority of thrash bands could only ever hope to possess. Pity they were never this good again, but, hell, to make one record this awesome is more than most manage.

As an aside, listen to "Shadow of Mordor" and tell me if you think Curt Cobain ever heard it before writing "Negative Creep".

5/5

While I certainly have a bit of time for "Behind the Realms of Madness" (3.5/5), I do have to admit that I've never found it to be as essential as other old-school fans seem to. I actually prefer 1987's "Within the Prophecy" (4/5) which I consider to be a really solid thrash record & a step up from the debut.

I've noticed that a lot of modern-day critics seem to struggle with "Dopesmoker" but I've always found it to be really solid (4/5). Could this be a product of the Spotify age where the patience of your average listener has gradually diminished? Perhaps. "Sleep's Holy Mountain" is my favourite Sleep record these days though (4/5).

Mudhoney - "Superfuzz Bigmuff" E.P. (1988)

Of all of the big name grunge bands, I would have to suggest that Mudhoney are one of the ones that appeals to me least however some of their material still offers a reasonably enjoyable listen for me with their 1988 debut release "Superfuzz Bigmuff" generally being the one I tend to reach for when I feel like giving them another whirl. This six-song E.P. was arguably the release that served as the catalyst for the entire early grunge scene &, while revisiting to it now, you can easily imagine how electric the band's live shows must have been during the late 1980's. The gnarly vocals & dirty garage rock guitar tone of front man Steve Turner are the drivers for Mudhoney's sound & are definitely the elements that draw me to "Superfuzz Bigmuff". The tracklisting doesn't start off too well though with opener "Need" coming across as pretty flat but I get enjoyment out of all five of the remaining tunes, particularly the two tracks in the middle of the release which are very solid indeed (see "Mudride" & "No One Has"). Mudhoney will likely never compete for my affections with the Soundgarden's, Alice in Chains' or Nirvana's but this stuff isn't half bad either.

For fans of Skin Yard, Green River & "Bleach"-era Nirvana.

3.5/5