Daniel's Forum Replies

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

S.I.C. - "Spastics Inflicting Carnage" demo (1989)

I've got some enjoyment out of everything this Melbourne four-piece have dished out with their two demo tapes slightly edging their only proper release in 1988's "Screaming in Churches" E.P. for their best work. S.I.C.'s second cassette "Spastics Inflicting Carnage" sees the boys returning with a different lineup to the one that produced the E.P. the previous year with original guitarist Mark (aka Katz) having stepped away & been replaced by Reuben Pinkster while original drummer Colin Bryne (aka Cog) is no longer in the fold with his place being filled by James Spirra. The new configuration has produced a fairly clean & accessible demo tape here with their sound sitting somewhere between hardcore punk & crossover thrash in a similar way to 1987's "Sick" cassette which is probably my favourite release from S.I.C. overall. The quality levels across the five songs are extremely consistent & I get enjoyment out of every song without ever really feeling fully committed. Therefore, I'd suggest that "Spastics Inflicting Carnage" is worth a listen but not essential in the grand scheme of Aussie crossover thrash.

For fans of Depression, Mass Confusion & Iron Sheiks.

3.5/5

Brutal Truth - "Need to Control" (1994) (

I picked up the 1992 "Extreme Conditions Demand Extreme Responses" debut album from this popular New York deathgrind outfit upon release & really got into its superbly brutal & relentlessly savage attack on the senses so when I heard that Brutal Truth had released a follow-up I was straight down to the local record store to pick myself up a copy. "Need to Control" saw the four-piece act changing the ratio of death metal to grindcore a little bit with the death metal backed off a touch & the grindcore playing a stronger role. There's also a little more experimentation & variation than we heard on the debut with the slower, sludgier material being the strongest inclusions on the album. Guitarist Brent McCarty & bassist Dan Lilker (Anthrax/Exit-13/Holy Moses/Nuclear Assault/S.O.D./The Ravenous/Venomous Concept) combine beautifully with the riffs sounding tight & thick, buoyed by a very strong production job from Colin Richardson. The contribution of front man Kevin Sharp (Lock Up/Venomous Concept/Damaged/Winter) is outstanding too, particularly his more gutteral death metal moments. Incredible fast drummer Scott Lewis (Exit-13/Winter) had left the band after Brutal Truth's first record due to a reluctance to tour &, while his replacement Richard Hoak does an excellent job with the more hardcore based beats, his ability to play blast beats is extremely poor with each blast section sounding like a typewriter being thrown down a hill & it's this flaw that limits the success of "Need to Control" more than any other. He simply can't keep his kick drum in time with his arms which is further highlighted by the clickiness of the drum sound! Still... the consistency of the material is very good with no weak tracks included. Perhaps there aren't as many obvious classics as there were on "Extreme Conditions Demand Extreme Responses" & I have to admit that the stronger death metal component of their first outing was always gonna be a little more appealing to me personally but I don't think that "Need to Control" is all that far behind its elder sibling these days, perhaps due to my having developed a much stronger taste for hardcore over the many years since. Both records should be essential listening for fans of the deathgrind hybrid & are all that needs exploring as far as Brutal Truth's back catalogue goes.

For fans of Napalm Death, Terrorizer & Pig Destroyer.

4/5

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

01. Napalm Death - "Utopia Banished" (1992)

02. Cattle Decapitation - "Monolith of Inhumanity" (2012)

03. Brutal Truth - "Extreme Conditions Demand Extreme Responses" (1992)

04. Full of Hell - "Weeping Choirs" (2019)

05. Brutal Truth - "Need to Control" (1994)

06. Exhumed - "Dissecting the Caseated Omentum" demo (1992)

07. Lock Up - "Necropolis Transparent" (2011)

08. Cephalic Carnage - "Misled by Certainty" (2010)

09. Damaged - "Passive Backseat Demon Engines" E.P. (1995)

10. Napalm Death - "Harmony Corruption" (1990)

https://metal.academy/lists/single/223

Metanoia - "Demo" demo (1990)

The debut release from a Christian heavy metal band that was based in the far north Queensland city of Townsville & would go on to mutate into a death metal act over the coming years. You'll find speed metal influences tossed into the mix quite regularly & there is some talent to be found in the instrumentation (particularly in the lead guitar work) but the demo-quality production doesn't do it any favours & frontman Steve Bennett struggles with his higher register. The preachy lyrics are also pretty naff so I'm afraid this old cassette doesn't do very much for me these days.

For fans of Bloodgood, Nothing Sacred & Lightforce.

2.5/5

Stephen Sondheim - "Sunday in the Park with George" soundtrack (1984)

A pretty decent soundtrack to the popular Broadway musical that's centered around classically orchestrated show tunes. The two female leads are stunningly talented & the storyline is intriguing so, while this isn't usually the sort of thing I'd go for, I've found the song-writing to dig its teeth in enough to keep me on my toes throughout.

For fans of Patti LuPone, Andrew Lloyd Webber & Leonard Bernstein.

3.5/5

Gorgoroth - "Pentagram" (1994)

I was a big fan of the debut album from this Norwegian black metal four-piece when it first hit the streets. I picked it up through the tape trading scene at the height of the Second Wave boom & thoroughly enjoyed it. I particularly recall having my face seared off by Hat's vocals which are the clear point of difference for "Pentagram". His tone is super-abrasive yet takes a higher register approach than other black metal front men &, while I can certainly see why he's a divisive character, I tend to sit on the side of the fence that thinks he adds something a little different to Gorgoroth's sound. And he needed to too as the instrumentation on offer doesn't bring anything new to the table whatsoever. In fact, the Mayhem worship that's presented here is quite blatant at times. The riffs structures are fairly simple & you can see why drummer Goatpervertor (Trelldom) only lasted one release as he's not really up to the standard of most of his extreme metal peers. There's something great about early Gorgoroth too though. It's the black metal for black metal's sake passion they exude that I find appealing. Even when they veer from the path I'd prefer they stick to, I can't help but buy into the authenticity of their mission & that allows them to take more of a hold on my affection than they have any right to on paper. It's easy to see why "Pentagram" is still their most well-known record as it's one of Gorgoroth's stronger efforts in my opinion. That should hardly be surprising given the presence of such prestigious black metal royalty as guitarist Infernus (Borknagar/Orcustus) & bassist Samoth (Emperor/Scum/The Wretched End/Arcturus/Satyricon/Thou Shalt Suffer/Zyklon/Zyklon-B) though.

For fans of Mayhem, Darkthrone & Marduk.

4/5

Ben, please add Ved Buens Ende.....'s 1994 "Those Who Caress the Pale" release.

I don't know. When I feel like it. Perhaps a please, or some other sign of gratitude?

Looks like a pretty clear "please" in my request there Ben. Or were you perhaps expecting capital letters?

Ben, please add Ved Buens Ende.....'s 1994 "Those Who Caress the Pale" release.

It's considered a demo (see Metal Archives), albeit an important one. I've always planned to start adding demos that have CD or vinyl versions at some point, so this one will definitely fit that bill.

Will add to the list for next week.

When will this be happening Ben?

Ultimatum - "Let the Missiles Fly" demo (1990)

The first of two demo tapes from a Perth-based metal band that existed between 1989 & 1992. The sound that Ultimatum are pushing here sits somewhere between thrash metal & heavy metal & would likely have been labelled as US power metal had the band been American. It benefits from a more than decent production job for a demo of the time. The vocals of bass player Simon Watson aren't the strongest you'll find but they certainly have a snot-nosed charisma to them, often reminding me of Megadeth mastermind Dave Mustaine. The six songs on offer all possess a certain charm & sit largely at the same quality level, being enjoyable enough to maintain my attention but rarely seeing my blood really pumping. Consequentially, I find this cassette to be worth a listen or two but I can't see it being something that many would return to all that often.

For fans of Megadeth, Metal Church & Meliah Rage.

3.5/5

Apostasy - "Pulse of a Dying Race" demo (1990)

The first of two demo tapes from this Sydney death metal band who ended up on the same label that distributed the second Neuropath demo in Warhead Records. They're fronted by bassist David Colless who would later end up in prominent Sydney thrash metal acts Grungeon & Tribe Maelstrom while future Tscabeze guitarist Steve Sultana is also on show here. The instrumentation takes the straight-forward late 80's/early 90's US approach while the vocals sound a lot like Pungent Stench's Don Cochino. I don't mind this cassette, despite the production being nothing more than underground demo-quality. Most of the song-writing shows a clear understanding of the death metal aesthetic which I find appealing. Nothing life-changing of course but enough to provide me with some of the inspiration to create my own band back in my youth.

For fans of Massacre, 80's Death & early Pungent Stench.

3.5/5

Merciless - "Unbound" (1994)

The third full-length from these Swedes sees them returning with a slightly more polished & melodic sound than the one they'd built their early reputation on. The claims for "Unbound" being a melodic death metal record are overstated though as there are really only a couple of tracks that fully qualify for that subgenre with the rest of the material fitting much better under the death/thrash tag. Perhaps the fact that Rogga Pettersson's vocals sit somewhere between Carcass' "Jeff Walker & At the Gates' Tomas Lindberg is partially responsible for those links but the rest of the music is admittedly a little more tame than a record like 1990's excellent "The Awakening" debut. Interestingly, I find the opening title track to be the least interesting inclusion as it's generally thought to be the highlight but is a little too melodic for my taste. I quite liked "Unbound" back in my tape trading days & that hasn't changed but I'm not sure I can see myself returning to it too often in the future.

For fans of Protector, Massacra & Grotesque.

3.5/5

We’ve already featured this album Sonny so you might wanna go for something else.

This comfy favourite has finally packed it in this week with the holes getting too big to be manageable any longer. Farewell old friend. I'll see you in Valhalla.

White Trash - "Feel Free to Say..." demo (1990)

A Sydney thrash metal band formed by drummer Wayne Campbell (Grungeon/Baltak) after leaving Mortal Sin where he played on classic Aussie metal records like "Mayhemic Destruction" & "Face of Despair". "Feel Free to Say..." also features future Mortal Sin guitarist Troy Scerri interestingly enough. White Trash's sound was built around a backbone that was drawn from Steve Souza-era Exodus but which added a few more adventurous influences for added interest. The band can all play really well & the song structures are tight & professionally executed. Front man Brendan Grimes does a pretty reasonable job too. It's only the demo-quality production job that caps the appeal of a release like this one with all six songs being worth a listen. Wayne is a bit of an icon of the Sydney metal scene & I knew him back in my Neuropath days as he used to book us for shows at the Enfield Boulevard Hotel which was the location of what I consider to be our most successful headline gig. Sadly, he hasn't been seen for almost three years now after going missing while walking near his home. He was always a larger than life character who didn't mind a drink & could be a bit divisive at times but I really hope that he turns up shortly, if only for his family's peace of mind.

For fans of Exodus, Mortal Sin & Grungeon.

3.5/5

Mercyful Fate - "The Bell Witch" E.P. (1994)

I had this six-song E.P. bolted onto another Mercyful Fate release I purchased back in the day. It includes two studio tracks taken from the "In the Shadows" comeback album from the previous year as well as four live cuts from an October 1993 show in Los Angeles. I've never liked the title track much but the rest of the material is pretty enjoyable, particularly the live version of "Egypt" was is excellent & is my clear release highlight. The live version of "Come to the Sabbath" is superior to the album version in my opinion while "Curse of the Pharaohs" is a little less effective than its album counterpart. I wouldn't say that this is an essential Fate release as it doesn't match their early works but I'd certainly take it over any of their other 90's releases so it's probably worth giving a couple of listens if you're a fan, even though it doesn't bring anything new to the table. It does have Hank Shermann & Michael Denner's stunning lead guitar work & Snowy Shaw's rock-solid drumming in full effect so that alone should be a drawcard for many heavy metal nuts.

For fans of King Diamond, In Solitude & Attic.

3.5/5

Rothgar - "Where Chaos Reigns" demo (1990)

The first of three demo tapes from this Perth-based four-piece who are generally known as a thrash metal act. Their debut effort is much more in line with the US power metal scene though with the lengthy 44-minute run time being comprised of an impressively consistent eight song showcase. The band make strong reference to their heavy metal upbringing during a couple of slower numbers in "Dark Passion" (the only weaker track in my opinion) & "On the Run" while opener "The Passion Behind the Throne" is an up-tempo speed metal affair. I enjoy the vocals of guitarist Andrew Day as well as the expansive arrangements which defy the short lifespan of the band who had only been around for a year by this stage. Closer "Season's End" is probably the thrashiest inclusion & (perhaps inevitably) has comfortably become my favourite song here. I may not be the biggest power metal fan but I can certainly get onboard with this material which is worth a few listens for our The Guardians faithful.

For fans of Iron Maiden, Nothing Sacred & Taramis.

3.5/5

Amorphis - "Black Winter Day" E.P. (1994)

A four-song E.P. that was released four months after the Fins' highly celebrated 1994 sophomore album "Tales from the Thousand Lakes" & was clearly taken from the same sessions. The title track was one of the highlights from the album & is the clear standout here two with the other three previously unreleased pieces all playing more of a supporting role. I quite like the short "Folk of the North" as well as the doomy "Moon & Sun". Closer "Moon & Sun Part II: North's Son" doesn't do a lot for me though as it errs a little too far over towards the melodic side of Amorphis' sound. There's a fair bit of doom/death here as was the case with a lot of their early material & it's those parts that make for the more compelling material. If you're into the full-length then you'll probably want to give this release a couple of listens too as they kinda go hand in hand.

For fans of Barren Earth, Paradise Lost & Sentenced.

3.5/5

Exceed - "Deranged Hallucination" demo (1990)

The first of two demo tapes from this short-lived Canberra-based thrash metal act that features future Alchemist bassist Alchemist & whose sound owes more to the down-tuned darkness of Celtic Frost than it does to the Americans. Front man Andrew Norris' tone sounds like a less-whiny "So Far, So Good... So What!"-era Dave Mustaine while "Doubled Existence" hints at "Bleach"-period Nirvana more than it does thrash but it's an anomaly with the other three songs sitting in the thrash space & also being noticeably stronger. I don't mind this cassette for something a little different.

For fans of Celtic Frost, Obituary & Megadeth.

3.5/5

Fripp & Eno - "(No Pussyfooting)" (1973)

The first of four full-length collaborations between King Crimson guitarist Robert Fripp & Roxy Music keyboardist & ambient music legend Brian Eno. It comprises of two lengthy pieces, both around the twenty minute mark. Fripp's contribution comes in the form of extended jazz fusion improvisations which present the listener with an element of danger given that he takes plenty of melodic risks, often straying in terms of key but ultimately coming across as more inventive than incompetent. Eno's accompaniments were pretty groundbreaking for the time. "The Heavenly Music Corporation" is a twenty-one minute drone piece while nineteen-minute closer "Swastika Girls" falls more into the tape music category given that it's built from a short tape loop that's repeated throughout the full length of the piece. Both are high-quality efforts that keep me well entertained throughout & have seen me returning to Fripp & Eno's debut a number of times over the years.

For fans of Brian Eno, Harold Budd & Cluster.

4/5

Klaus Schulze - "Cyborg" (1973)

The second album from this Berlin School pioneer sees Klaus expanding on the space ambient sound of his high-quality 1972 debut album "Irrlicht" by upping the spaciness with a more overtly synth-heavy feel that borders on progressive electronic music a lot of the time. "Cyborg" comes in a similar one-track-per-side double album format to Tangerine Dream's wonderful "Zeit" release from the previous year & pulls it all off amazingly well, even managing to upstage his German peer's classic effort to become the finest example of the ambient sound the world had heard to the time. The second sides of both discs is simply incredible, particularly "Conphära" which sits amongst the most imposing pieces of electronic music ever recorded. "Cyborg" is nothing short of a triumph & should rightfully sit alongside the greats of the genre, particularly the space ambient subset. In fact, I've had to find space to include it in my Top Ten Ambient Releases of All Time this week (see below).

For fans of Tangerine Dream, Edgar Froese & Ashra.

4.5/5

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

09. Klaus Schulze - "Cyborg" (1973)

10. Gas – “Pop” (2000)

Satyricon - "The Shadowthrone" (1994)

I picked the Norwegian black metal trios sophomore album up on CD shortly after release & really enjoyed it, despite never overcoming the feeling that Satyricon ascend out of the second-tier. The folk influence that perpetuated the band's debut album "Dark Medieval Times" is less prominent here while "The Shadowthrone" is a little more grim & abrasive. The symphonic element proves itself to be a valuable asset at times, without ever feeling like touching on full-fledged symphonic black metal. I really love Satyr's vocal contribution which is the epitome of what a black metal front man should be & tends to carry the record while the instrumentation is a touch inconsistent with quite a few disappointing sections scattered across the tracklisting. "Vikingland" & "I en svart kiste" are both pretty substandard while album highlight "Dominions of Satyricon" is some of Satyricon's best work & compliments a trio of solid inclusions to kick off the album. Ben's review indicates that there's a big Viking metal component included but I wouldn't go that far. I think the sections he's referring to are simply poorly executed black metal that contains structural similarities to Isengard's groovy beer-swilling moments. This is one of the reasons that I prefer "Dark Medieval Times" over "The Shadowthrone" but there's not all that much between them when viewed holistically so I'd still recommend Satyricon's second album to all of our The North members.

For fans of Taake, Emperor & Darkthrone.

4/5

The Currumbin Chill Council playlist is now up to volume 8, each representing a two-hour blend of timeless chillout music from the classic era of the genre.

https://open.spotify.com/user/31btv5smkocl5bpiep3h46rfsjcy?si=250d2bcf8ce247dc

Those sort of situations are never smooth sailing so I really hope things work out as pain-free as possible for both of you.

I don't think Budgie were ever a metal band, at least they weren't on the releases I've heard from them which equates to the first four full-lengths & 1980's "If Swallowed, Do Not Induce Vomiting" & "Power Supply" records. They did throw in the odd metal track here & there but no more than other artists like Deep Purple, Randy Holden, Flower Travellin' Band, Lucifer's Friend or Sir Lord Baltimore did at the time. None of those one-off metal songs appear on the debut either as it predominantly stays in hard/stoner/blues rock territory throughout. I know I've said it before but I honestly doubt that anyone would talk about Budgie in terms of metal if not for Metallica having covered a number of their songs.

I'm gonna disagree on Cirith Ungol's "King of the Dead". I think there's enough genuine doom on that record to justify a dual traditional doom metal/heavy metal tag as the three lengthier doom tracks make up more of the run time than the shorter heavy metal tunes do.

Have you considered the 1982 self-titled debut album from Germany's Warning Sonny? From memory, I described it as avant-garde doom metal when I last revisited it & it's much more well-known than a Nemesis or a Mercy too.

Speaking of Paul Chain, do you think Death SS have any skin in the game here? Me, I am not so sure, but am open to pursuasion.

I don't think so. I never considered a record like "Evil Metal" to have more than a doom influence. It's a heavy metal release as far as I'm concerned.