Daniel's Forum Replies
Benediction - "Transcend the Rubicon" (1993)
I spent a fair bit time with English death metallers Benediction’s 1991 sophomore album “The grand Leveller” after purchasing it on cassette shortly after release. In fact, I’d suggest that I probably spent a little more time than was warranted if I’m being honest, perhaps due to the fact that I’d parted ways with my hard-earned cash for it. I did quite like it though & felt that it was an improvement on their 1990 debut album “Subconscious Terror” which I also have some time for. In saying that though, I did still think of Benediction as a third tier death metal band & I’d suggest that this is the reason that I didn’t run out & buy their 1993 third album “Transcend the Rubicon” upon release, instead opting to seek it out through the tape trading scene as I had with their 1992 “Dark is the Season” EP. I remember “Transcend the Rubicon” quite fondly but I don’t think it changed my preconceived position on Benediction as an artist. I have seen a few people saying that it’s their best full-length recently though so I thought I’d give it another shot.
Benediction are the very definition of the meat-&-potatoes death metal band in my opinion. Their music is very simple yet goes to great lengths to maintain the genre’s trademark graveyard atmosphere. I’ve always thought that Benediction lacked the class & sophistication of the big names though & “Transcend the Rubicon” won’t change any of those impressions. What we receive here is pretty much “The Grand Leveller Part II” with few attempts being made at altering the band’s pre-existing formula. There are perhaps a few more thrashy parts included if you look closely, particularly on the unapologetic death/thrash number “Wrong Side of the Grave”, but the bulk of this material could just as easily have been found on Benediction’s previous album. I don’t think “Transcend the Rubicon” can boast as deathly an atmosphere as its predecessor though although I’d probably need to play the two records back-to-back to confirm that.
The only lineup change on “Transcend the Rubicon” is the addition of former Cerebral Fix/Sacrilege & future Memoriam bassist Frank Healy who comes in to replace another former Cerebral Fix member in Paul Adams who had departed after “The Grand Leveller”. This doesn’t make all that big an impact on the Benediction sound though & if you can imagine the simple song-writing & riff construction of Cancer performed with the heavy, uncluttered sound of Bolt Thrower & topped off with the vocal performance of 1990’s Napalm Death then you’ll come pretty close to understanding what’s in store for you. It’s really pretty uncanny how much front man & future Bolt Thrower & Hail of Bullets vocalist Dave Ingram sounds like Benediction’s former front man Mark “Barney” Greenway here & if I didn’t already know of Barney’s absence then I’d swear it was him. Ingram’s performance is admittedly one of the best parts of the album though so this isn’t in any way a negative thing.
The record kicks off with arguably it’s best song in the very solid “Unfound Mortality” but things rarely reach that level again with only the equally effective “Face Without Soul” competing for top honours. There aren’t any genuine classics to be found in this particular tracklisting but there are a few flat moments. Thankfully the wins outweigh the losses pretty comfortably which leaves us with another generally fun Benediction album that won’t change many lives but will rarely disappoint your average fan of the old-school death metal sound. I can’t agree with the general consensus that “Transcend the Rubicon” is Benediction’s best full-length though as I’ve found myself reaching for “The Grand Leveller” a bit more regularly over the years.
For fans of Bolt Thrower, Cancer & 1990's Napalm Death.
3.5/5
Decomposed - "Hope Finally Died..." (1993)
Short-lived London doom/death outfit Decomposed & I enjoyed a brief but rewarding dalliance during the early part of the 1990's & one that's seen me maitaining my relationship with their 1993 debut full-length "Hope Finally Died..." over the many years since. They first came to my attention through their 1992 "The Funeral Obsession" E.P., a release which I quite liked & thought exuded a fair bit of potential, but it wasn't until their more accomplished album that I'd find myself to be fully engaged & I've discovered that it's lost very little of its appeal since those first naive experiences.
I don't think there would be too many punters that would claim that Decomposed were doing anything drastically different to the more widely celebrated doom/death outfits that had come before them. They were very clearly created in the wake of the Peaceville Three & rarely deviated from the tried & tested formula set by those early groundbreakers. They do, however, do it extremely well & clearly have a strong understanding of what made those classic bands so great to begin with. The death metal component is certainly pretty significant on "Hope Finally Died..." with bands like Autopsy & Benediction having clearly played a role in their development but never to the extent that I find myself questioning Decomposed's doom/death credentials as the influence of the early Anathema releases is quite obvious at times & that can't be a bad thing where I'm concerned. The strong death growls of bassist Harry Armstrong help to promote an imposing graveyard atmosphere while the use of harmonies within the riffs adds a lot of interest & gives Decomposed some added class. If I'm being overly critical I might suggest that the guitar solos of James Ogawa are a little basic but they aren't a major distraction.
The production job is spot on for this type of music with the down-tuned guitars reverberating nicely & giving the record a lovely dark feel. The tracklisting is very consistent too with no weak tracks included which leaves the listener wondering why Decomposed aren't a little more well-known throughout the extreme metal scene. Perhaps they simply weren't around for long enough? One would have to think that's the case because "Hope Finally Died..." is an excellent example of the subgenre & deserves a lot more attention than it's received over the years.
For fans of Ceremonium, Gorement & Crimson Relic.
4/5
Rotting Christ - "Thy Mighty Contract" (1993)
Greek black metal stalwarts Rotting Christ first came to my attention in the early 1990's via their 1991 "Passage to Arcturo" E.P. &, shortly afterwards, their 1993 debut album "Thy Mighty Contract" & 1989 demo tape "Satanas Tedeum". I have to admit that my initial experiences with Rotting Christ didn't quite live up to the hype though if I'm being honest & I'd have to wait until I bought their excellent 1994 sophomore album "Non serviam" on CD the following year to be fully convinced. But all of the recent discussion in the Metal Academy forums about the most "important" black metal releases in history has seen my interest being revived which has resulted in me finally giving "Thy Mighty Contract" another chance to impress me all these years later.
To start the conversation, I'm gonna make a couple of big, bold statements. The first one is that, despite what you may read elsewhere, Rotting Christ's debut album isn't a melodic black metal record. It may often be touted as the very FIRST melodic black metal release but there is very really little to link it to what that niche subgenre would shortly become. You won't find any complex tapestries of guitar harmonies here with the melodic component being reserved for some fairly restrained single-guitar themes that have a lot more to do with Paradise Lost than they do with Dissection. In fact, there's not actually all that much material that I'd describe as being stereotypical black metal included at all really. There's just as much death metal, thrash metal, doom metal & heavy metal here in my opinion & that sees the album being much more closely aligned with the First Wave of Black Metal than it is with the notorious Norwegian Second Wave. The riffs remind me very much of Swiss black metallers Samael in that they're simply constructed with the tempo kept predominantly in the mid-range & a heavy emphasis being placed on palm-muted, down-picked chugging. The vocals aren't the most stereotypical you'll find in the black metal space either, sitting just as comfortably in the death metal space as they do the black metal one. Ultimately, I'd suggest that it's the band's clear allegiances to the occult that are the primary factors in early Rotting Christ's affiliation with metal's most evil genre, along with the atmospheres they're able to create through the occasional use of keyboards.
The tracklisting is a touch inconsistent with a couple of flat numbers included amongst the eight songs on offer. Neither of "Fgmenth, Thy Gift" or "His Sleeping Majesty" do much for me at all but these blemishes are made a little more impactful by the lack of genuine highlight tracks with only closer "The Fourth Knight of Revelation" delivering a standout performance. The rest of the material is all reasonably enjoyable but it rarely achieves anything like the peaks you'd generally expect from a seminal extreme metal recording & I feel that Rotting Christ were still very much a work in progress. "Thy Mighty Contract" certainly isn't a bad record & I feel that I've been overly critical of it in the past but I simply can't see it being all that important in the annals of black metal history, particularly given that it's borderline in its alignment to the genre to begin with.
For fans of Varathron, Thou Art Lord & Samael.
3.5/5
Ben, please add the 1986 “Fight For Paradise” debut album from Adelaide-based Christian heavy metallers Jacob’s Well.
Pyrexia - "Sermon of Mockery" (1993)
The 1993 "Sermon of Mockery" debut album from New York brutal death metal outfit Pyrexia first came to my attention at a time when I was desperately trying to identify more & more of the most extreme metal music on the planet & this record fit my requirements to a tee. Fellow New York brutal death metal godfathers Suffocation had changed my perspective on what death metal should be over the previous few years but my quest for similarly brutal releases was tough going with only a few artists managing to compete on the same sort of level. Pyrexia changed that by proving that it could be done &, in doing so, produced an album that was highly influential on me as an artist, perhaps not quite as influential as the great Suffocation releases but not all that far behind given how regularly I spun "Sermon of Mockery" throughout the middle of the 1990's. In saying that, I'm not sure I ever regarded it as a genuine death metal classic. It was more of a second tier release whose sound I could relate to on a deeper level than most of its peers which saw me returning to it more regularly than I would other releases of the same quality. The brutal death metal community have generally placed "Sermon of Mockery" up on a pedestal though so it's time to dig into the finer details of this seminal release.
The cover artwork is a major selling point for "Sermon of Mockery" as it's brutal as fuck with its image of zombified figures impaling mutilated human bodies suitably summing up the musical content you can expect to hear inside. It's a shame Pyrexia elected to accept such a tame font for the album title though as it's not nearly as imposing as it should be. The Jim Sabella production job is a real feature though with the heavily compressed guitar tone suiting this style of palm-muted savagery very nicely indeed. I didn't notice it so much back in the day but the drum sound is fairly disappointing with the kick drums in particular sounding thin & clicky which doesn't do drummer Mike Andrejko any favours. This would be Andrejko's only major release & you can see why as he struggles to compete with the accomplished death metal musicianship around him, his blast beats seeing him finding it difficult to keep his feet perfectly in time with his hands for any length of time. It's not anything too major in the grand scheme of things but it does detract from the overall effect just a touch.
There's very little doubt that the Pyrexia sound was built on the one that Suffocation had developed with their 1990 "Reincremated" demo tape three years earlier & had further refined on their first two classic 1991 releases "Human Waste" & "Effigy of the Forgotten". In fact, Pyrexia have limited their sound to a couple of different components of those records i.e. the faster tremolo-picked blast beat sections & the slower, heavily palm-muted slam parts. There's an element of technicality about early Pyrexia but it's not as overt as it is with Suffocation which is probably a good thing because Pyrexia simply weren't capable of it at the time. There are some genuinely great slam riffs included here though & that's ultimately what has made "Sermon of Mockery" such a pivotal release for the subgenre with the monstrous vocals of Darryl Wagner (another who would drift off into obscurity after this release) being a major highlight. Wagner had clearly been influenced by Frank Mullen's performance on the first two Suffocation records but pulls off his own ultra-gutteral delivery to just as great an effect here which further enhances the thick, chunky riffs of guitarists Guy Marchais (Internal Bleeding/Suffocation) & Tony Caravella & bassist Chris Basile.
"Sermon of Mockery"s other strength is its consistency as all eight tracks are of a very similar quality level, all being rock solid examples of their type. It's a little bit of a shame that none of them manage to reach the top tier though, perhaps being limited by the fairly restricted musical palate Pyrexia had chosen to create from. I feel that the compressed production probably emphasizes the similar feel of the material too but, looking on the positive side, if you like Pyrexia's sound then you're not gonna be disappointed by any of the eight tracks included here in what amounts to a very professionally composed & executed early example of the brutal death metal sound. All fans of the more extreme end of the death metal spectrum will definitely want to hear this album at some stage & I'd be surprised to discover that any of them didn't find plenty of enjoyment in it too.
For fans of Suffocation, Internal Bleeding & Dehumanized.
4/5
Charley Browne - "Power Palace" (1985)
The debut album from a Melbourne hard rock outfit that are often linked to metal. There are a few metal tunes here but not enough to warrant a primary tag in my opinion.
My updated Top Ten Melodic Death Metal Releases of All Time list with Amorphis' "Tales From The Thousand Lakes" dropping out:
01. At The Gates – “Slaughter Of The Soul” (1995)
02. Stortregn - "Finitude" (2023)
03. Carcass – “Heartwork” (1993)
04. Dark Tranquillity – “The Gallery” (1995)
05. Merciless – “Unbound” (1994)
06. Sentenced – “North From Here” (1993)
07. In Mourning – “The Weight Of Oceans” (2012)
08. The Breathing Process - “Odyssey (un)Dead” (2010)
09. Unanimated - "In the Forest of the Dreaming Dead" (1993)
10. Amorphis - "The Karelian Isthmus" (1992)
https://metal.academy/lists/single/147
My updated Top Ten Deathgrind Releases of All Time list with Napalm Death's "Mentally Murdered" E.P. dropping out to make way for Damaged's "Do Not Spit" album:
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. Lock Up - "Necropolis Transparent" (2011)
06. Cephalic Carnage - "Misled by Certainty" (2010)
07. Damaged - "Passive Backseat Demon Engines" E.P. (1995)
08. Napalm Death - "Harmony Corruption" (1990)
09. Damaged - "Do Not Spit" (1993)
10. Assück - "Anticapital" (1992)
https://metal.academy/lists/single/223
Ben, please add the 1985 "Australia, Australia" E.P. from Melbourne outfit Depression under crossover thrash.
Cannibal Corpse - "Hammer Smashed Face" E.P. (1993)
By the time 1993's "Hammer Smashed Face" E.P. was released in March 1993, Buffalo death metal phenomenon Cannibal Corpse had become nothing short of a staple in my life. These five notorious gore-merchants had first grabbed my attention with their 1990 debut album "Eaten Back to Life" before pulling the trigger on a couple of the more significant & influential releases in my childhood in 1991's "Butchered at Birth" & 1992's "Tomb of the Mutilated", both of which would play a major role in the musical direction of my own death metal band Neuropath. I even quite enjoyed Cannibal Corpse's 1989 demo tape so I think it's fair to say that I would have lapped up anything the band presented to me at the time & that's probably why I went about seeking out "Hammer Smashed Face" as soon as it hit the shelves, despite it only containing a couple of songs that I didn't already own. There's no doubt at all that it served as an excellent entry point to the band though given that it contained the best tracks from Cannibal Corpse's previous two records as well as one of the highlights from the debut.
The E.P. kicks off with the legendary title track, a death metal anthem that's held up as a signature for the entire death metal movement at times. Neuropath covered it in a live environment a couple of times, mainly out of necessity as our fan base used to request it quite often given how closely aligned the two band's sounds were. It still sounds fantastic today too & there's no doubt that it played a massive part in my life throughout the middle of that decade & for many years to come. But it was the opening track from "Butchered at Birth" that was the one that first saw me being genuinely convinced that Cannibal Corpse were the real deal & "Meathook Sodomy" is still arguably my favourite track from the band to this day. "Shredded Humans" has always been one of my picks from the debut too so these three songs were ideally suited to drawing in a market that was more open to being shocked than at any other time in history. The two cover versions are both worth hearing too though, particularly the excellent reenactment of Possessed's early death metal classic "The Exorcist" but also the groovier version of Black Sabbath's "Zero the Hero" with both managing to do justice to the originals. While Chris Barnes' ultra-gutteral vocal delivery may not be for everyone, I absolutely lapped up that shit & still seem to today to be honest. There's just something about him that sounds so bad ass & it's one of the great shames in extreme metal that he's descended so far in the decades since. At a guess, I'm wondering whether Cannibal Corpse's rendition of "Zero the Hero" might have been the catalyst actually as it certainly has a similar feel to some of the Six Feet Under material.
Look, many people will argue that the "Hammer Smashed Face" E.P. is an inessential release given that it doesn't contain much new material but, if I'm being honest, I actually listen to it more than any of Cannibal Corpse's earlier material these days & I think that tells us something i.e. when you forget where the individual tracks came from & simply focus on the quality of the material there's a case to say that this was Cannibal Corpse's stronger release to the time. That may not make it an essential purchase but it certainly makes it worthy of a strong rating & a healthy following within death metal circles.
For fans of Deicide, Cannabis Corpse & Monstrosity.
4/5
Here's my review:
It's always exciting when one of our more well-educated members nominates a feature release from an artist that I'm completely unaware of, particularly when they also announce that it's somewhat of a favourite of theirs & that's been the case with the 1987 debut album & sole release from Los Angeles four-piece Commander. One look at the sword-adorned cover artwork gave me a fair indication that "The High 'n' Mighty" might play in the more epic US power metal space too & that's generally my sweet spot when it comes to The Guardians so I thought I'd take a step outside of my comfort zone by reviewing a The Guardians feature release for the first time in a while. I'm glad I did too as I got some enjoyment out of this record, even if it may not be enough to see me returning to it in the future.
Commander's debut sports a production job that suits the material very well. It's got a raw, mid-80's edge to it that I'd suggest fits nicely within the vinyl format but it also contains a powerful guitar sound that is really effective for this brand of metal which sees these Americans attempting a combination of US power metal & traditional heavy metal sounds, thankfully never touching on the European power metal sound that I struggle so much with at times. There's no doubt that Commander were consciously going for an epic feel on some of this material & they pull it off quite well for the most part. The guitar work of Dave Macias is excellent & is the major drawcard here in my opinion. He doesn't try for anything particularly original but pulls off everything he attempts with confidence as he was clearly an accomplished musician. He needed to be too because he had some ground to catch up given the patchy performance from operatic front man Jon Natisch whose soaring higher register delivery openly showcases his vocal flaws with a number of pitchy moments scattered across the tracklisting, Sure, he can pull off some ear-piercing screams at times but he can also make me feel like someone's running their fingernails down a chalkboard at others. It's kinda weird that his performance is perfectly fine on some tracks yet we see him virtually ruining others so I can only guess that the limited budget the band had to work with didn't allow them the time to hide Natisch's inconsistencies.
Upon first listen, I have to say that I really struggled & the reason for that is the strange way that Commander have ordered their tracklisting. I'm conscious that Karl mentioned that opening track "Knights of the Round Table" is one of his all-time favourites but I found it to be almost unlistenable personally & easily the weakest track of the nine included so I guess it comes down to personal taste. It was a bad way to start the album as it saw me getting my guard up early which likely resulted in me not picking up on the increased quality over the next couple of tracks. There's a flat period through the middle of the album too with neither of "We're Ready" or "Terror" doing a lot for me. Thankfully though, the back end of the tracklisting saw me starting to see some promise in "The High 'n' Mighty" & by the time I'd given the record a couple more listens I felt that I was better able to distinguish its strengths & weaknesses.
As you can probably tell from my previous statements, it's pretty clear that I find "The High 'n' Mighty" to be an inconsistent release with the quality levels spanning the full width of my ratings profile. The high point is utterly devastating in the incredibly epic US power metal classic "Die By The Sword" which is honestly one of the best examples of the movement I've ever encountered & saw me replaying that song in isolation a number of times. The title track & an excellent cover version of Rainbow's widely praised "Kill the King" are also of a very high quality, the more metallic format actually seeing me preferring the latter over the legendary original. "Wizard", "Return of the Goths" & "The Blade Shines On" are all pretty decent too but the three weaker numbers that I previously mentioned ensured that my overall score was never going to ascend as high as Commander would have intended. Unfortunately, it's Natisch that's largely responsible for Commander's shortcomings as I don't think there's anything wrong with the weaker tracks from an instrumental perspective.
Look, if US power metal is your absolute favourite brand of metal then you'll probably want to hear "The High 'n' Mighty" at some point but I think it's also pretty clear as to why I hadn't heard of Commander before because their shortcomings leave them struggling to break out of the third tier for the most part. This is a little disappointing when you take into consideration the obvious potential in this band had with the stronger material being a clear indication that Commander could well have produced the full package with a little more time. As it stands though, "The High 'n' Mighty" will remain a predominantly enjoyable release that's limited by an inconsistent tracklisting & vocal performance.
For fans of Heir Apparent, Hittman & Fifth Angel.
3.5/5
Ben, please add the 1985 “Daddy’s Little Girl” E.P. from Brisbane heavy metallers Vice.
Ben, please add the 1985 "Life on Earth" debut album from Aussie heavy metallers Trilogy.
Taipan - "1770" E.P. (1985)
This Melbourne outfit began life as a NWOBHM-style heavy metal act but in the four years between their self-titled debut E.P. & this second release they'd transformed themselves into more of a progressive rock act.
Disincarnate - "Dreams of the Carrion Kind" (1993)
To this budding young shredder & death metal-obsessed teenager, hired gun guitar virtuoso James Murphy was very much an idol during the early 1990's. I first became aware of him through his stunning contribution to Death's 1990 "Spiritual Healing" album before being thoroughly blown away by his work on Obituary's "Cause of Death" & Cancer's "Death Shall Rise". So, when I got wind of Murphy's commitment to release a death metal project of his own called Disincarnate I was obviously very excited. This led me to pick the "Dreams of the Carrion Kind" album up on CD upon release & it certainly didn't leave me feeling disappointed. I've always held it in very high regard & return to it regularly. Somehow though, I've never gotten around to reviewing it & think it's about time I did given just how few of our regulars seem to be across it.
"Dreams of the Carrion Kind" is a pure death metal record for death metal enthusiasts only. There's no attempt to reinvent the wheel made here but the overall product is so well put together that this means very little in the grand scheme of things. Interestingly, it wasn't recorded in the United States, despite falling very comfortably into line with the US sound. It was actually recorded in Wales with well-known metal producer Colin Richardson doing a great job at harnessing both the brutality & the melodic sensibilities of Disincarnate's classy brand of extreme music. Murphy had put together a highly capable trio of support musicians for the project including vocalist Bryan Cegon, rhythm guitarist Jason Carman & future Acid Bath & Shrüm drummer Tomas Viator & I'm very pleased to say that the three combine well with Murphy to form a tight-knit band rather than being merely a support network for Murphy's undeniable chops. In fact, you'd never pick Disincarnate as being a solo act because it simply isn't one.
The strength in Disincarnate's music is their ability to balance out a savage attack with a clear sense of melody & a strong understanding of compositional techniques. Not all of the riffage is of an elite level but the song-writing all flows effortlessly which gives Murphy & co. an extra layer of professionalism that sees them standing out amongst the death metal crowd. Cegon's vocals stick largely in cookie monster territory but he always maintains a clear intelligibility which sees "Dreams of the Carrion Kind" sounding a touch more accessible than some of their peers. The rhythm guitar work is super-tight & exceptionally sophisticated as you would expect from a Murphy-fronted project with the use of guitar harmonies being a real highlight of the album, so much so that I can easily pickup the influence of this record in my own band Neuropath's 1996 demo tape "Desert of Excruciation" which has often been described by critics as "Suffocation meets Disincarnate". Given that these harmonies give Disincarnate their point of differentiation, I think drummer Viator does a great job at giving them the room they need to deliver their maximum appeal as never overdoes the blast-beats, instead keeping them up his sleeve for key moments which accentuates their impact.
The tracklisting is extremely consistent as there's nothing even remotely close to filler included here. The record kicks off in brilliant fashion with two of Disincarnate's finest songs appearing in quick succession. "Stench of Paradise Burning" is quite simply one of my all-time favourite death metal songs &, listening back now, I can easily see why I tried so hard to get my Neuropath band mates to cover it during the mid-1990's. "Beyond the Flesh" is almost is potent too so it's easy to understand why I might have been led into such enthusiasm during the early stages of my first listen as a snot-nosed, teenage death metal frother. The album settles in for a solid mid-section after that before exploding again during the back end of the tracklisting with a trio of classics in "Deadspawn", "Sea of Tears" & the stunningly atmospheric doom/death outro piece "Immemorial Dream" which comes the closest to challenging the brutal opener for top position. Murphy's guitar solos are a constant source of amazement as he seemed to know just how to layer his instantly recognizable technique over the riffs in a way that never highjacks proceedings, instead working to add additional colour & excitement to some beautifully executed transitions. I absolutely adore some of the tremolo-picked riffs that sit underneath his lead work actually. It reminds me of Gorguts' 1991 debut album "Considered Dead" as well as his former band Death at their very best which is in no small part to do with the super-tight & suitably restrained performance of Viator.
If it isn't already obvious, "Dreams of the Carrion Kind" is a special record for me, so much so that it's always surprised me that it's not talked about more often. Perhaps it helps that I was playing in a death metal band as a lead guitarist at the time which no doubt gives me a unique perspective on the way Disincarnate have created & structured their music but I still think this is a seriously underrated record. The way that Disincarnate effortlessly incorporate a wide array of tempos (including some of the most masterful harmonized doom metal material you'll find) is quite remarkable & there are very few who have pulled it off with such an air of professionalism. Despite Murphy's looming presence at the helm, one would have to imagine that all four band members must have possessed a very strong pedigree in the history of death metal, otherwise I can't see how they would have been able to pull off a record like this one which should be essential listening for all US death metal nuts.
For fans of Brutality, Demented Ted & Monstrosity.
4.5/5
Ben, please add the 1985 "Love to Rock 'n' Roll" E.P. from Melbourne heavy metallers Fair Warning.
Depression - "Depression" (1985)
The debut album from this seminal Melbourne hardcore punk outfit.
Ben, please add the 1985 self-titled E.P. from Melbourne's Axatak & Black Jack’s 1985 “Five Pieces of Eight” E.P., both under heavy metal.
Ben, please add these too:
Surrender - "Surrender" (1984)
Tyrant - "Never Too Loud" E.P. (1984)
Ben, please add Black Alice's "No Warning" E.P. from 1984 under Heavy Metal.
Boss - "Step on It" (1984)
The only full-length album from Adelaide-based glam metallers Boss who would change their name to BB Steal shortly afterwards.
A couple of brand-new releases I'll be keeping an eye on in August:
Andrew Hulshult - "IDKFA"
Uniform - "American Standard"
The brand new sixth album "Living Chaos" from Chicago deathcore outfit Oceano is hitting the shelves this month.
Here's a few brand new releases that I'll be following in August:
Trhä/Coffret de Bijoux - "di najb tu natálja ibajnma ëct/lämèàen'th" split album
Trhä - "∫um'ad∂ejja cavvaj"
Glorior Belli - "Glorior Belli"
Spectral Wound - "Songs of Blood & Mire"
The new Leprous album "Melodies of Atonement" hits the streets in late August.
There's a number of new releases of interest for me in August:
Blind Guardian have also released a live rendition of the "Somewhere Far Beyond" album in the last couple of weeks. I might give it a run at some point as I quite like the original studio version of the album.
Japanese alternative metallers Dir en Grey have a brand new live video coming out this month called "Tour22-23 Phalaris" which was recorded across multiple shows during 2022/23. I quite liked their 2008 album "Uroboros" so I might give this one a sneaky run at some point,
The new "Pray for the HOLLOW Sun" release from Japanese sludge/doom/drone metallers Corrupted hit the streets yesterday & will be one that I'll likely check out as I've invariably enjoyed the couple of other releases I've heard from them, particularly 1999's "Llenandose de gusanos" which was a really big record for me. This one is an archival release that includes material recorded between 2010-2014.
US stoner metallers Elder also have a brand-new live album coming out later this month in "Live at BBC Maida Vale Studios" which was recorded last year. The trio of Elder records that fell between 2011-2017 were all pretty big for me so I'm pretty keen for this one too.
Dying Fetus - "Bathe in Entrails" demo (1993)
Dying Fetus' first demo tape was an important influence on me & the musical direction I would take with my own band Neuropath during the mid-1990's. Listening back now, it's easy to be critical of the terrible drumming of main man John Gallagher but his guitar work is very accomplished (particularly the James Murphy-ish solos which are surprisingly proficient for such a young dude) & the multiple-vocal attack is as gutteral as all fuck so it can't be all bad now, can it? It's interesting that Dying Fetus really haven't changed their sound all that much at all over the 31 years since this demo which says a lot about why I found it so appealing as a young fella. Dying Fetus would certainly get better & I tend to dig their albums a bit more than this early tape these days but I can't deny that I still get a fair bit of nostalgic enjoyment out of a good half of the six songs included here. The others simply suffer a bit too much from Gallagher's inability to play double kick in time.
For fans of Suffocation, Skinless & early Cannibal Corpse.
3.5/5
Unanimated - "In the Forest of the Dreaming Dead" (1993)
My earliest memories of Sweden's Unanimated go back to the discovery of their debut album "In the Forest of the Dreaming Dead" while visiting Neuropath vocalist Mark Wangmann's house some time in 1993. I'd been following the early attempts at a more melodic brand of death metal for a little while by that point but this particular record was a little different in that it seemed to have a foot in black metal territory too. The idea appealed to me quite a bit so I ripped a copy of "In the Forest of the Dreaming Dead" for myself & gave it a fair few listens that year. My enjoyment of that release also saw me following Unanimated through their three subsequent full-lengths, all of which are worth hearing, particularly their 1995 sophomore album "Ancient God of Evil" which I'm a big fan of & tends to be my Unanimated release of choice these days. Perhaps that's the reason that I haven't returned to "In the Forest of the Dreaming Dead" since the 1990's but I remember it fondly & have been looking forward to seeing how it's aged for some time now. I've also been interested to see if it might prove to have been a significant player in the development of the melodic black metal scene as I remembered it being a lot more blackened than some websites would have you believe in the current day.
"In the Forest of the Dreaming Dead" is a fairly raw affair although the compositions are professionally put together & have a certain class about them, particularly for the time. My recollections were spot on too in that this is most certainly a melodic black/death metal hybrid. In fact, I'd go so far as to suggest that there's more black metal included than there is death metal which is in direct contrast to the general consensus. A lot of this material sounds uncannily like Swedish melodic black metal godfathers Dissection as well, so much so that there are more than a few sections that border on plagiarism &, given that "In the Forest of the Dreaming Dead" was released in February 1993 & Dissection's legendary "The Somberlain" debut album was released in December 1993, I'm gonna have to throw a cat amongst the pigeons by suggesting that perhaps Dissection may have sounded a fair bit different if not for the influence of Unanimated.
The musicianship is pretty decent but was still clearly a work in progress, particularly the blast-beats of Peter Stjärnvind (Krux/Merciless/Black Trip/Entombed/Murder Squad/Nifelheim/Pest/Regurgitate) which were still fairly primitive in their execution. I enjoy the vocals of Micke Jansson & find them to sit further over into the black metal camp than they do the death metal one, often even hinting at a Darkthrone-ish croak. The consistent use of higher-register, tremolo-picked melodies from guitarists Jonas Mellberg (Therion) & Johan Bohlin (Desultory) is a real strength for Unanimated & is probably the best thing about the album with the more solid tracks like "Blackness of the Fallen Star", "Through The Gates", "Mournful Twilight" & the title track all being littered with memorable melodic hooks. Interestingly though, my favourite track is the short ambient interlude "Silence Ends" which kicks off the B side. I'm a big fan of ambient music & this example could easily have been stolen from a professionally produced ambient record. As is often the case, it's only one of the more popular songs that I struggle with in the Viking metal period Bathory inspired "Cold Northern Breeze" which I find to be pretty cheesy really. The choice to close out the album with a cover version of Venom's classic "Buried Alive" was a strange one too but thankfully the band pull it off pretty well, even if it's heavy metal style does sound a little out of place on an extreme metal release.
Overall, "In the Forest of the Dreaming Dead" was a pretty decent way for Unanimated to kick off their recording career. It was also fairly groundbreaking in the sound they'd developed for themselves, even at this early stage. The execution isn't perfect & the song-writing could have done with a bit of a polish but that hasn't stopped me from enjoying this entertaining (if inessential) Swedish release.
For fans of Dissection, Necrophobic & Gates of Ishtar.
3.5/5
Here's my review:
The 1993 "Tol Cormpt Norz Norz Norz..." debut album from Finnish black metallers Impaled Nazarene made a significant impact on me after I picked it up on CD shortly after release. It's blend of simple, catchy, yet still pretty evil sounding black/war metal was really well produced & executed which left me with the impression of an artist that was aware of its limitations & worked really hard at maximizing its strengths. I wasn't surprised that Impaled Nazarene's tongue-in-cheek approach got a few purists noses out of joint (I'm looking at you Ben) but I could manage to look past it in order to take "Tol Cormpt Norz Norz Norz..." for what it is i.e. one of the more fun black metal releases of its time. So, when news of Impaled Nazarene's sophomore album hit my ears only ten months later, I found myself eagerly reaching into my pocket for another helping.
The "Ugra-Karma" album makes for a very good accompaniment for the band's debut actually as it possesses many of the same traits & qualities. It was recorded by the same lineup in the same recording studio with the same producer & only a short time later so I guess that was to be expected though, wasn't it? It's of a pretty similar quality too so if you liked "Tol Cormpt Norz Norz Norz..." then you were probably always gonna like "Ugra-Karma" too. The production job is once again extremely solid, making the most of the simple, uncluttered arrangements by presenting them within a tight, rock-solid framework. The drum kit sounds particularly powerful while front man Mika Luttinen's grim black metal vocals are once again a highlight.
The twelve track, 38-minute tracklisting is generally pretty solid with only the misguided industrial black metal piece "Gott ist tot (Antichrist War Mix)" failing to hit the mark. In fact, that particular number fell well below the bar so I've struggled to justify its inclusion to be honest. There's less of the war metal sound that I enjoyed so much on the debut this time but we find Impaled Nazarene replacing it with a punk rock influence that we'd see them expanding on further on future releases. The wonderful "Hate" is by far the best track on the album in my opinion with its incorporation of synthesizers giving it more of a classic Norwegian feel than most of the other material. I also really enjoy the more aggressive & brutal tracks like "Coraxo", "Goatzied" & "Cyberchrist".
"Ugra-Karma" has gone on to become Impaled Nazarene's most highly regarded release over the years & it's not hard to see why as it showcases a flare for violence & brutality wrapped in an air of accessibility, a lethal combination when done just right. There's been very little attempt at any sort of sophistication & there's a place for that sort of record in my life given my history as an old-school tape trader. I do have to admit that I prefer the debut over "Ugra-Karma" though, mainly because I prefer war metal over punk rock by a considerable margin. I also miss the dark Mayhem-style power chord riffs that "Tol Cormpt Norz Norz Norz..." delivered with such success. However, I've returned to "Ugra-Karma" many times over the years & will likely continue to for some time yet as there's no doubt that it's a very solid example of mid-90's European black metal.
For fans of Sadistik Exekution, Impiety & Belial.
4/5
I don’t look at them Ben.
Here's my review:
Ballarat deathgrind outfit Damaged first came to my attention when one of the members of my death metal band Neuropath played me their debut album "Do Not Spit" some time in late 1993 but I have to admit that I wasn't convinced to begin with. It wasn't until I had the great pleasure of witnessing Damaged in a live environment shortly afterwards that I became a convert of this Aussie extreme metal establishment because they were a completely different prospect on stage. A lot of that had to do with their psychotic, hyperactive drummer Matt "Skitz" Sanders who is nothing short of metal royalty in these parts & rightly so too. During the mid-90's he was by far the best drummer in the local scene & taught a lot of people what was possible with extreme drumming. I can still vividly recall the guys from Morbid Angel being blown away by Skitz during Damaged's opening set on the Sydney leg of the tour for the Florida death metal gods' tour fourth album "Domination". In fact, they even went so far as to dedicate their set to him from memory. A lot of the development in drumming between Neuropath's first & second demoes also owes a lot to the impact of Skitz on our own skinsman Luke Burns. Anyway... back on topic.. it's fair to say that "Do Not Spit" never really connected with me like it did for a lot of Aussie metalheads & I wouldn't truly get onboard the Damaged train until 1995's excellent "Passive Backseat Demon Engines" E.P. which I purchased on CD at the time. I didn't remember much about "Do Not Spit" going into this revisit though & I wondered if it might all sound very familiar given how many times I'd seen Damaged play live back in the day.
Damaged always possessed their own unique sound & it's kinda hard to describe because there aren't that many artists that you can draw upon as close comparisons. The deathgrind tag is generally the fallback option as it's about as close as you're gonna find but it still doesn't feel like its 100% accurate to my ears. I can't come up with a better genre tag for this release right now though so let's go with that. There are definitely death metal & grindcore elements at play as well as some hardcore punk & groove metal ones on occasion. Some of the riffs have a clear Terrorizer feel to them too. Vocalist Jaymi Ludbrooke's delivery isn't exactly a death growl though. His aggressive assault feels a little more grindy hardcore than anything else. The instrumentation is completely devoid of melody for the most part too which gives Damaged their signature sound with its abrasive & predominantly rhythmic feel that's been built upon Skitz' drumming. The production job on "Do Not Spit" doesn't do Damaged any favours though to be fair. Skitz' drum kit sounds pretty weak with the kick drums being far too thin & clicky. I'd also suggest that his skills were yet to reach their peak as I don't hear anything as mind-blowing as I recall experiencing from him back in the day, although there are admittedly a couple of really creative blast-beat variations employed. I'm not such a fan of the bouncier beats & riffs that Damaged employ at times though.
Damaged would get a touch more serious & up the ante on their extremity over the next year or so which would see their sound offering me significantly more appeal than I've found on this revisit to "Do Not Spit". Still, there are no weak tracks here as such. Many of the eleven inclusions contain sections that aren't exactly my cup of tea though & I find myself craving the more relentlessly ballistic blasting parts over the groovier punk-infused moments. Interestingly, it's the slowest number on the album that I regard as the genuine classic here in the crushingly heavy industrial metal anthem "My Grain". I also really dig the short burst of grinding energy that is "Ultra-Mild" & wish that there were more courses of that sort of material included. The rest of the material sits on roughly the same level, a standard that I find to be enjoyable but rarely compelling. On the positive though, there's something of interest in every song so I find it hard to be too critical of Damaged's debut, even if I'm doubtful that I'll return to it in the future. It may be held in very high esteem by many Aussie metalheads but I'm afraid I can't quite see it personally.
For fans of Blood Duster, King Parrot & Fuck...I'm Dead.
3.5/5
P.S. Interestingly, I used to tape trade with a young kid that was a huge Neuropath fan. One day he sent me a letter to tell me that he'd joined Damaged as their new vocalist & totally blew my mind as I was already a big fan of them by that stage & this dude couldn't have been more than eighteen years old. I can't remember his name any more but I'm gonna suggest that it was Chris Wallace given the age & timing.
Andi, the "Dethroned Emperor" cover version wasn't a part of the album as far as I recall. I'd suggest that it's a bonus track that's been added in more modern times. I completely agree that there's no deathcore on offer here though.
Here's my review:
Let's be honest with ourselves, US thrash metal legends Testament had gone off the boil a bit during the first half of the 1990's. While records like 1990's "Souls of Black" & 1992's "The Ritual" where serviceable enough metal albums, they weren't really at the same class as the bands more highly regarded 80's releases so I'd imagine that Testament were feeling a little bit of pressure to revive their heyday. The fact that "The Ritual" also saw them watering their sound down a touch with a stronger heavy metal influence probably didn't help & I feel that Testament's sixth full-length "Low" is probably a bit of a reaction to the negative impressions they would have received from some sections of the thrash metal community as it sees Testament returning with arguably their heaviest release to the time. The success of Pantera & the groove metal genre was clearly not lost on the Californians as "Low" sees Testament dropping most of the more accessible heavy metal leanings of "The Ritual", down-tuning their guitars further than ever before (generally a step or a step & a half) & throwing in deeper, almost death metal growls from time to time. Now, that probably sounds like it should offer me a fair bit of appeal on paper but the reality is that I haven't returned to "Low" since the mid-90's so there's gotta be something in that, right? The decades since have seen me largely forgetting about this record so it's time for a revisit to see where it sits in Testament's prestigious back catalogue to the time.
Let's get one thing straight right from the offset, "Low" is still first & foremost a thrash metal record so I don't think too many diehard fans would have been turned off by the stylistic changes the band had opted for on their sixth full-length. It's just that it "feels" a little more like a groove metal record at times & the reason for that is the extra down-tuning which takes a little bit of the shred out of the more exciting riffs in hope that the extra bottom-end will appeal to the mid-90's market a little more. I'm not sure whether it did or not but I can certainly say that I prefer Testament's thrashier & more electric sound personally. Chuck Billy's attempts at a more guttural delivery aren't too bad though & I know that was something that excited me the first time Ben played me his CD copy of "Low" shortly after release. These stylistic changes see many of the twelve tracks falling into the space between thrash & groove metal which is the reason why many people seem to tag "Low" as such (me included).
The inclusion of a ballad had become somewhat of a formality for Testament over the course of the previous three records & here we see them pulling it off with aplomb as the emotive "Trail of Tears" is one of the clear highlights of the album. It's interesting that Testament had also opted to include two instrumentals here too, both of which see them taking the listener into some fresh stylistic space to varying levels of success. I particularly enjoy the contribution of bass player Greg Christian on those numbers with him showcasing a clear Geezer Butler influence on both occasions. The centrepiece of any Testament album is generally reserved for the lead guitar parts though & "Low" is no exception with hired gun virtuoso James Murphy having filled the vacant position left by wonderful shredder Alex Skolnick & pulling it off with ease too. I've always been a huge fan of Murphy & he delivers one of his more restrained & diverse performances here, giving the song-writing exactly the sort of colour & highlights it required.
The main issue that holds "Low" back from becoming a more significant Testament record than their previous two though, is the lack of any classics in the tracklisting. The song-writing is gernally pretty decent with the band maintaining a level of class & professionalism throughout but there really aren't any songs that can compete with Testament's best work. My favourite numbers are clearly the before-mentioned "Trail of Tears" & the unusual instrumental track "Urotsukidôji" but neither seem to reach above a very solid level. There are also a couple of tracks that do very little for me & could probably have been culled in the obvious groove metal number "Legions (In Hiding)" & the rhythmic "Shades of War", both which are sorely lacking in the hooks department. I've never been the biggest Chuck Billy fan but he's always gonna struggle with his limited vocal prowess when the hooks aren't strong enough to carry him.
At the end of the day though, "Low" is another decent Testament record that should keep fans of the band on the hook. It's unlikely to draw in too much of a new fanbase though in my opinion. I'd suggest that it's a better record than "Souls of Black" was but would probably favour "The Ritual" over it just slightly. There's no question that it's a clear step down from the trio of 1980's albums that came during Testament's peak period though & the days when I would look forward to every new release from the band had clearly sailed past by this point.
For fans of Overkill, Annihilator & Anthrax.
3.5/5
Here's my review:
By 1995, Ben & I could count ourselves as being pretty big fans of Swiss black metallers Samael. We were both well across all three of Samael's albums to the time, all of which I consider to be essential listening for the black metal afficionado. I'd also gone so far as to secure myself dubbed copies of a couple of the band's early demo tapes through the tape trading scene in 1987's "Into the Infernal Storm of Evil" & 1988's "Medieval Prophecy", neither of which l'd say added much to my life if I'm being honest. But the point I'm trying to make is that there was a level of anticipation for Samael's next release after they'd improved on each & every recording to the time with 1994's "Ceremony of Opposites" third album being the finest work of the band's career still to this day. Coming off the back of such a successful effort, Ben & I went into 1995's stop-gap "Rebellion" E.P. with great confidence in the Swiss four-piece's ability to create a compelling musical soundscape so, when Ben brought home a CD copy of the brand-new E.P., we wasted no time in blasting it loudly from his bedroom stereo. Strangely though, I haven't given "Rebellion" much attention over the many years since which is a little bit telling. I wasn't able to remember exactly why though so I thought it was about time I gave it another crack.
"Rebellion" fits very much into your classic E.P. model as it's clearly a collection of disparate pieces that didn't fit into the full-length album concept. You get one brand new metal number in the title track, a couple of re-recordings of early works (see "After the Sepulture" & "Into the Pentagram"), a cover version of Alice Cooper's "I Love the Dead" & a few instrumental electro-industrial pieces, two of which are essentially the same with the exception of some German lyrics having been placed over the top of one. So, if you're looking for a cohesive & singular creative vision then you might want to look elsewhere. But what "Rebellion" does do successfully is create a transitional stepping-stone between the dark black metal of Samael's first three albums & their more industrially focused later material. It's here that you can first start to see Samael embracing the electronic component of the sound they're known for today although it's fair to say that it was still used a little more subtly which leaves the sound the band are pushing here in somewhat of a limbo between the two genres, not really feeling like either. It's mainly the use of spacey synthesizers that draws "Rebellion" into industrial metal territory although they're not over the top with a much greater emphasis being placed on that element for 1996's "Passage" album which pushed all the way out into fully-fledged symphonic metal territory.
The production job on "Rebellion" is thick & chunky & gives the material real clout, the riffs possessing a weight that comes more from the industrial metal side than the black metal one. The opening title track is the one that benefits the most from it with its groovy mid-paced riffage making it by far the most significant piece on the record. In fact, it's a little strange that it wasn't considered for inclusion on Samael's upcoming full-length albums to be honest as it's easily good enough & wouldn't have sounded out of place. The two re-recordings happen to be of my favourite tracks from each of Samael's first two albums which was a pleasant surprise but the reality is that neither can compete with the dark atmosphere of the originals, despite the heavier production techniques employed. I certainly enjoy both songs (particularly "After the Sepulture" which competes with "Rebellion" for the highlight of the E.P.) but neither added a lot to my life either to be fair. The rest of the E.P. feels more like filler than anything else in my opinion. I quite enjoy both versions of the six-minute electro-industrial piece "Static Journey" but can't see much reason for including both given that they're so similar to each other. Admittedly they do sound a little dated given the basic synthesized rhythms that have been employed. The three-minute outro piece utilizes the same creative platform but is unfortunately not as successful & I find it to be a little disappointing, as is the Alice Cooper cover version which feels more like a fairly accessible take on gothic metal than anything else & leaves me feeling like pressing the skip button a lot of the time although I've never been a skipper & likely never will be.
So, I feel that "Rebellion" was mildly successful in its quest to showcase a new sound that Samael would explore further across the remainder of their recording career but I would hardly say that it's essential listening for fans of the band. It's a professionally put together package & sounds bright & vibrant but I don't think it contains the depth that I enjoyed with Samael's first three albums.
For fans of Rotting Christ, The Kovenant & Moonspell.
3.5/5
Here's my review:
I've never really given the prolific back catalogue of Los Angeles sludge metallers Thou as good a chance to impress me as I probably should have to tell you the truth. My early experiences with the band were a little hit & miss which is possibly why I haven't found the motivation to explore much further. 2008's "Peasant" sophomore album didn't offer me much in the way of appeal. I did quite like the follow-up in 2010's "Summit" but wouldn't say that it left me feeling entirely convinced either. It wasn't until I had the pleasure of experiencing Thou in a live environment in 2012 that I saw the real potential in them & at that point I committed to giving the Americans another chance. Somehow, that hasn't eventuated though which is one of the reasons that the impact of their brand-new full-length "Umbilical" has been so significant. It's well & truly taken me by surprise & has turned my position on Thou's importance to the global metal scene around in fairly emphatic fashion it has to be said.
"Umbilical" is an ultra-abrasive, super-intense beast of a metal record that wastes very little time with formalities. It's as immediate a release as you'll find, unleashing all of its charms right from the offset as it pulverizes the listener into submission through a succession of savage assaults on the senses. The highlights are nothing short of devastating with the doomier numbers like "Lonely Vigil" & closer "Siege Perilous" being particularly amazing. The incredibly vicious "I Return as Chained and Bound to You" is probably my favourite inclusion though & those three tracks make up a trio of some of the finest examples of the sludge metal genre you're likely to find with the excellent "House of Ideas" not sitting too far behind. The screamed vocals of front man Bryan Funck are the clear focal point & are some of the most ball-tearing & unapologetically violent I've ever encountered which gives the more brutal material an additional edge that sees it achieving the maximum impact available to it. Thou are very much a cohesive unit from an instrumental point of view though so it's hard to pick out individual performances. I will say that I particularly enjoy some of the drum fills which appear at key moments to signal yet another rise in intensity.
I wouldn't say that "Umbilical" is unanimous in its successes though. The tracklisting isn't consistently brilliant enough to achieve my more elite ratings. There's a bit of a lull towards the end of the album with the more accessible "The Promise" sounding a touch out of place, even if it does contain a decent chorus hook that eventually drew me in. It's followed by "Panic Stricken, I Flee" which is the only song that doesn't do much for me but thankfully Thou opted to follow these two which the gargantuan closer "Siege Perilous" which brings things back to where they should be before the end of the release. The rest of the record is rock solid & offers enough in the way of excitement to see me getting very close to pulling out a big score but not quite getting there in the end. Thou should be very proud of what they've achieved here though because, while "Umbilical" may not be the sort of record that you can throw on for any occasion, it serves its purpose extremely well i.e. it severs your limbs from you body & proceeds to beat you with them in a barrage of unrivalled aggression & distain.
For fans of Primitive Man, Indian & Chained to the Bottom of the Ocean.
4/5
Certainly Sonny. I'd be happy to take anywhere up to forty minutes given that there's only the two of us (i.e. Vinny & I) contributing to The Fallen playlists at present.
This nomination has now been posted in the Hall of Judgement.
Misery - "A Necessary Evil" (1993)
In the early days of my death metal band Neuropath, the five of us thought we were kinda out on our own a lot of the time because the Australian extreme metal scene didn't really have anything like us at the time. Although there were other death metal bands scattered around the country, there didn't seem to be any that were dedicated to focusing on the more pure & overtly brutal end of the death metal spectrum in quite the same way that we were. My discovery of Brisbane five-piece Misery definitely threw a cat amongst the pigeons though as it showed us that it was possible for a local act to produce a full-length album that could compete with the Americans in terms of quality. They may not have fallen into that "brutal death metal" camp that we seemed to be so eagerly embraced by but their sound certainly sat right in the middle of the death metal pool in an unapologetic fashion that I found enormous appeal in. I hadn't heard of Misery prior to picking up their 1993 debut album "A Necessary Evil" on CD from my local record store shortly after release but they very quickly became a regular contributor to Neuropath gatherings. I can still vividly recall my first time seeing Misery play live at a tiny inner city venue actually, the five of us all stumbling out of the back of a bong smoke-filled van with Deicide music blaring. Misery were bloody good that night too & that experience would only work to drive our hunger to create a similar storyline with our own recording career. Since that time, I've always held "A Necessary Evil" in very high regard & have followed Misery across the course of their career, having headed back to their early 90's demo days & explored all of their subsequent albums & singles. I also think it would be fair to say that I experienced a sensation not unlike fanboyism when I discovered that Neuropath would be sharing the pages of the latest edition of "Devoured Death" 'zine with the band too & the pleasure I drew from that unexpected experience has led me to pull out Misery's debut for a long-overdue revisit.
The first thing worth mentioning in any discussion around "A Necessary Evil" is the excellent cover art which was likely the reason I first picked up the CD in the first place. The image & logo are extremely death metal & give the listener a pretty reasonable idea of what they can expect to hear inside. The ten tracks included were a collection of material that had been pulled together over the two-year period since the band's inception in 1991, six of which had appeared on Misery's early demo tapes "Sorting of the Insects" & "Astern Diabolus". In fact, the versions of "Septic Octopus" & "I Endure" (my personal favourite) that appear here were taken directly from the "Astern Diabolis" demo. The production job is thick & chunky & played a major role in highlighting all of the things that were great about Misery at the time. It also allowed them to be compared with the thriving international market because, unlike many Australian releases of the time, "A Necessary Evil" didn't sound inferior or demo-quality in any way. Front man Darren Goulding's vocal delivery was truly monstrous but didn't really sound like anyone else in particular either so, when combined with the weight of Misery's swampy down-tuned death metal riffage & eerie lead guitar melodics, Misery presented the listener sound that already owned its own unique identity.
One of the other strengths of "A Necessary Evil" was its consistency. There's not a dud to be found in this lot with the vast majority of the record sitting very much in the realm of the healthy second tier US death metal pool so it's a little disappointing that Misery never managed to break out of their home country a little more than they did. "Body Farm" (which was a re-recording of an early song from the "Sorting of the Insects" demo) sees things descending just a touch from the rest of the material but it's still an enjoyable inclusion nonetheless. The lack of any genuine death metal classics is probably the biggest reason that I never considered one of my more elite scores for "A Necessary Evil", despite the impact it may have had on me personally. Perhaps a touch more brutality might have seen that turning around as Misery generally steered clear of blast beats, focusing more on creating a graveyard atmosphere at mid-tempo which was a feat that they were no doubt very accomplished at.
I've really enjoyed my step back in time with this album this week. It's brought back some wonderful memories of an incredible time in my life which was full of musical discovery. Is "A Necessary Evil" worthy of its glorified position as an Aussie metal classic? Well, yeah... I think it is. I don't think it ever really reaches similar creative peaks to the Death's or Morbid Angel's of the world but the kudos it's earnt for opening up the local scene to the idea that an Aussie act can compete on an international level can't be denied. This record comes highly recommended from this ol' death metal tragic.
For fans of Innsmouth, Abramelin & Psychrist.
4/5
There's really only the one metal tune on Scorpions' 1980 seventh album "Animal Magnetism" which is the closing title track. The rest is about as hard rock as hard rock gets.
This nomination has been posted in the Hall of judgement:
I've passed the nominations for the "Armamentarium" & "Omnicide: Creation Unleashed" albums uncontested & have raised a Hall of Judgement submission for "Let the Tempest Come".
I've passed this nomination uncontested Andi.
I've passed these two nominations uncontested Andi.
I started listening to this playlist while playing with my one year old daughter last night. The Eternal Champion song is a great way to kick off the list. I fucking love the Anthem track. It's one of my most played heavy metal songs this year. I'm very familiar with the Yngwie J. Malmsteen's Rising Force & Blind Guardian inclusions & quite like both of them too.
Katatonia - "Jhva Elohim Meth... the Revival" E.P. (1993)
I believe Swedish doom/death duo Katatonia's earliest work was another one that I picked up from Neuropath vocalist Mark Wangmann during the very early stages of the band with me having borrowed Mark's CD copy of "Jhva Elohim Meth... the Revival" & ripping it for my own private listening. This likely would have been towards the back end of 1993 & I hadn't heard of Katatonia before. I recall finding the material to show a fair bit of promise although the performances were a little more primitive than I'd generally accept. I don't think I was aware of the fact that this release was only ever intended to be a demo until a couple of years later but there was definitely enough quality there to see me giving "Jhva Elohim Meth... the Revival" a few listens & returning to it on the odd occasion over the next couple of years too. I'd pick up a dubbed copy of Katatonia's debut album "Dance of December Souls" from the tape trading scene shortly afterwards & would find a similar level of enjoyment there, although it's fair to say that I never fully committed to Katatonia until I picked up their "For Funerals to Come..." E.P. on CD in 1995. Katatonia would go on to much bigger & brighter things after that & have released records that mean a lot to me over the years. It's been decades since I last heard their initial "Jhva Elohim Meth... the Revival" release though so I thought I'd see how it sounds a good half a lifetime later.
"Jhva Elohim Meth... the Revival" offers five tracks across a seventeen-minute run time with the two pieces that bookend the release being high quality folk & ambient intro/outro style numbers. I really enjoy these two tracks & feel that they actually feel a lot more professional than some of the metal tunes included here which has me wondering if they might have been produced from outside of the band but I can't see any evidence of it online so perhaps not. The three metal songs traverse a variety of quality levels & you can easily see Katatonia defining their sound from track to track. By far the most significant piece is the seven minute "Without God" which was re-recorded for the "Dance of December Souls" album shortly afterwards. Here we see guitarist/bassist Anders Nyström's (Bloodbath/Bewitched/Diabolical Masquerade) talent for creating wonderfully engaging guitar melodies & harmonies in full effect even though he was still only seventeen years of age at the time. This element would become Katatonia's calling card in the coming years but it's surprising just how well defined it already was on this early version of "Without God" & I think I actually prefer this more primitive version over the re-recorded one that can be found on the debut full-length. The other two proper songs are less significant with "Palace of Frost" failing to capture me & containing a few fairly cringy moments, particularly the drastically out of key melodic guitar section. "The Northern Silence" fairs much better & is a reasonably enjoyable (yet still pretty inessential) example of the early Katatonia sound. Renkse's drumming isn't the most accomplished you'll ever hear on this record & is arguably the weak point of the release with his timing leaving a little bit to be desired at times. Interestingly, legendary metal producer/musician Dan Swanö (Edge of Sanity/Odyssey/Witherscape/Bloodbath/Infestdead/Karaboudjan/Pan.Thy.Monium/Ribspreader) contributes the keyboards & clean vocals on this record & is also responsible for the production job which is more than acceptable for a demo recording.
I don't believe I ever heard Katatonia's earlier rehearsal tapes, the first of which was reported to be a crude black metal affair. You can still easily hear the duo's black metal roots on "Jhva Elohim Meth... the Revival" too though, so much so that I'm tempted to label this E.P.'s sound as blackened doom/death as the black metal component seems to be significant enough to warrant it, particularly on "The Northern Silence". In fact, I'd probably go so far as to suggest that this release sounds like a combination of "Gothic"-period Paradise Lost & Rotting Christ's "Non serviam" sophomore album. The howled vocals of front man Jonas Renkse (later of Bloodbath & October Tide) definitely possess blackened elements while there are a number of genuine tremolo-picked black metal riffs included too. It's the doomier & more melodic parts of the E.P. that are the most engaging part of the release though & I'm not surprised that Katatonia ended up committing to that sound moving forwards.
To be open & transparent, I've never rated the "Dance of December Souls" album as highly as most doom/death fans seem to. I certainly find it to be pretty enjoyable but it's never seemed like anything particularly remarkable to me either & I actually don't see it as a noticeable step up from in quality from "Jhva Elohim Meth... the Revival". In fact, on the evidence of this revisit I'm going to suggest that I might even favour the E.P. just slightly over the debut album which I know will probably surprise a few people but neither record can compete with Katatonia's later material as far as I'm concerned. That's not to say that "Jhva Elohim Meth... the Revival" isn't worth a few listens for fans of the genre though because it certainly is. I'd just suggest keeping a little bit of perspective when going about it.
For fans of "Gothic"-era Paradise Lost, early Anathema & Rotting Christ's "Non serviam" album.
3.5/5
Nice one Ben. I was all over this record in June when I was selecting filler tracks for the July "The Fallen" playlist so I'm pumped to give it a big more attention.
Nice selection Karl. I haven't encountered Commander previously.