Daniel's Forum Replies

Windir - "Likferd" (2003)

Norwegian melodic black metallers Windir & I have had a very rocky relationship over the years since I first encountered them very late in my late 1990’s tape trading days. I can vaguely remember digging their 1997 debut album “Sóknardalr” at the time however the melodic black metal movement was still in somewhat of a honeymoon period so it's appeal may have been a touch stronger than it is now that it's been so long since Dissection first ripped us all a new one. I didn’t come into contact with Windir’s more widely celebrated records until 2009 when I took in their three subsequent full-lengths in quick succession with none of them offering me very much in the way of enjoyment. Their accessible & often folky take on the black metal model was very much at odds with my own feelings on what black metal should ultimately be so I found myself struggling significantly the majority of the time. 1999’s “Arntor” & 2001’s “1184” did nothing for me whatsoever but I do have some recollection of Windir’s appeal slowly growing with each release with their final effort “Likferd” coming closest to the mark so this month’s feature release represents a good opportunity to firm up my position on what would ultimately prove to be Windir’s swansong.

Let’s be very clear from the onset, not a lot had changed in the two years since “1184”. Windir had maintained their six-piece lineup & their label Head Not Found Records must have been very happy with the reception for the previous album as they once again engaged former Thou Shalt Suffer bassist Torbjørn Akkerhaugen to produce the band’s fourth full-length album “Likferd” at Akkerhaugen Lydstudio so they were clearly looking to repeat the same formula that had been so successful for them previously. The result is a stunningly glossy sounding record that is as easy on the ear as any black metal release you’re likely to find. The performances are also outstanding with all of the parts being executed with precision. Admittedly the band stay relatively within themselves & keep things uncluttered in the interest of maximum accessibility but I’d still suggest that current Vreid & former Cor Scorpii drummer Steingrim could possibly have upped the ante a bit as his beats are a little lacking in the extremity we’ve come to expect from the genre over the years.

One of the elements that I couldn’t deal with about Windir’s sound previously was their tendency to tip-toe along the borders of the folk metal subgenre. I think most of our regulars will be well aware of my hatred for the vast majority of folk metal releases so I doubt that’ll come as a surprise. Thankfully though, “Likferd” sees Windir keeping their distance from the folk melodies for the most part which was a most welcome discovery. They also indulge in a little more traditional black metal savagery which was also well received with the tracks that offered me the most appeal unsurprisingly matching up with those moments very accurately. There’s still a lot more unintimidating use of melody than I’m comfortable with on “Likferd” though so let’s not get too excited just yet. They’re very much the epitome of the subgenre actually & often accentuate their more epic moments with some borderline cheesy keyboards to further test my patience. Valfar’s vocals aren’t particularly interesting either. They simply sound like ten thousand other black metal front men & don’t stand out all that much due to the fact that I’ve heard it all so many times before.

In fairness, the tracklisting gets off to a decent start with opener “Resurrection of the Wild” being pretty enjoyable. The next four tracks aren’t awful but I can’t say that they offered me too much in the way of appeal. Then we get to album highlight “On The Mountain of Goats” though which is a very solid black metal outing indeed & may even be my favourite Windir track overall to tell you the truth. It's no surprise that it's the least popular track on the album which should tell you something about my compatibility with a band like Windir. At this point I was wondering whether “Likferd” might actually be able to drag a decent score out of me which is a feat that Windir had never come close to achieving in the past. Unfortunately that’s where things descend fairly rapidly though with the last two songs (“Dauden” & “Ætti mørkna”) being absolutely none of my business & ensuring that the album would once again fall on the wrong side of my quality cut-off point.

Look, I don’t think anyone expected me to be dishing out any four-star ratings for a release that sounds like this one but I have to say that Windir had improved a touch with each of their last couple of records being better than the last. It’s perhaps a shame then that band leader Valfar would pass away before he’d had the opportunity to create the release that would eventually see me finally accepting his art. The rest of the band would go on to take part in other Norwegian melodic black metal bands like Mistur, Cor Scorpii & Vreid after Windir disbanded & if you dig those acts then you’ll likely get a lot out of “Likferd” than I do.

3/5

Yeah, it's a hard/blues rock tune for mine. No metal there whatsoever.

What's everyone's thoughts on "Evil Woman, Don't Play Your Games With Me" then? Hard rock? Blues rock? Heavy metal?

After six weeks of trying, I finally managed to secure an interview which I attended yesterday. It went beautifully & I'm reasonably confident of receiving an offer but the only problem is that they want me in the office every day which means three hours of driving every single day. I'm not sure I can keep that up for long periods but I'm considering taking it anyway as it's very much in line with what I'm looking for.

Also, Sphere of Apparition Records have received the Neuropath CDs & tell me that they've come out even better than they expected. They sent me nine copies on Friday so I should receive them in the next few business days. Excited!

I think we're all agreed on the first 4 minutes of Black Sabbath, but I'd say the last two lean into heavy metal.

Wouldn't the traditional doom metal tag cover the 1:40 of heavy metal & psychedelia at the end of "Black Sabbath" given that it's essentially a diluted form of doom?

I think "N.I.B." is close enough to metal. I'm gonna stick my neck out again by claiming it as stoner metal though. It certainly sounds a lot more like Orange Goblin than it does Judas Priest or Iron Maiden in my opinion. The stoner tag also covers the mildly psychedelic feel.

What do we think about "N.I.B." then? Heavy metal? Hard rock? Heavy psych? Blues rock? Traditional doom metal? Conventional doom metal?

I agree that "Behind the Wall of Sleep" is more rock than it is metal. It obviously has that doom riff in the verse but it feels slightly psychedelic in its minimalism & Bill Ward gives it a real swing that's quite foreign for metal. The guitar work in the remainder of the song is unapologetically rock-based though so I'm gonna throw out a curveball here. I know that it wouldn't fly on other websites where they seem to care a lot about when a subgenre tag was first created but I'd suggest that if this track was released by a new band today it would be tagged as stoner rock. That's my hill & I'll die on it.

Here's my review:

You know what’s amazing about the Metal Academy feature release arrangement? Every now & then one of our well-educated members will nominate a release that’s received absolutely no fanfare whatsoever from a band that I’ve never even heard of & it’ll blow my socks off. Sonny’s got a pretty reasonable record in this department too with a recent example being his Dvvell nomination that went on to become our The Fallen Release of 2022 & it would seem that he’s done it again with Plateau Sigma’s “White Walls of Nightmares” album which is a sublime experience that’s deserving of so much more attention than it’s received in the more than a decade since its release.

I’ve seen mention of “White Wings of Nightmares” being released as a single or an E.P. which is kinda silly given its 49-minute duration & album-style format. The reality is that the band regards it as a bit of an experiment & prefers that it’s thought of as a demo which is the reason for the strangely inappropriate format labelling. It contains just the five songs with each being given plenty of time & space to develop. The production job isn’t top tier with the guitars sounding slightly fuzzy but the flaws are minor & shouldn’t make an impact on your listening experience.

I’d describe Plateau Sigma’s sound as being very much a tribute to the great doom/death releases of the early-to-mid 1990’s. You can expect chuggy, mid-paced death metal-inspired riffs & deep death growls mixed in with slower power-chord driven sections layered with gothic clean guitar melodies. There are a number of atmospheric clean sections featuring beautifully executed clean vocals spread across the tracklisting too & I actually found these to be the most effective parts of the album to be honest. Plateau Sigma certainly know what they’re doing in that department with some of these sections reminding me very much of artists Tiamat, Opeth & particularly Anathema with some of the vocals being the spitting image of Vincent Cavanagh (who I absolutely adore just quietly). The chuggy mid-paced stuff is very simple in a My Dying Bride kinda way & is perhaps a touch less engaging than the doomier material but the band mix things up nicely so you’re unlikely to reach for the skip button at any point.

The tracklisting is very consistent with all five songs deserving of your attention. The shortest inclusion “Lunar Stream Hypnosis” is perhaps the least essential of the five but after the first three tracks I was feeling pretty confident that I’d be awarding this release a solid four-star rating. That’s when things get really interesting though because the remaining two tracks are absolutely stunning & are also the longest in duration which saw them having a massive impact on my impressions of the release overall, particularly the epic, slow-building closer “Maira & the Archangel” which is as good as this style of metal gets.

How a release like this one manages to slip through the cracks in the internet age is pretty baffling to be honest. It’s certainly left me wondering what else Plateau Sigma have to offer with their three subsequent (& equally overlooked) full-length albums. If you’re a fan of bands like Anathema, My Dying Bride & Ahab then you owe it to yourself to check this one out guys.

4.5/5

How about "Behind The Wall Of Sleep" then? Hard rock? Heavy metal? Traditional doom metal? Heavy psych? Blues rock?

I would suggest the version that doesn't include "Wicked World" as I think it's better to come up with a position that's relevant to all versions of the album.

Exodus - "Fabulous Disaster" (1989)

San Francisco Bay Area thrash metal legends Exodus fill a very important position in my musical journey in that they were the first band to prove to me that there was more to this extreme metal thing than just the Big Four. It would be Exodus’ 1985 debut album “Bonded By Blood” that would be the catalyst for this moment of glorious realization & that record still maintains a permanent residency in my Hall of Metal Glory as the band’s finest work to this day. This experience would see me further exploring Exodus’ back catalogue with their current release at the time “Fabulous Disaster” being the next stop on the Bay Area thrash train, shortly followed by 1987’s “Pleasures of the Flesh” sophomore album. Neither record would prove to be as classic as Exodus’ unbelievable first-up effort but I really bought into what both albums were selling nonetheless & they went on to play a significant role in my early teenage years as a result. I’ve long suspected that perhaps I might be overrating “Fabulous Disaster” a touch based on the opinions of some of my more reliable peers though so now would appear to be a good time to reassess my position.

“Fabulous Disaster” was the second Exodus full-length to be fronted by former Legacy (aka Testament) vocalist Steve Souza with the remainder of the band having been together since “Bonded By Blood”. As with “Pleasures of the Flesh”, "Fabulous Disaster" was recorded at Alpha & Omega Recording Studio in San Francisco with house engineer Marc Senasac sharing the production duties with guitarists Gary Holt & Rick Hunolt this time after handling them solo on “Pleasures of the Flesh”. Given Senasac’s relatively minimal track record outside of Exodus, I’m guessing that he was an associate of the band. Perhaps they even pushed their new English record label Music For Nations to let them record with him at their local studio again. I dunno but the album sounds pretty good nonetheless. It has that unique Exodus guitar crunch that I love so much. There just seems to be more weight & depth behind their riffs than most other thrash bands can muster & it’s a major drawcard for me being a metal guitarist myself.

Where “Bonded By Blood” was a total thrashfest from start to finish, “Fabulous Disaster” sees Exodus now exploring their creative urges with each track possessing its own unique personality while still staying true to their thrash metal roots. It’s got enough high-intensity violence to satisfy the old-school but enough hooks to entice a new audience into the fold too. Steve Souza’s snarly vocals are a real highlight & when he gets things right (see “The Toxic Waltz” & “Corruption” for example) he gives Exodus a sarcastic yet no less aggressive attitude that I find really appealing. In fact, I’d suggest that he’s probably my favourite of Exodus' three front men. The other highlight is clearly Holt & Hunolt’s ability to create thrash metal riffs of the highest quality & even today I still find my mind going back to these early Exodus albums when I think of great thrash rhythm guitar work. The duo's guitar solos are perhaps a little more expressive & expansive than we’d heard from them before though. They try things that are a little out of the ordinary & it doesn’t always work but it creates an additional point of interest nonetheless. If pushed, I’d probably just prefer that they dropped the fluff & put the pedal to the metal to tell you the truth.

The album kicks off with an absolute belter in “The Last Act of Defiance”, a track that I regard as not only the high point of the album but also as one of the finest anthems of the Bay Area scene as a whole. It’s full to the brim with violence & vitriol which is exactly what I want from an Exodus song. This is followed by the title track which is a touch more accessible but possesses some quality hooks that keep the quality level running high. “The Toxic Waltz” makes up a perfect trio to start the tracklisting & has rightfully gone on to become one Exodus’ most treasured tracks. Souza’s cheeky lyrics & attitude are to die for while the riffs are simply mosh pit heaven. At this stage of their initial listen I’d suggest that most thrash fans would have been gearing themselves up to dish out some of their highest ratings but unfortunately the remainder of the tracklisting isn’t quite as consistently impressive, despite still holding some excellent Exodus material. A misguided cover version of War’s “Low Rider” is the only genuine failure & would seem to have been included merely to fill in time along with another cover version of AC/DC’s “Overdose” which is admittedly pretty good but sits much closer to hard rock than metal so it sounds more than a little out of place at the end of a predominantly thrash-focused record. The original material is all pretty good with the slower & lengthier “Like Father, Like Son”, the middle-finger-in-the-air rebellion of “Corruption” & the firey up-tempo thrashfest that is “Open Season” all being particularly strong. The southern slant to “Cajun Hell” is interesting enough to keep my attention but clearly isn’t peak-time Exodus while the angular, groove-laden riffage of “Verbal Razors” very obviously shows the impact they had on peers like Pantera.

As you can probably tell, the stronger material is clearly in the ascendancy here & it results in a strong & muscular album that I regard as being Exodus’ second-best full-length these days, just edging out records like “Pleasures of the Flesh” & 2005’s “Shovel Headed Kill Machine” & comfortably eclipsing their very popular 2004 comeback album “Tempo of the Damned”. It’s a shame that Exodus have never been able to put it all together consistently enough to deliver a record that compares favourably with their first-up effort “Bonded By Blood” but that’s not to say that I won’t happily take an album like “Fabulous Disaster” every day of the week given that it ticks all of my Bay Area thrash boxes. Fans of bands like Overkill, Testament & Death Angel should regard it as essential listening.

4/5

I completely agree. If you ignore the vocals then it sounds exactly like Led Zeppelin. Bill Ward & Geezer Butler play a swinging groove that gets your toe tapping more than your head banging. I'd suggest that "The Wizard" sits somewhere in between blues rock & hard rock personally. Anyone else have any thoughts on this one?

At least some of the material on "The Sound of Perseverance" was originally intended for Chuck's clean-sung progressive metal project Control Denied so it's hardly surprising that it doesn't sound like death metal.

Ok, let's get a bit more interesting because I don't think anyone was ever gonna argue against "Black Sabbath" being a metal track. We'll put it down with a generic Doom Metal tag for the moment. That brings us to "The Wizard" which isn't as straight forward. What are your thoughts here? Is it metal? How would you tag it? Heavy metal? Blues rock? Hard rock? Heavy psych? Something else?

Sabbat - "Dreamweaver" (1989)

English thrash metal front-runners Sabbat & I have had an interesting relationship over the years. I originally came across them through their 1989 sophomore album “Dreamweaver” in the very early 1990’s & they peaked my interest enough to see me investigating their 1988 debut album “History of a Time to Come” shortly afterwards too. It’s been many years since I last heard the debut but I remember really getting into it back in the day. “Dreamweaver” has been the one that’s gone on to gain most of the accolades though & I don’t recall myself being quite as infatuated as a lot of the gushing online reviews I’ve read in recent times. I certainly enjoyed the album but I can’t say that I ever placed it in the top couple of tiers of the thrash metal hierarchy. It’s been a very long time between drinks though so it’s about time I reached an informed position on one of the more senior thrash records of the late 1980’s.

Sabbat had maintained a steady lineup since “History of a Time to Come” which can’t be a bad thing although they’d since added a second guitarist in the relatively unknown Simon Jones. I won’t argue with that approach as dual guitar configurations have always been the way to go for extreme metal bands as far as I'm concerned. Label Noise Records once again dragged Sabbat over to Berlin for the recording sessions & gave Roy M. Rowland another chance at producing the album following some presumably positive experiences with “History of a Time to Come”. Rowland’s production experience wasn’t limited to Sabbat & also included records like Kreator’s “Terrible Certainty”, Laaz Rockit’s “Know Your Enemy” & “Annihilation Principle”, Midas Touch’s “Presage of Disaster”, Pariah’s “The Kindred” & Satan’s “Suspended Sentence” so he certainly knew his way around a studio. I have to admit that I was expecting something a little cleaner when going into my first revisit of “Dreamweaver” though as Sabbat just seem to give off this proggy vibe which is more about their image than anything musical. The reality is that “Dreamweaver” sounds pretty raw with the guitars slicing the listener like a finely sharpened blade.

“Dreamweaver” bursts out of the blocks with the first two tracks being the most effective on the tracklisting & seeing me holding out significant hope for a high-quality thrash metal journey. Atmospheric spoken word intro piece “The Beginning of the End” sets the scene nicely before album highlight “The Clerical Conspiracy” sets off at a rate of knots & shows Sabbat’s riffs to be underpinned by a Venom-inspired speed metal backbone that holds both energy & urgency. Unfortunately though, I find that “Dreamweaver” never again meets the promise of those early moments, instead feeling a lot more middling for the remainder of the album even if there aren’t many tracks that I consider to be legitimate failures. The lengthy “The Best of Enemies” is the exception to the rule as I find myself getting bored pretty early on which can’t be a good thing. Some of the other tracks offer great sections but they invariably fail to deliver a truly compelling holistic package.

The concept album format, cover artwork & focus on Skyclad front man Martin Walkyier’s lyrics lead one to expect a sound that’s much more progressive than the reality which isn't all that sophisticated or challenging, despite the lengthy song durations. Walkyier’s vocals dominate proceedings as they’re quite distinctive but, if I’m being honest, he can be a little irritating. He kinda sits in the snarly middle ground between Venom’s Cronos & Destruction’s Schmier but potentially overplays his hand a little in the interest of the storyline. He’s also quite monotonous in his delivery so can feel like he's spewing out a constant barrage of words. The riffs rely heavily on aggressive tremolo-picking & sheer speed but are not as interesting as one would hope so the lengthy track durations can tend to drag a bit.

Don't get me wrong, “Dreamweaver” is a pretty good thrash record & I’m probably being a little harsh on it due to the fact that its merits seem to be so unjustly inflated. I’d suggest that you probably have to become involved with it from a lyrical & thematic perspective in order to reap its full rewards though as the remainder is simply not as classic as it’s made out to be. Fans of Holy Terror, Hydra Vein & early Skyclad will no doubt find “Dreamweaver” to be of interest but I can’t see it challenging the Big Four any time soon.

3.5/5

Here's my review from a year or so back:

As most diehard extreme metal fans will know, there’s a rare & highly desirable brand of metal that is destined to forever bubble away beneath the service of the underground scene, leaving its blackened mark on only a chosen few who share knowing nods in dark, smoky dungeons of metal worship without ever daring to give up their unholy secret to those deemed to be unworthy. This particular brand of metal isn’t about glossy production jobs, technical prowess or pushing genres into previously untraversed territories. It’s about presenting extreme metal in it’s most evil & primal form & generally resides within the confines of the unholy trio of extreme metal subgenres i.e. thrash metal, death & black metal. The exact ratio of an artist’s composition isn’t important but it dare not step outside of those three. Additionally, there needs to be an element of mystery about the artist in question with much left to the listener’s imagination. It also helps a lot if these artists have never released an album but existed for just a relatively short time, releasing only a few crude demos, 7 inches or limited edition EPs so that the audience can always be left wondering what could have been & if the most pure realization of metal should stay in the underground forever. Sadistic Intent is one of these acts & I love them all the more for it.

I first discovered this underground Los Angeles death metal outfit back in the early 1990’s through the tape trading scene. From memory I found their 1990 “Impending Doom…” E.P. to be pretty interesting but it wouldn’t be until their 1994 “Resurrection” E.P. that they’d really get me raising an eyebrow or two with their talent for creating raw, dark & authentic old school death metal falling right in line with my musical preference at the time. I followed them onwards in the hope that I’d eventually see a full-length album being released at some stage. I’m glad I didn’t hold my breath because that’s still yet to eventuate but they did manage to release another excellent E.P. before drifting out of my sight in 1997’s highly regarded three-track effort “Ancient Black Earth”.

To cut to the chase, Sadistic Intent are a pure death metal band in the traditional sense of the term. They don’t provide a good imitation of late 80’s death metal here. "Ancient Black Earth" IS late 80’s death metal. It’s just that it was written, recorded & released in 1997. See what I’m getting at? These dudes simply get it. They understand what’s required to create a genuine old-school death metal atmosphere as they’ve clearly lived it. This sort of approach has become somewhat of a trend over the last decade or so & has seen lesser bands elevated to much higher levels of acclaim & fandom than Sadistic Intent can ever hope to achieve. They really are their own worst enemies as not releasing a full-length is never a great marketing ploy but one gets the feeling that they don't really care. The quality of their material however is very hard to deny.

It won’t take you long to figure out who Sadistic Intent were listening to around 1989. I’ll give you a hint. They start with “M” & end with “orbid Angel”. Ya with me? The short 16 minute duration of the “Ancient Black Earth” E.P. sounds almost exactly like “Altars Of Madness” & “Blessed Are The Sick” at times which certainly can’t be a bad thing now, can it? Are they as good as Trey & co? Well… in a word no but then who is? I mean “Altars Of Madness” is the still the greatest death metal release of all time in my opinion so I’ll take whatever I can get. Very few artists have been able to accurately replicate the riff structures that Trey Azagthoth created back in Morbid Angel's hey day but Rick Cortez & Vince Cervera make a really good fist of it here & even do a pretty decent job at the insanely chaotic guitar solos too even though they’re not in the same league as far as technical ability goes. The blast beats at the start & end of the title track (my personal fave) sound like they’ve been torn straight from Morbid Angel’s “Blasphemy” & I frankly lose my shit when that happens. Then you toss in some super-evil yet easily intelligible Dave Vincent-style death growls of pure darkness & I’m 100% in… hook, line & sinker. There are also a few riffs tossed in that remind me more of the early 90’s Swedish death metal sound but they’re very well done & still manage to maintain a blasphemous & undeniably evil atmosphere.

If you’re a fan of 80’s & early 90’s death metal then you probably owe it to yourself to give this E.P. a spin or four. “Ancient Black Earth” provides categorical proof that you don’t have to reinvent the wheel to make high quality extreme metal. Sadistic Intent deliver on their promise with passion, substance & an unquestionable pedigree & in doing so prove themselves worthy of standing alongside their idols. This is underground death metal of a very high quality.

For fans of Morbid Angel, Repugnant & Mortem.

4/5

I have the DVD version of this release & really enjoy it. Looks like it's a 165 minute triple album in the CD format. It certainly won't disappoint fans of the band.

B.B. King - "Blues on the Bayou" (1998)

Electric blues from Mississippi, USA.

"Mentally Murdered" is actually on my playlist for the next week or so. It's been a while since I last revisited it so I'm interested to know how it’s held up.

I didn't misread or mistype my response Rex. I just thought you were saying that the only section of the track that takes things outside of the conventional doom space & into the traditional doom one is the last two minutes which see more up-tempo psychedelic rock & heavy metal components coming into effect. Clearly that wasn't the case but I'd argue that this section is a clear example of the sort of cross-pollination of genres that we generally see in the traditional doom metal model nonetheless.

I completely agree that "Black Sabbath" is a metal track & should have a doom metal tag of some description. I'd argue that it's not just the last 1:40 that represent the traditional doom metal sound though. The clean parts at the start offer both a deep blues & a psychedelic components on top of being extraordinarily doomy. If you've ever gotten extremely stoned to it then you'll know exactly what I'm talking about. The faster crescendo at the end also accounts for a good 30% of the song so I'm gonna go with a traditional doom metal tag but it doesn't make all that much difference in the grand scheme of things given that Metal Academy doesn't differentiate between traditional & conventional doom metal sounds.

Sonny, Morpheus? Thoughts on this? Feel free to disagree.

It looks like it might be just the four of us gents i.e. myself, Sonny, Rex & Morpheus. Perhaps Andi might join us too. It's also looking like Black Sabbath's self-titled debut album is the unanimous nomination as release number one for metal music. In order to set the scene for some interesting discussions moving forwards, I'd like to suggest that we all keep an open mind & do our due diligence before accepting that position. I'm proposing that we examine each track individually & come up with a position on how much of the album is actually metal &, if so, what subgenre it should rightfully fall under. Let's not simply take what other ill-informed sites have to say on the matter. We're better than that. Let's start with the highly celebrated opening track "Black Sabbath". Is it traditional doom metal, conventional doom metal, heavy metal, heavy pysch, hard rock. etc.? Perhaps something else I haven't mentioned? What do you think is the predominant sound there?

Here's the November feature release roster:

THE FALLEN: Morpheus Kitami, Ben, Daniel, Sonny

THE GATEWAY: Andi, Saxy

THE GUARDIANS: Xephyr, Morpheus Kitami

THE HORDE: Sonny, Daniel, Ben

THE INFINITE: Xephyr, Saxy, Andi

THE NORTH: Ben, Sonny, Daniel, Xephyr

THE PIT: Morpheus Kitami, Sonny, Daniel, Ben

THE REVOLUTION: Daniel, Andi

THE SPHERE: Andi, Daniel

Rex & Shezma, do you have any interest in being included in the rosters for your clans moving forwards?

Here are my submissions for the November playlist Vinny:

Pestilence - "Systematic Instruction" (from "Malleus Maleficarum", 1988)

Sacred Reich - "One Nation" (from "Surf Nicaragua" E.P., 1988)

Flotsam & Jetsam - "Hard On You" (from "No Place For Disgrace", 1988)

Forbidden - "As Good As Dead" (from "Forbidden Evil", 1988)

Testament - "The Ballad" (from "Practice What You Preach", 1989)

Num Skull - "Death & Innocence" (from "Ritually Abused", 1988)

Vendetta - "Never Die" (from "Brain Damage", 1988)

There won't be any submissions from me this month Andi.

Here's my submission for the November playlist Andi:

XavlegbmaofffassssitimiwoamndutroabcwapwaeiippohfffX - "Bone Saw" (from "Gore" E.P., 2016)

Here are my submissions for the November playlist Ben:

Archgoat - "Goat & the Moon" (from "The Light-Devouring Darkness", 2009)

Mgla - "III" (from "Age of Excuse", 2019)

Here are my submissions for the November playlist:

Napalm Death - "Morbid Deceiver" (from "The Curse" E.P., 1988)

VoidCeremony - "Forlorn Portrait: Ruins of an Ageless Slumber" (from "Threads of Unknowing", 2023)

Nile - "I Whisper in the Ear of the Dead" (from "In Their Darkened Shrines", 2002)

XavlegbmaofffassssitimiwoamndutroabcwapwaeiippohfffX - "Gore" (from "Gore" E.P., 2016)

Pestilence - "Malleus Maleficarum/Antropomorphia" (from "Malleus Maleficarum", 1988)

Here's my submission  for the November playlist Xephyr:

Cloven Hoof - "Silver Surfer" (from "A Sultan's Ransom", 1989)

No submissions from me this month thanks Saxy.

Here are my submissions for the November playlist Sonny:

Nile - "Ruins" (from "In Their Darkened Shrines", 2002)

Winter - "Eternal Frost" (from "Into Darkness", 1990)

October 2023

01. Ceremonial Oath – “The Day I Buried” (from “Carpet”, 1995)

02. Nightfall – “Ishtar (Celebrate Your Beauty)” (from “Athenian Echoes”, 1995)

03. Quo Vadis – “Legions of the Betrayed” (from “Forever”, 1996)

04. Pyrrhon – “The Mother of Virtues” (from “The Mother of Virtues”, 2014)

05. Morbid – “My Dark Subconscious” (from “December Moon” demo, 1986) [Submitted by Sonny]

06. A Canorous Quintet – “Through Endless Illusions” (from “As Tears” E.P., 1995)

07. Sarmat – “Formed From Filth” (from “Determined To Strike”, 2023) [Submitted by Daniel]

08. FesterDecay – “Rotten Fester Decay” (from “Reality Rotten to the Core”, 2023)

09. Nile – “Wrought” (from “Festivals of Atonement” E.P., 1995) [Submitted by Sonny]

10. Necrophobic – “Unholy Prophecies” (from “The Nocturnal Silence”, 1993) [Submitted by Sonny]

11. Obituary – “Intoxicated” (from “Slowly We Rot”, 1989) [Submitted by Vinny]

12. Gorguts – “Condemned to Obscurity” (from “The Erosion of Sanity”, 1993) [Submitted by Sonny]

13. Frozen Soul – “Atomic Winter” (from “Glacial Domination”, 2023) [Submitted by Vinny]

14. Celestial Sanctuary – “Biomineralization (Cell Death)” (from “Insatiable Thirst For Torment”, 2023) [Submitted by Vinny]

15. Defleshed – “One Grave To Fit Them All” (from “Grind Over Matter”, 2022) [Submitted by Vinny]

16. Tribal Gaze – “Cold Devotion” (from “The Nine Choirs”, 2022) [Submitted by Vinny]

17. Brutality – “These Walls Shall Be Your Grave” (from “Screams of Anguish”, 1993) [Submitted by Sonny]

18. As The Sun Sets – “Untitled One” (from “7744”, 2002)

19. Aevangelist – “Hosanna” (from “Writhes in the Murk”, 2014)

20. Internal Bleeding – “Inhuman Suffering” (from “Voracious Contempt”, 1995) [Submitted by Daniel]

21. Suffocation – “Rapture of Revocation” (from “Pinnacle of Bedlam”, 2013) [Submitted by Daniel]

22. Goemagot – “Too Decomposed to Rape” (from “Eradication of Insignificant Beings”, 2013)

23. The Red Chord – “Fixation on Plastics” (from “Clients”, 2005)

24. Disgorge – “Deranged Epidemic” (from “Cranial Impalement”, 1999)

25. Archagathus – “Drunk As Fuck” (from “Dehumanizer”, 2014)

26. Full of Hell – “Burning Myrrh” (from “Weeping Choirs”, 2019) [Submitted by Daniel]

27. Napalm Death – “Sometimes” (from “From Enslavement To Obliteration”, 1988) [Submitted by Daniel]

Anthrax - "Penikufesin" E.P. (1989)

My initiation to thrash metal hit me like a freight train through Metallica’s “…And Justice For All” album in late 1988 & I’d proceed to throw myself into the Big Four with a commitment that I’ve rarely matched in my life. Anthrax would very quickly find my radar, although admittedly after both Slayer & Megadeth. It would be their 1988 fourth album “State of Euphoria” that would be my first experience with New York’s most notorious thrash exponents & I’d very quickly venture back through their entire back catalogue too. Each new release would be eagerly awaited & purchased on the day of release so when I noticed an expensive imported European vinyl copy of 1989’s “Penikufesin” E.P. (i.e. backwards for “nice fuckin E.P.”) in the local record store I immediately forked out my hard-earned money for it. It was a fairly insignificant release in the grand scheme of things but I had to own literally everything & I remember it being a bit of fun.

“Penikufesin” is your classic example of the metal E.P. in that (with the exception of opener “Now It’s Dark” which is taken from the “State of Euphoria” album) it essentially draws together a bunch of leftover material that wouldn’t fit terribly well on a proper album. “Now It’s Dark” wasn’t one of my personal favourites from that particular record but I definitely have some time for it so it was an enjoyable way to kick things off. It leads into a variation on another track from “State of Euphoria” in a French language version of Anthrax’s very popular Trust cover version “Antisocial”. I’ve always thought that “Antisocial” was one of the weaker tracks on “State of Euphoria” too but it’s still very catchy & serves its purpose quite well here too. The remainder of “Penikufesin” is made up of four additional cover versions that were recorded during the album sessions in Sex Pistols’ “Friggin’ in the Riggin”, KISS’ “Parasite”, Trust’s “Sects” & The Chantay’s “Pipeline”, a collection whose merits are fairly shaky at best. Three of the four songs would be included on 1991’s “Attack of the Killer B’s” compilation with only “Friggin’ in the Riggin” (a B side from the “Make Me Laugh” single) being unique to this release.

“Penikufesin” sees Anthrax in their strongest incarnation with the same lineup that recorded classic albums like “Spreading The Disease”, “Among The Living” & “Persistence of Time” still going strong but it’s also not intended to be taken too seriously & I’m sure that even their label Island Records would agree that its target audience was only ever intended to be diehard fans. English producer Mark Dodson had a fair bit of experience under his belt by that point, having already built up an impressive resume that included not only “State of Euphoria” but also albums like Metal Church’s “The Dark”, Suicidal Tendencies’ “How Will I Laugh Tomorrow If I Can’t Even Smile Today” & U.D.O.’s “Animal House”, so he knew his way around the studio & the release is well presented as a result. I guess it just depends on your personality as to how much value you’re going to find in a release like this one as it sees Anthrax fully exploring their silly side. You know, the one that saw them making a track like “I’m The Man” & galivanting around on stage in surf wear. If that sort of stuff puts you off then potentially so will “Penikufesin” as a whole. Where do I sit on that particular topic? Well, I generally don’t like too much humour in my metal & it’s subsequently taken some of the gloss off the experience if I’m being honest.

Despite my feelings of nostalgia for this record, “Friggin’ in the Riggin” & the silly surf rock cover version “Pipeline” do nothing for me whatsoever while “Parasite” suffers from a very flat chorus after some promising lead-up work. The speed metal version of “Sects”, on the other hand”, is an excellent inclusion & is the highlight of the release for mine. It’s worth mentioning that tracks like “Friggin’ in the Riggin”, “Parasite” & “Pipeline” aren’t exactly thrash metal either. They fall much closer to your traditional heavy metal model only they also possess that punky vibe that was perhaps a little absent on “State of Euphoria” which was admittedly a touch more serious than we’d usually expect from Anthrax too. There’s little doubt that I prefer a thrashier Anthrax. Also, what is the go with American thrash bands producing surfing tunes in the late 1980’s? First it was M.O.D. & Sacred Reich. Now Anthrax too?

I think it’s fair to say that I’ve been a little underwhelmed by this revisit when I consider how much fun I had with records like this one as a thirteen year old. I didn’t know that “Attack of the Killer B’s” was going to be a thing at the time & that's certainly made an impact on the value you might get out "Penikufesin" in the several decades since its release but, when you take a look at it in any sort of detail, “Penikufesin” is still a pretty disposable record, even if I do get quite a bit of enjoyment from a good half of the tracklisting. It’s certainly the weakest release they'd put out since their demo days in my opinion & is very much a release for Anthrax completists only although Overkill, Nuclear Assault & S.O.D. diehards may find something of value in it too.

3/5

Deathrow - "Deception Ignored" (1989)

I’ve been wanting to revisit the 1989 third album from Teutonic thrashers Deathrow for many years now but seem to have been subconsciously procrastinating. I think the reason behind that stems back to a hang-up I had with “Deception Ignored” back in the day. It was the release that introduced me to Deathrow & I was becoming increasingly interested in your more technical extreme metal artists at the time so I was pretty open to indulging in its charms. To be fair, I did find it to be an enjoyable record too but there was always something that got in the way of me fully committing to “Deception Ignored” like so many of my peers were. I’ll save that for a little later in the review but I thought it was worth throwing that little disclaimer out there for why I might not have submitted a rating for such a widely celebrated thrash release up until now.

I think it’s fair to say that Deathrow’s first two albums were drastically different to “Deception Ignored”. They both took a much more traditional approach to Teutonic thrash & are closer in style to bands like Darkness, Vendetta & even Canada’s Sacrifice. Their 1987 sophomore record “Raging Steel” had seen the band starting to toy with a more sophisticated sound but it was nothing terribly extreme. “Deception Ignored”, however, saw Deathrow throwing themselves head over heals into an incredibly complex & progressive record that sat amongst the most ambitious releases the thrash scene had delivered to the time. The level of musicianship had been increased significantly & I’d imagine that even the band’s most diehard fans must have been surprised by what they heard.

This begs the question as to how this all came about now, doesn’t it? Well, it would come in the form of a lineup change to be specific. Guitarist Thomas Priebe had decided that life as a musician was not for him & had been replaced by the relatively unknown Uwe Osterlehner who, despite never having played in a band of this magnitude before, was extremely proficient at his instrument. Uwe played a major role in the writing process & the band tended to go along with the direction he wanted to take which resulted in a landmark release for the Teutonic thrash scene. Legendary German metal producer Harris Johns (who had already produced a slew of important releases such as Helloween’s self-titled E.P. & “Walls of Jericho” debut album, Kreator’s “Pleasure To Kill”, Sodom’s “Agent Orange” & Voivod’s “Killing Technology” & Dimension Hatross”) was once again responsible for the production duties & managed to nicely balance the raw electricity of Deathrow’s roots with the clarity required to pull off such technically challenging song structures so one would imagine that the band’s label Noise Records would have been thrilled with the outcome.

“Deception Ignored” is the very epitome of the technical thrash metal sound in that it never forgets where Deathrow came from but consistently explores highly progressive concepts in its composition. The guitar work in particular is stunning in its scope but the performances are never polished enough to leave you forgetting that the album has come from the Teutonic scene & that’s an element that I really appreciate in this record. The ripping guitar solos are right up my alley while drummer Markus Hahn sounds like he’s hanging on for dear life at times but he somehow manages to hold it all together which gives the album some added tension. Unfortunately this brings us to the major flaw that I mentioned earlier & it’s this component that single-handedly derails Deathrow’s chances of receiving a premium rating from me. Bassist Milo simply can’t sing this shit to save his life & that’s not me being overly harsh. I wasn’t the biggest fan of his inconsistent performance on “Raging Steel” but he’s reached an all new level of pitchiness here & it’s effectively nullified most of the great instrumental work (at least it has for me). Some people can’t tolerate Vio-lence’s Sean Killian or Exodus’ Paul Baloff but I’d comfortably take either of those gentlemen over this shit show any day of the week, particularly Milo’s higher-register squeally stuff which I find to be particularly grating.

All qualms aside, it’s hard to fault the tracklisting on “Deception Ignored” as every one of the eight tracks included offers a number of highly engaging instrumental passages. Some of them remind me quite a bit of classic Voivod which leaves me asking the question about Harris Johns’ involvement in the song-writing process given his contribution to some of the Canadian progressive metal legends’ finest work. The album actually starts in pretty solid fashion & halfway through my first revisit I was thinking that I might be on my way to a four-star rating off the back of high-quality efforts like opener “Events in Concealment” & lengthy instrumental “Triocton”. Unfortunately some of Milo’s poorer performances start to take their toll through the middle & back end of the tracklisting though with only the thrashier closer “Bureaucrazy” seeing things restored to their earlier promise.

So ultimately, “Deception Ignored” is a highly creative yet deeply flawed tech thrash record in my opinion. I’d take it over Deathrow’s 1986 debut album “Riders of Doom” but I give “Raging Steel” a slight edge over its more highly praised younger sibling these days. If you’re a diehard fan of tech thrash artists like Coroner, Realm or Аспид then you’ll probably want to see for yourself as there’s really not a lot of options in this space but I’m afraid I can’t say that I can justify the claims for “Deception Ignored” being an essential release with such an obvious vocal flaw.

3.5/5

However, this leads to another question: if it was all released later, how much does it contribute to the genre back then, assuming it was ever heard at all?

That's entirely my point actually. The intention behind this exercise is to give people a road map of the releases that built the scene. I don't think you can say that archival releases have had much of an impact in the majority of cases. This also leads into the question of when a release is popular enough to be relevant too but I don't think that'll be an issue for some time yet so it's a conversation for another day.

Good question Sonny & that sort of thing was something I pondered over yesterday when considering a release like Motorhead's "On Parole" which was technically finished in 1976 but wasn't released until 1979. Personally, I think if we're to keep things historically accurate we have to take each release on its actual release date. I'm certainly open to going the other way if that was the consensus though.

I'd like to get at least five of us contributing to this exercise to make it valid so hopefully a few more members put their hand up today.

I'll give my vote to Black Sabbath's debut as ground zero for metal. Half of the tracklisting wasn't metal but all of the most important tracks were clearly metal as fuck so it certainly qualifies in my opinion.

Deep Purple had a few albums before "In Rock" Rex. Is "In Rock" the only one of their first four that you consider to be metal or would you like us to consider any of those earlier releases? I completely agree with you on Led Zeppelin. The greatest hard rock band that's ever lived but certainly not a metal band.

Andi, Morpheus, Ben, Vinny, Saxy, Xephyr, SilentScream, etc? Would any of you like to be involved in this exercise?

So, are you in or are you out Rex? I don't want people coming into this exercise with agendas as that defeats the purpose. You're free to do whatever you want with your own lists though so I don't know why that should come into it. The fun part is the process more than the outcome & people are encouraged to challenge the status quo in the interest of healthy discussion but majority will rule at the end of the day. Everyone will be entitled to state their cases prior to reaching that outcome though. Where there are initially mixed feelings on the validity of a particular release, we'll examine it track by track as a group in order to come to an agreed membership consensus. Anyway, are you nominating "Deep Purple In Rock" for consideration as the very first metal release?

Personally, I like to have the extra 10% flexibility for releases where the most important songs are the metal ones but where metal doesn't quite make up half the album. 30% definitely doesn't seem like enough to me but I'm OK with 40%. What do the rest of you think is a fair cut-off point for this exercise?

I agree. I've always felt the "Heartwork" cover was pretty ordinary.

Johnny Winter - "Nothin' but the Blues" (1977)

Electric blues from Texas, USA.

That said, Giger's work appears on a lot of albums, including Celtic Frost, Danzig, Atrocity, Sacrosanct, and even Carcass' Heartwork.

Let's not forget the most highly regarded & widely celebrated releases ever to don Giger's artwork in the Neuropath demos Ben.

I can't say that I hear much of the neoclassical component that others have highlighted to be honest.

Ratos de Porão - "Brasil" (1989)

As with most obsessive thrash metal fanatics at the time, I was completely oblivious to the existence of Brazilian legends Ratos de Porão until their countrymen Sepultura blew up with their classic 1989 third album “Beneath The Remains”. Max, Igor & co. were very proud of their homeland & subsequently highlighted to interviewers all of the fantastic metal talent they were surrounded by back home which resulted in me seeking out a few of the more underground bands they mentioned with Ratos de Porão being one of them. The São Paulo crossover kings had been a part of the local crust/hardcore punk scene for almost a decade by that stage so they’d already built somewhat of a legacy in their country by the time Sepultura began pushing their cause internationally but their 1989 “Brasil” fourth album would be my introduction to them in the very early 1990’s.

Their newly found fame saw Ratos de Porão following in Sepultura’s footsteps by graduating from the safety of local Brazilian label Cogumelo Records & joining them at Roadracer where “Beneath The Remains” had just reached stratospheric levels of popularity. Roadracer would engage a serious producer too in German Harris Johns whose resume already included a long string of classic metal records such as Helloween’s self-titled E.P. & “Walls of Jericho” debut album, Kreator’s “Pleasure to Kill”, Voivod’s “Killing Technology” & “Dimension Hatross” & Sodom’s “Agent Orange” so one would think that the Brazilians would have been freaking the fuck out & wondering what they’d done to deserve such luck. Roadracer even sent them over to Germany for the recording sessions which must have seemed so out of line with their experiences to the time. Johns did a great job at harnessing the raw energy of Ratos de Porão’s hardcore roots while also instilling their sound with an all-new clarity & professionalism.

Ratos de Porão’s 1987 “Cada dia mais sujo e agressivo” third album had seen them taking their first steps into thrash territory after 1984’s “Crucificados pelo sistema” & 1986’s “Descanse em paz” had apparently been predominantly hardcore based. I’ve not explored those early releases before but I do quite like “Cada dia mais sujo e agressivo” which presented the band’s intensity quite nicely. “Brasil” saw Ratos de Porão returning with the same four-piece lineup & laying down seventeen tracks of short, sharp metallic hardcore which doesn’t pretend to reinvent the wheel in any way, instead opting to engage the listeners limbs for the purpose of violent thrashing & open aggression. At just 29 minutes in duration, “Brasil” doesn’t overstay its welcome & serves its purpose very well indeed for those with a penchant for this sort of thing. It can get a little samey if you're not entirely onboard with the band's default sound though so you'll likely know very early on whether this record will appeal to you or not.

The tracklisting opens beautifully with two of its finest inclusions in “Amazonia Never More” (my personal favourite) & “Backwards” before settling into a consistently engaging yet slightly less impressive sound that often sees them toying with silly hardcore calling cards without allowing them to outstay their welcome. The back end of the record sees Ratos de Porão finishing in style with songs like “Military Machine” & closer “Will I Receive My Heritage” being of a similar quality to those first couple of tracks so you definitely come out of the record on somewhat of a high. Novelty track “Drink Til You Die” is the only genuine failure in my opinion as it simply sounds a bit dumb compared to the rest of the tracklisting. The musicianship is excellent throughout the album (particularly the solid drumming) & we even get a few well executed & exciting guitar solos which isn’t something I can say for all that many hardcore bands. The more up-tempo parts are clearly my comfort zone with the groovier hardcore moments offering me significantly less appeal but the occasional use of half-time Dave Lombardo-style ride cymbal work is always welcome. The fact that Ratos de Porão never stay in one place for all that long is a definite positive because even when they start to drift away from my taste profile they’ll inevitably start to head back within seconds.

Crossover thrash has never been a subgenre that sees me reaching the highest peaks of the extreme metal world so my scoring is generally capped around the four star region & “Brasil” does nothing to change that but is certainly one of the stronger examples of the style you’ll find. I particularly enjoy the gruff, masculine vocals of front man João Gordo which are undeniably Brazilian in nature & will no doubt remind many of a young Max Cavalera. Ratos de Porão would be consistent producer of this sort of record for the many decades since but “Brasil” may well be their finest work & fans of bands like The Exploited, D.R.I. & Soziedad Alkoholika should definitely give it a few spins.

3.5/5

Here's my updated Top Ten Crossover Thrash Releases of All Time list which has seen Excel's "Split Image" dropping out:

01. Suicidal Tendencies – “Lights Camera Revolution” (1989)

02. S.O.D. – “Speak English or Die” (1985)

03. Agnostic Front – “Cause For Alarm” (1986)

04. Cryptic Slaughter – “Convicted” (1986)

05. The Accused – “The Return Of… Martha Splatterhead” (1986)

06. Agnostic Front – “Liberty & Justice For…” (1987)

07. Ratos de Porão - "Brasil" (1989)

08. Attitude Adjustment – “American Paranoia” (1986)

09. Crumbsuckers – “Life Of Dreams” (1986)

10. Permanent Damage - "End of Innocence" (1987)

https://metal.academy/lists/single/174

Metal Church - "Blessing In Disguise" (1989)

San Francisco-based heavy metal legends Metal Church have been a part of my life since way back when I was in my very early teenage years with their 1989 third album “Blessing In Disguise” being my entry point to the band. My introduction came through the inclusion of opening track “Fake Healer” on a late-night underground metal radio program I used to listen to religiously while recording it for repeat listens during the coming week. That experience would lead to me exploring all three of Metal Church’s 1980’s albums during the next few months, all of which I got some level of enjoyment out of. With my life-long obsession with a more extreme brand of metal just kicking off at the time though, I’d opt not to follow Metal Church into the 1990’s & have heard very little of the eleven subsequent full-lengths they’ve released since 1989. I did enjoy the tracks I heard from their 1991 fourth record “The Human Factor” back in the day but never committed to giving the album a comprehensive review while the only other experience I’ve had with Metal Church has come through their 1981 “Red Skies” demo which I found to be decidedly average. Around seven or eight years ago though, the Metal Academy podcast saw me returning to Metal Church’s self-titled debut for an in-depth historical review & I found it to be a less consistent record than I remembered it to be although it’s highlights were nothing short of mind-blowing. I revisited 1986’s “The Dark” sophomore album only a few months ago &, once again, found it to lack the impact it had during my youth. Both are certainly entertaining records in their own right but I can’t say that I class either of them as being essential these days which leads me back to where I started with Metal Church i.e. their 1989 third full-length “Blessing In Disguise”.

Metal Church had undergone a couple of fairly major line-up changes in the three years since “The Dark” with front man David Wayne & founding guitarist Kurdt Vanderhoof having been replaced by Heretic vocalist Mike Howe & Blind Illusion axeman John Marshall (who was famously also James Hetfield’s guitar technician). Drug addiction had gotten the better of Wayne & there are conflicting reports as to whether he quit in order to focus on his rehabilitation or was fired by the remaining band members but he’d go on to form Seattle thrash metal outfit Reverend the following year. Vanderhoof had decided to put all of his time into learning how to produce & engineer records but would remain a part of the Metal Church family in some capacity as he’d continue to contribute to the song-writing despite no longer being a full-time member of the band. Both would return as full-time members of Metal Church almost a decade later in 1998.

Metal Church’s label Elektra Records would engage producer Terry Date for the “Blessing In Disguise” sessions. Terry had produced Metal Church’s highly praised 1984 self-titled debut album & had also handled the engineering duties for “The Dark” so one would imagine that he was almost a part of the furniture by that point. He was also accumulating a pretty decent production resume that already included Fifth Angel’s self-titled & Liege Lord’s “Master Control”, both of which are considered to be minor US power metal classics these days. “Blessing In Disguise” doesn’t sound quite as good as you’d imagine it might though to be honest. Metal Church would certainly have benefited from a thicker, chunkier guitar tone & I’m not the biggest fan of the snare sound either. There’s also a fair bit of variation in sound between the various tracks which is a little bit dodgy. These production issues aren’t a deal breaker by any means but they’re worth mentioning nonetheless as I think “Blessing In Disguise” could have been a fair bit better if it was presented with a heavier aesthetic.

The tracklisting kicks off in massive style with the before-mentioned “Fake Healer” being an all-time classic of the US power metal movement in my opinion. Powerful new front man Howe makes an immediate impact & proves himself to not only be a match for Wayne but to possess a potency that Wayne would struggle to match. Howe sounds noticeably more epic & reminds me of some of the bigger voices in metal like WASP’s Blackie Lawless or Blind Guardian’s Hansi Kursch. In fact, I’d suggest that he’s one of my all-time favourite heavy metal singers so his acquisition can only be deemed to be positive as far as I’m concerned. Unfortunately though, the remaining eight tracks struggle to meet the same stratospheric levels as “Fake Healer” but that doesn’t stop the album from achieving a new-found consistency that was missing on either of the two previous records, both of which suffered from a couple of duds. The first two thirds of the tracklisting are particularly solid with the quality dropping a touch over the back end. Other than the prestigious opener, some of the highlights include “Badlands”, “Rest in Pieces (April 15, 1912)”, “Of Unsound Mind” & “The Spell Can’t Be Broken”.

Stylistically, “Blessing In Disguise” is the very definition of US power metal sound with the tracklisting being a combination of heavy metal, power metal, thrash metal & speed metal. Interestingly, I find the couple of faster, more thrashy tunes (“It’s A Secret” & “Cannot Tell A Lie”) to be some of the least impressive inclusions which is out of line with my taste profile. It’s worth noting though that, as with both of Metal Church’s previous albums, any attempts to tag this record as a genuine thrash or speed metal release are overly ambitious as there is far more of a classic heavy metal vibe going on here. The thrash/speed metal material represents more of a changeup than anything.

I dunno how much to put down to my preference for Howe’s vocals but I can’t help but find “Blessing In Disguise” to be my favourite Metal Church record these days. Perhaps nostalgia has played a role in that position given that it was my introduction to the band at such a young age? It’s certainly possible but I suspect not. I just think those first couple of albums suffered from some inconsistencies in quality while this one seems to have overcome that issue. If you’re into American bands like Flotsam & Jetsam, Savatage & Vicious Rumors then “Blessing In Disguise” should be essential listening.

4/5

Here's my updated Top Ten US Power Metal Releases of All Time list with Titan Force's self-titled debut album dropping out to make way for "Blessing In Disguise":

01. Crimson Glory - "Crimson Glory" (1986)

02. Iced Earth - "Alive in Athens" (1999)

03. Manowar - "Into Glory Ride" (1983)

04. Medieval Steel - "Medieval Steel" E.P. (1984)

05. Crimson Glory - "Transcendence" (1988)

06. Metal Church - "Blessing In Disguise" (1989)

07. Queenryche - "The Warning" (1984)

08. Riot - "ThunderSteel" (1988)

09. Fates Warning - "The Spectre Within" (1985)

10. Griffin - "Flight of the Griffin" (1984)

https://metal.academy/lists/single/127

Here's my new Top Ten Power Metal Releases of All Time list with Kamelot's "One Cold Winter's Night" live release being pushed out by Helstar's "Nosferatu":

01. Kamelot - "The Black Halo" (2005)

02. Iced Earth - "Alive In Athens" (1999)

03. Unleash The Archers - "Apex" (2017)

04. Lost Horizon - "Awakening The World" (2001)

05. Blind Guardian - "Imaginations From The Other Side" (1995)

06. Lost Horizon - "A Flame To The Ground Beneath" (2003)

07. Helstar - "Nosferatu" (1989)

08. Blind Guardian - "Nightfall In Middle-Earth" (1998)

09. Blind Guardian - "Live" (2003)

10. Blind Guardian - "Somewhere Far Beyond" (1992)

https://metal.academy/lists/single/139

Do you mind me asking how you score your releases out of 100 Rex? I assume there's some sort of calculation tool that helps you to come up with those results?

Helstar - "Nosferatu" (1989)

I think it’s fair to say that my experiences with Houston-based US power metal outfit Helstar’s 1980’s releases have been a bit of a mixed bag up until now. My initial impressions of them weren’t particularly positive after reviewing their 1984 debut album “Burning Star” for the Metal Academy podcast many years ago but I can certainly see a lot more potential in them after checking out 1988’s highly regarded “A Distant Thunder” third album last month which has left me wondering whether their supposedly classic 1989 fourth album “Nosferatu” might be the one to hit a home run for me. Let’s find out.

A level of stability can only a good thing for a band that’s building towards something significant & Helstar have certainly benefited from a bit of that with “Nosferatu” not only seeing them returning with the same lineup that was so successful for them on “A Distant Thunder” but also with the same producer in Metal Blade’s prolific house engineer Bill Metoyer. Bill had built up quite the resume by that point in his career with his list of production achievements now including the likes of Trouble’s “Psalm 9” & “The Skull”, Flotsam & Jetsam’s “No Place For Disgrace” & Sacred Reich’s “Surf Nicaragua” so he’d become a significant asset for label head Brian Slagel at the time. Bill’s done a splendid job at harnessing the nuances of Helstar’s sound here too with the band possessing a potent metallic edge but also the clarity to make out every bell & whistle they throw at the listener & there are more than a few of those.

To be more specific, Helstar had always pushed a slightly more complex sound than the majority of their competition but “Nosferatu” is not only the most aggressive release they’d released to the time but it’s also by far & away the most technical & progressive. In fact, it baffles me as to why this album isn’t tagged as progressive metal because it’s clearly ambitious enough for it. Its core sound is the very essence of what the US power metal movement was all about though in that it combines a high-tempo brand of power metal & thrash metal instrumentation with a soaring, operatic & theatrical vocal performance from front man James Rivera (Destiny’s End/Malice/Vicious Rumors/Seven Witches). There’s really very little traditional heavy metal on offer so our current tag is clearly inappropriate, as is the speed metal one because the faster material is better served by the power metal tag given the vocal style & over-the-top performances.

The album is chock-filled with technical flourishes that dazzle the listener as they’re executed with both energy & precision. To be honest, they can sound a bit fiddly at times & I definitely find myself more attracted to the thrashier & slightly more simple material. Perhaps that’s got a lot to do with my aversion to the European brand of power metal because “Nosferatu” has a fair bit of crossover in that department. In fact, Rivera’s vocal performance is definitely too theatrical for my taste & represents somewhat of an obstacle for me. It’s hard to be too critical though as the album is just so unapologetically metal & the contributions of the instrumentalists are outstanding with the dual guitar attack of Andre Corbin & Larry Barragan now possessing some mean chops that enable them to pull off some searing, face-melting solos.

Much like “A Distant Thunder”, I found myself enjoying the entire tracklisting here but can’t quite seem to convince myself to reach for my higher scores. This definitely comes down to taste as much as anything as there’s very little doubt that “Nosferatu” is a quality example of its type. Most fans seem to get hot & heated over the start of the record but I find that the tracklisting doesn’t really start to hum until a particularly solid run from tracks six to nine. I think that has something to do with the A side being more power metal-heavy while the proggier & thrashier material tends to come a little later on & is more in line with my taste profile.

I have to admit that I’ve remained fairly oblivious to the vampire themes that apparently pervade the first side of “Nosferatu” which won’t surprise most of our long-term members as I rarely care much for lyrical concepts. Despite that though, the musical themes that the album is pushing are pretty impressive & I’ve found them to give me a touch more enjoyment than I’ve received from either of the earlier Helstar albums I’ve investigated to date. However, I still can’t say that I’m convinced by this particular arm of the US power metal scene as it’s simply too theatrical & over-the-top for me to fully commit to. Give this record a snarlier thrash singer & I’d likely be all-in though. That said, Agent Steel, Liege Lord & Sanctuary fans will be absolutely all over this record, particularly if they also enjoy the more progressive end of the US power metal spectrum.

3.5/5

Titan Force - "Titan Force" (1989)

Colorado Springs five-piece Titan Force are another highly regarded US power metal exponent that I was relatively unaware of until recently. I’ve been developing a bit of a taste for the more muscular, aggressive & generally epic brand of heavy metal that was coming out of America during the mid-to-late 1980’s so my ears pricked up when I heard mention of this little band &, more specifically, their 1989 self-titled debut album which is apparently regarded as something of a minor classic by aficionados of the movement. Titan Force are very much a family arrangement with the three founding members being a trio of siblings in Mario, John & Stefan Flores who had been floating around the traps since 1983. Things really didn’t start to happen for the band until 1987 with the recruitment of talented Jag Panzer & Satan’s Host front man Harry Conklin who they’d been in contact with since their early days supporting Jag Panzer. This 1989 debut full-length would be Titan Force’s first proper release & it’s a bit of a belter as well just quietly.

The self-titled album would be released on little-known German label US Metal Records who released a short string of US & Swedish heavy metal albums between 1986-90 before disappearing off the face of the earth. “Titan Force” would be the label’s only major success but I’d imagine that they would have had to wait many years to see any sort of compensation as this record seems to have been more of a slow burner than anything else & has probably only come to most people’s attention since the internet came to prominence. The album was recorded at Titan Force’s local Colorado Sound Studios in Denver & I can’t find any information on a producer so there may not have been one allocated with the house engineer simply handling the logistics of recording the band. If that was the case then the results are more than acceptable with the record offering a clear & uncluttered sound that’s no doubt assisted by Titan Force’s natural tendency to leave plenty of space.

To elaborate on that a little more, Titan Force play things pretty safe for the most part & never seem terribly rushed. Instead, they stay within themselves for the majority of the record & focus a lot more of their attention on creating simple yet tight heavy/power metal riffs that enable Conklin’s vocals the room to ensure they secure the maximum effect. This translates into a fairly low-tempo album by US power metal standards but the quality of the riffs & the theatrical eccentricities of Harry’s operatic vocals combine beautifully with some high-quality guitar solos to make for a fascinating heavy metal record that very much fits the bill for US power metal qualification.

The tracklisting is fairly consistent with just the one blemish in the dull “Blaze of Glory” which sits far too close to the European brand of power metal for my liking. The lumbering heavy metal pacing of “Master of Disguise”, the Queensryche-inspired “Lord Desire” & the wonderful album highlight “Toll of Pain” are my pick of the bunch with progressive influences seeping into a couple of tracks like “New Age Rebels”. There’s even a neoclassical guitar shred instrumental that reminds me very much of Vinnie Moore included which was a nice touch.

I’ve really enjoyed “Titan Force”, particularly the highlight tracks which have somewhat carried the album. Much like Dutch heavy metallers Picture, Titan Force seem to really know the value of the riff as not only a focal point but also as a song-writing accompaniment which was a very wise decision when you’ve got such a well-credentialled front man of Conklin (who sounds quite a bit like Queensryche singer Geoff Tate at times just quietly). If you can tolerate the classic theatrical, higher-register power metal style of vocal delivery then I’d suggest that you should definitely check “Titan Force” out, particularly if you’re a fan of US power metal bands like Heir Apparent, Hittman & Slauter Xstroyes who play in similar spaces.

4/5

Here's my updated Top Ten US Power Metal Releases of All Time list with Queensryche's debut E.P. dropping out to make way for "Titan Force":

01. Crimson Glory - "Crimson Glory" (1986)

02. Iced Earth - "Alive in Athens" (1999)

03. Manowar - "Into Glory Ride" (1983)

04. Medieval Steel - "Medieval Steel" E.P. (1984)

05. Crimson Glory - "Transcendence" (1988)

06. Queenryche - "The Warning" (1984)

07. Riot - "ThunderSteel" (1988)

08. Fates Warning - "The Spectre Within" (1985)

09. Griffin - "Flight of the Griffin" (1984)

10. Titan Force - "Titan Force" (1989)

Thanks Sonny. Most appreciated. :)