Daniel's Forum Replies

Cathedral – “Phantasmagoria” (from “The Ethereal Mirror”, 1993)

Type O Negative – “Bloody Kisses (A Death In The Family)” (from “Bloody Kisses”,1993)

Paradise Lost – “Joys Of The Emptiness” (from “Icon”, 1993)

Depression - "Australia, Australia" E.P. (1985)

Until recently, my exposure to Melbourne hardcore punk/crossover thrash outfit Depression was limited to their 1988 sophomore album "Thrash Till Death: Studio Tapes" which I picked up on while still a just a young chap that was finding my way in the Sydney extreme metal scene of the early-to-mid 1990's. I tended to associate with members of older bands at the time, often through my girlfriend who was fairly well connected & knew everyone that was everyone in the local scene. We used to frequent metal shows & goth night clubs on weekends, events that often ended up continuing on at someone's house so that the debauchery that was going on at the club had the opportunity to play out more fully behind closed doors. It was at these after-parties that I'd discover a lot of the more underground Australian metal releases with them being played at loud volumes by older & more experienced metalheads while everyone partook in whatever ungodly shenanigans they were into at the time. It was in that environment that I'd first hear Depression who I was led to believe had transitioned from their early days as a hardcore punk act for that particular release. I knew pretty much fuck-all about hardcore back in those days so I assumed that Depression's second album would be the only one of their releases that might interest me but my experiences over the last few weeks have proven otherwise & have also shown me that this Melbourne act played a far more significant role in the early Australian thrash story than they're generally given credit for, being largely absent from the conversation on documentaries such as "Thrash or Fuck Off!" which details the early players who contributed to the birth of the thrash metal movement in this country.

By late 1985, Depression had put out a fair bit of material from the time they first formed in 1982. There are a couple of early demos floating around with 1983's "Body Dump" tape being a relentless, high-speed hardcore assault that struggled to contend with a rubbish production job. 1984's "Money Chain" single saw the band starting to add more variety of tempo & incorporating chuggy, palm-muted riffs that were more commonly found in metal, a concept would be further expanded on their self-titled debut album that would be released in March of 1985. In fact, "Depression" would actually include four or five genuine crossover thrash tracks amongst the twenty-six short bursts of energy it contained & some of that material would likely have represented the most extreme music to come out Australia to the time as far as I can see. The "Australia, Australia" E.P. would appear eight months later in November 1985 &, unlike most local metal historians, I believe that it's here that the Aussie thrash (& subsequently extreme metal) story first begun.

"Australia, Australia" contains nine short tracks that fly by in quick succession but there's enough variation in their approaches to allow the individual tracks the chance to differentiate themselves from one another. The E.P. still sounds very much like a hardcore release from a production point of view with a layer of dirt & grime having been allowed to protect the song-writing from ever becoming too accessible & this is further accentuated by the snotty punk vocal delivery of Spike whose journey with Depression would end after this release. Original drummer Danny had been replaced with Nothing Sacred & future Hobbs Angel of Death skinsman Sham Littleman who delivers a high energy & very capable performance here but would move on to other things before Depression's next studio effort. The most noticeable difference between the "Depression" album & "Australia, Australia" though is the significantly increased ratio of punk to metal in the guitar work of band leader Smeer whose riffs now appear to unapologetically showcase the influence of bands like Slayer, Anthrax & Exodus which made for a much more appealing prospect for this ol' thrasher. In fact, the role that this component plays in the sound & feel of "Australia, Australia" is so important in its aesthetic that I find it impossible to understand how the E.P. hasn't been claimed as a crossover thrash record previously with no sign of any such connections being found online outside of the band themselves claiming that their sound combined punk & metal in interviews. When you listen to the releases of the other supposed early thrash bands of the local scene from the same period (see Nothing Sacred, Renegade, Prowler, Armoured Angel, etc.), you'll discover that Depression were really the only ones who had any right to claim that they were a genuine thrash metal act too which makes their omission from the discussion even more perplexing.

Of the nine songs on offer, I'd suggest that seven of them have a strong enough metal component to be tagged as crossover thrash while the short & violent "TV Lies" & "Dirty Fucken USA" stay predominantly in hardcore territory & "The Plan" takes kind of an each-way bet. This is all good shit though with Depression continuing to prove themselves to be capable song-writers by not delivering a single dud track. The energy levels are infectious & I honestly struggle to keep still during this record which can only be a good sign given the importance of the physical reaction in music of this intensity. Regardless of which genre they should rightfully belong to, it's hard to deny that the title track, "TV Lies", "The Box", "Eternal Genocide", Copper Chopper" & closer "The Side Up" are all really solid & enjoyable anthems for a misspent youth &, while I'm not usually all that big on crossover thrash, I'd have to suggest that this leaves "Australia, Australia" sitting up in elite territory when it comes to my more favoured crossover releases which is really saying something.

It's honestly baffling that a release like this one has managed to not only go unrecognised by the Australian metal scene for so long but has also failed to gain the sort of attention it deserves from the hardcore market too from what I can see online. While I may not be the most knowledgeable reviewer on the topic of hardcore history, I definitely know good music when I hear it & this is it ladies & gentlemen. It's also worth noting that 1985 would be the year that the earliest crossover thrash releases of any note would first see the light of day on a more global scale (S.O.D.'s "Crab Society North" demo & "Speak English or Die" album, D.R.I.'s "Dealing With It!" album, Slaughter's "Surrender or Die" demo, Concrete Sox's "Your Turn Next" album, Corrosion of Conformity's "Animosity" album, etc.) so that makes "Australia, Australia" a little more significant from an international & historical perspective as well, particularly given that I regard it as a stronger record than a good chunk of those releases. Now, if that sort of statement doesn't encourage the old skate-punk in you to explore this criminally undiscovered Aussie gem then I'm not sure what will. Get stuck in guys!

For fans of D.R.I., Suicidal Tendencies & S.O.D.

4/5

Ben, please add 2012’s “Rats Will Have Their Feast” from Melbourne thrash metallers Tyrus. 

Finnish doom/death outfit Swallow The Sun have a new album coming out entitled "Shining". I've enjoyed everything I've heard from these guys over the years so I've got this one on my list to check out during the year. I don't think I got to their last few releases though so it'll be interesting to see where they're at musically these days.

Dream Theater - "Live at the Marquee" E.P. (1993)

By the time I finally got to Dream Theater's first live release "Live at the Marquee" some time around 1997/98, the Boston progressive metallers had become one of my very favourite metal bands. I'd been blown to pieces by their classic second & third albums (1992's "Images & Words" & 1994's "Awake") which had seen me further indulging in their 1989 debut album "When Dream & Day Unite" & 1995 "A Change of Season" E.P. & my urge to seek out more of this wonderfully complex yet inherently catchy metal music seemed to hold no boundaries. Of course, it would only be a matter of time until I'd pick up a CD copy of 1993's "Live at the Marquee" E.P. which was recorded in London on 23rd April 1993 as a part of their European tour. The tracklisting includes a selection of material taken from Dream Theater's first two albums as well as an instrumental jam piece called "Bombay Vindaloo" which they only performed on a handful of occasions & was never recorded. It also contains as a short intro track called "Another Hand" that was written specifically for the tour & was intended to be a smooth segway from "Another Day" into "The Killing Hand". At 47 minutes in length, this certainly looked like an attractive prospect for me at the time & it didn't disappoint either as I'd soon find that Dream Theater were a remarkable band in a live environment too, an experience that I've since partaken in first-hand on a number of occasions.

The lineup for "Live at the Marquee" is the same one that recorded the "Images & Words" album with new front man James LaBrie having been with the group for a couple of years by that stage. Keyboardist Kevin Moore (Fates Warning/OSI) was still onboard & would remain a part of the band for another year or so until after the "Awake" album. This was arguably my favourite Dream Theater lineup given that it would produce two of my three favourite albums from the band so it was hard to imagine that this E.P. could produce anything other than a series of diamonds as long as the production job was up to scratch. I wouldn't say that it's perfect but I don't think there's much to complain about in that regard either with all of the instrumentalists being easily identified & nicely separated & LaBrie being given ample room to soar over the top.

It's easy to simply assume that a Dream Theater live release would produce a series of dazzling technical feats & let it wash over you but I don't honestly think that's giving them enough credit because they are truly a remarkable talent & one that I'm not sure has been matched in the decades since. Each member is a highlight in themselves & it really depends on which are your instruments of choice as to who you'll froth over the most. For me personally, it's guitarist John Petrucci (Liquid Tension Experiment) who I regard as the greatest axe-man ever to pick up the instrument. As an old shred-head myself, that's really saying something too because I was raised on a smorgasbord of the most talented virtuosos the 1980's & early 1990's had to offer but this guy simply takes his phrasing & understanding of melody & note choice to its ultimate extreme &, in doing so, never fails to leave my jaw on the ground. LaBrie's performance is also worthy of special attention as he would appear to have been right in his sweet spot at this point in his career with no sign of a dud note or a wavering, uncertain vocal. His tone is as pure as we'd heard from him too & he brings another element to the two tracks taken from "When Dream & Day Unite" which was recorded with underrated original singer Charlie Dominici. The rest of the band kinda works in small teams with Petrucci & Moore laying down a series of intertwined yet incredibly intricate runs & celebrated bassist John Myung (The Jelly Jam/Platypus) & metronomic drum legend Mike Portnoy (Flying Colors/John Arch/Liquid Tension Experiment/Metal Allegiance/Neal Morse Band/The Winery Dogs/Transatlantic/Yellow Matter Custard/Adrenaline Mob/OSI/Sons of Apollo/Twisted Sister) effortlessly reproducing some of the most rhythmically demanding & complex metal music ever written.

The tracklisting is impeccable & had me salivating before I'd even pressed play on my first listen. Opening any progressive rock/metal release with the unbelievably complex "Metropolis (Part 1: The Miracle and the Sleeper)" would surely a devastating effect on any fan of this style of music & the execution is so meticulous that it's almost hard to believe that we are listening to humans & not some sort of higher beings from outer space. The two tracks that are taken from "When Dream & Day Unite" have never sounded better & are buoyed by the fresh production job & LaBrie's added layer of accessibility & class. The prog rock fueled ballad "Surrounded" is probably the least significant inclusion but it's still performed with heart & finesse while their can be no denying the emphatic statement that is closer "Pull Me Under" which is arguably one of the pinnacles of the entire progressive metal movement & will likely be labelled as the highlight of any set it's a part of for all eternity. Interestingly though, it's the improvised jam piece "Bombay Vindaloo" that's left me most enamored with "Live at the Marquee" as it contains one of the greatest examples of guitar playing I've ever heard in my life. When I think of what the instrument is capable of after all these years, I often think of this track as it encompasses everything that I aspired to be in the late 1990's & this single track makes the entire release worthy of my hard-earned cash, even if the rest of the E.P. had been found to be nothing more than filler. Thankfully though, that's anything but the case.

Wow! This revisit has really thrown a cat amongst the pigeons for me as I've rarely held "Live at the Marquee" up as highly as I'm about to. I regard both the "When Dream & Day Unite" & "Images & Words" albums as genuine progressive metal classics but I'm gonna take the bold step of claiming that this E.P. is even better than anything Dream Theater had produced before. Hell, five of the six songs are classics in their own right & "Surrounded" is pretty fucking solid too so it's really hard to see any chinks in the band's armour off the back of this muscle-flexing outing. Dream Theater have produced a series of wonderful live releases over the years but I can't see how any of them could be too much better than this one & it's hard to imagine why "Live at the Marquee" hasn't received more kudos over the years as it's rare to see it claimed as one of the prog metal master's more essential releases. I'm gonna have to assume that it's the E.P. format that's responsible for that as that's the only conclusion I can come to. There's not a doubt in my mind that "Live at the Marquee" should be essential listening for every member of The Infinite though.

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

4.5/5

Nothing Sacred - "Deathwish" E.P. (1985)

Sometimes even the most committed of metal historians can have their opinions influenced by circumstances if they're not careful. A preconceived notion of what you should expect from a release can often play a role in how you'll react to a record upon the first listen or two & that's why it's really important to give music at least a few listens before making a judgement on its value. I've rarely seen a better example of that than with the 1985 debut E.P. from Melbourne five-piece Nothing Sacred, a release that I've generally despised over the many decades since I first heard it as a youngster. It's only recently that I listened to it with fresh ears & realised that I'd been WWAAAYYY too harsh on it. The only explanation I can come up with is that I was put off by the release's having been consistently linked to thrash metal when, in reality, there's almost no sign of that genre to be found amongst the four songs included here. When I finally managed to tackle "Deathwish" with unbiased ears I discovered that it's actually not a bad heavy/power metal record though, & one that deserves to be heard too.

Nothing Sacred had been around for a couple of years by the time "Deathwish" was recorded & had managed to build up a significant live following in their home city too. Their only demo recording had come in the form of a live demo that showcased an entire set from a show that sounds like it was a headline gig given the engagement levels of the audience who seem to be well across the band's usual setlist. That demo included a number of cover versions from bands like Metallica, Judas Priest, Savatage & Motorhead as well as a series of well-constructed originals that compare fairly well with the covers for the most part & I quite enjoyed the release overall, despite a few flatter numbers & a questionable vocal performance. The instrumental capabilities of Nothing Sacred were clearly pretty well developed even at that early stage & that comes across very clearly on "Live", despite the dodgy recording quality.

Given the pre-internet release dates of "Live" & "Deathwish", it's actually not that easy to place them into a Nothing Sacred timeline. Both seem to be listed as 1985 releases & I've seen an interview where the band state that "Deathwish" was recorded in 1984 & released the following year. I get the distinct impression that the E.P. hadn't been released at the time of the live recording though as front man Mick Burnham never mentions it when announcing the couple of tracks that were taken from "Deathwish". I also consider it to be a little strange that Nothing Sacred didn't play half of the E.P. that night, instead resorting to several weaker numbers. That leaves me wondering whether "Live" was actually recorded in early 1984 or whether the band are telling porkies about "Deathwish" being recorded in 1984 but I guess it really doesn't matter all that much. What does matter is that Nothing Sacred have produced a pretty good first up studio effort here & one that I've misjudged for most of my life.

The four songs included on "Deathwish" clock in at just under twenty minutes with not a second being wasted. The production is fairly basic as you'd expect from an underground Australian release from the mid-1980's but it's certainly acceptable & allows the song-writing to showcase its wares well enough. The performance of the band is once again very good & you can easily tell that Nothing Sacred have played their fair share of Iron Maiden cover versions over the previous couple of years. I'm particularly impressed by the way Mark Woolley (Hobbs Angel of Death) & Richard Snape incorporate their lead guitar work into the song structures because it highlights a clear understanding of the role that melody plays in the way a song can build & release tension. The rhythm section of bassist Karl Lean (Hobbs Angel of Death) & drummer Sham Littleman (Depression) are rock-solid too & prove that they're no slouches when they get the opportunity to throw themselves into an energetic Maiden gallop or a tremolo-picked speed metal riff. Burnham's vocals still aren't perfect & he's certainly not one of the more capable heavy metal front men on the international scene but he delivers a much better performance than we heard from him on the live demo & I found myself getting used to him fairly quickly, despite the occasional pitchy moment.

It's hard to deny that my feelings on Nothing Sacred's links to thrash metal were warranted because there's fuck all here. I've seen the band stating as much over the years too so it's not surprising that the young teenage thrasher I was when I first experienced "Deathwish" struggled a little with it from a stylistic perspective. Now that I've accepted Nothing Sacred for what they are though, I've found them to be really pretty easy to stomach. The live demo was mainly a heavy metal release although there were a few speed & power metal number chucked in there as well as the obvious thrash cover in Metallica's "The Four Horsemen". Here we see Nothing Sacred starting to emphasize the epic side of their sound a little more which places "Deathwish" somewhere between Iron Maiden's NWOBHM sound & the more muscular & epic US power metal one. The two songs that are shared with the live demo were obviously some of the more power metal inclined inclusions on that release so I guess "Deathwish" was always gonna feel a little more power metal oriented & I think that's a good thing because I've enjoyed that aspect of the record.

Despite my earlier struggles with the release in general, the tracklisting is actually very consistent with all four songs being worthy of your attention. The more atmospheric number "Old Man" is possibly the weaker of the four as it's chorus hook is a little flat but it still manages to bring enough to the table to keep me interested. The clear highlight is closer "The Curse" which is also the most clear-cut power metal tune with Burnham's lyrics traversing the typical fantasy topics the genre is known for. "No Rest" & the infamous title track are also pretty good though & you can see why the band had built up such a strong local following because they compete well with their international competition as far as professionalism goes.

After this experience, I'm gonna have to apologise to Nothing Sacred. I hate to admit it but I've allowed my own preconceived biases to impact my affection for what was actually a pretty important release for my home country's local metal scene & I'm a little ashamed of it too as I pride myself on my ability to separate myself from that rubbish. Oh well... better late than never I suppose. Despite the fact that "Deathwish" has no right to be referenced as an early Aussie thrash record, it's a pretty reasonable heavy/power metal release that will very likely offer some appeal to most of our The Guardians members so if that's you then I'd encourage you to check it out.

For fans of Iron Maiden, Prowler & Iron Angel.

3.5/5

Type O Negative - "Bloody Kisses" (1993)

My life was incredibly interesting back in the middle of the 1990's, although that's not to suggest that it was always pleasant. I left home at 19 years of age to run away & live with my Philippino girlfriend who I was very much in love with at the time but she had a string of fairly serious character flaws that would see me being perennially engulfed in a world of drama & emotional turmoil. I would go through some enormous highs & lows during this period but would also have to grow up very fast. We were an intrinsic part of the Sydney metal scene at the time with our social network lying almost exclusively between the bands that I played in or with but the metal community was still quite small in Sydney during that period which led to a lot of crossover with the goth scene. Every weekend we'd all congregate in the CBD at a small pub called Century Tavern before heading off to the metal gigs on Friday nights & the goth night clubs on Saturday nights. Despite all of the chaos within my relationship, we felt like we were a part of something special, kind of a close-knit group of kindred spirits. Because of our gothic indulgences, the CD collection we would spin in our home would include a combination of metal & goth-related releases with most of the goth material being brought to my attention by my partner after she was introduced to it by her goth friends. Amongst those releases was Type O Negative's 1993 third full-length "Bloody Kisses", a record that she became enamored with after we'd repeatedly danced our asses off to the two big goth anthems "Christian Woman" & "Black No. 1 (Little Miss Scare-All)" on dark, smokey, late-night dancefloors. I have to admit that I didn't find the album to appeal to me half as much as it did to her but I certainly didn't mind it. It would be 1996's incredible "October Rust" that would see me properly converted to Type O Negative though & it would become somewhat of a life-changer & a crutch for me after our tragic break-up. I'd subsequently follow the band into 1999's excellent "World Coming Down" fifth album after Ben purchased it on CD & those two records would be where my Type-O sweet spot would remain for the next 25 years. I'm not sure I've returned to "Bloody Kisses" in all that time to be honest & some of that may be due to the memories that are tied with it but my curiosity has been peaked recently after I noticed just how divisive our members opinions seem to be on it. Let's see how it's fared all this time later.

The production jobs on "October Rust" & "World Coming Down" both played a major role in their appeal with the glistening, full sound of the former & the cold, suffocating one of the latter being almost as important as the music itself. The sound of "Bloody Kisses" isn't as fully realised in my opinion. It sounds a little thinner but isn't bad as such. The signature down-tuned, fuzzy bass & guitar tone is obviously there but I don't think that the bigger sections of the album reach the same heights as the weight of the combined sound isn't as substantial. It's a very lllllooonnnnggg record though with the total run time amounting to a massive 73 minutes, a factor that does have an impact on my enjoyment of the overall package if I'm being honest. It feels like the band have needlessly attempted to extend "Bloody Kisses" & this comes very much at the expense of consistency with the album containing a whole string of different subgenres, often amounting to short interlude-style pieces with greatly varying degrees of success. There can be no doubt that "Bloody Kisses" contains some very strong material but I'd suggest that it also showcases some very misguided creative endeavours & a questionable sense of humour.

Yes, humour has always played a part in the Type O Negative experience & I for one wish that they'd opted to keep it out of their musical lives because we have very different ideas about what is funny & I don't think there's much of a place for humour in gothic metal anyway, is there? I mean, isn't the whole attraction meant to be the dark, brooding yet still quite beautiful atmospheres being created? I would have thought so anyway & Type O Negative have regularly crossed the boundary walls of that aesthetic over the years but rarely as often as they do on "Bloody Kisses". Take the opening track "Machine Screw" for example which seems to be a depiction of a woman having sex with a machine. Does that really present femininity in a way that women will be proud of? Personally, I find it to be quite repulsive & offensive to women & wish the band had simply got on with creating the wonderfully emotive gothic metal they've become known for. I'm aware that women find deep-voiced front man Pete Steele to be really attractive but can we really overlook these failings? He clearly has a warped view of sexuality in my opinion & I find it to make me feel really uncomfortable at times. We'd already heard him pushing the politically correct line further than it should go on the Carnivore records & I for one wish that he'd left it with his previous band.

Anyway... you'll rarely find a record that's more inconsistent & driven entirely by its highlights as "Bloody Kisses". The best material generally takes the form of the longer songs & can reach some fairly transcendent levels at times, generally off the back of Steele's miserable tales of loss & the interesting melodic decisions the band have made to accompany him. The doomy title track is the clear classic here for me personally while I also really enjoy "Christian Woman", the clever cover version of Seals & Croft's "Summer Breeze" & solid closer "Can't Lose You". A couple of the interludes are really cool too such as the industrial "Dark Side of the Womb" & dark ambient piece "3.0.I.F." but then we have to balance those highlights out against a string of poor creative decisions & silly, tongue-in-cheek humour through tracks like "Fay Wray Come Out & Play", "Kill All The White People", "Set Me On Fire", "We hate Everyone" & "Too Late: Frozen". Thankfully the stronger material outweighs & overpowers the weaker inclusions, perhaps only due to the increased length afforded to the more significant tracks on the fourteen-song tracklisting.

Despite its failings, "Bloody Kisses" isn't a bad record when viewed holistically. It's simply not the classic release its so often reported to be though & never comes close to approaching the two records that succeeded it, particularly "October Rust" which resides a good two steps above this effort. For that reason, I've often found myself struggling to understand the hype around "Bloody Kisses" which is often referred to as the band's finest moment by some fans. I simply can't see it while I'm sitting through some of the sillier tunes included here & even the best material like the title track serves as a reminder that Type O Negative would do that stuff even better in years to come.

For fans of Moonspell, Paradise Lost & later Woods of Ypres.

3.5/5

Armoured Angel - "Baptism in Blood" demo (1985)

Some of you are probably aware of the impact that Canberra trio Armoured Angel had on me as a young fella. In fact, they actually played a big role in me starting my own band to begin with. Their 1989-1995 period material was universally strong, beginning with more of a thrash metal sound on their demo tapes before transitioning into their trademark death metal once their proper releases started hitting the shelves. I saw them play live on a number of occasions & still look up to them in almost a fanboyish fashion even today. Interestingly though, I'd never checked out their earliest recording before now. It's a crude, poorly-produced demo from 1985 when they were still a four-piece & included only the one member of their classic lineup in bassist Glen "Lucy" Luck.

"Baptism in Blood" is a 25-minute, six-song affair that never hints at the extreme metal sound that Armoured Angel would pave the way for in this country, instead championing a rough & ready heavy metal sound that borrows equally from Motorhead & the NWOBHM. The musicianship is very basic & the vocals are patchy at best. I do quite enjoy "(I Am) The Beast" but the rest of the release is pretty much a throwaway so I don't know who would be picking up the re-release CD or retro t-shirts that have been on offer in recent years. This is a far from essential release & there was much better Aussie heavy metal around at the time too.

For fans of Motorhead, Venom & Holocaust.

2.5/5

Earth Crisis - "Firestorm" E.P. (1993)

Back in 2012 I had a close friend that was going through a pretty hard time on a personal level but had started to embrace metal music as a not only a form of release but also a way of connecting with me. We would head out to live shows quite often at the time & she was generally pretty open to learning about all styles of metal so there were often gigs that we attended where neither of us knew much about the headliners. One such gig would be an Earth Crisis show at Sydney's Manning Bar in February of that year & we bought tickets for it with plenty of time to spare so I decided to explore what Earth Crisis had to offer in the weeks prior. This led me to checking out all of the New York metalcore legends' back catalogue to the time in quick succession, starting with 1992's super-raw "All Out War" E.P. & finishing with their latest release to the time in 2011's "Neutralize the Threat" seventh album. While a few of their records left me fairly cold (see "All Out War" & the run of three albums from 1998 through to 2001), there were some entertaining listens to be had elsewhere with their peak period coming between 1993's "Firestorm" E.P. & their 1996 sophomore album "Gomorrah's Season Ends" (which was my favourite at the time). Earth Crisis ended up being pretty disappointing live & my friend found the violent crowd of dickheads to be pretty hard to tolerate so it wasn't the best night I've ever had but my relationship with a couple of Earth Crisis' best releases has been maintained & I've been looking forward to revisiting them again in recent times.

1993's "Firestorm" E.P. very much represents their coming of age as a band. While the "All Out War" 7" single sounds more like a demo, Earth Crisis' second proper release sees them being catapulted into the metalcore limelight with a vastly more mature & well-defined sound. The production job is excellent which gives the simple arrangements enough weight to hit the listener right in the chest with the band's tight & chunky New York hardcore-inspired riffage. Earth Crisis certainly stay well within their capabilities here as they were far from being virtuosos but they seem to really know their limitations & work well inside those parameters. In fact, the guitar work on "Firestorm" is particularly basic, so much so that virtually any guitar novice could tackle this material with confidence. But it's also entirely effective as the song structures are fluent & there's miles of room left to highlight the outstanding vocal prowess of angry front man Karl Buechner who I find to be comfortably the focal point of this release. His aggressive delivery feels entirely authentic & you'll genuinely believe that he's lived his lyrics.

The E.P. contains just the four songs, the first two of which are joined together & represented as the one lengthy track. All four are worth hearing but it's the first three that are where the real gold is here with the title track remaining as Earth Crisis' signature tune to this day. My personal favourite is mosh pit anthem "Unseen Holocaust" but I could just as easily have selected "Firestorm" or "Forged in the Flames" as there's not a lot between them. Closer "Eden's Demise" contains a few riffs that I consider to be a step down from the rest of the material on the E.P. but it's still more than acceptable so "Firestorm" is a rewarding & consistent release that sees Earth Crisis flexing their muscles with a newly found purpose.

So, is "Firestorm" Earth Crisis' best work? Well, I didn't think so up until now but perhaps I might have to reassess that position. One thing's for sure, I'm definitely more open to 90's metalcore now than I was when I first checked out the Earth Crisis back catalogue so I can see some of my scoring being bumped up a bit. I'd also suggest that any neck-tattooed, ear-stud wearing metalcore kid worth their salt should have an appreciation for "Firestorm" as one of the fundamental building blocks of the scene they now love so much. Perhaps it's not significant enough to crack my top ten list but it's a thoroughly rewarding & entertaining listen that never over-extends itself & stays right in Earth Crisis' comfort zone for its entire fifteen-minute duration.

For fans of Disembodied, Living Sacrifice & Merauder.

4/5

What a voice the chick from Infected Rain has! She makes that track a ripsnorter. The Linkin Park track is absolute gold. I absolutely love the chorus hook & it stays with me for days. Funked myself around the lounge room to Mr. Bungle while cleaning the house this morning & didn't mind that Living Colour tune either. I was surprised at how much I enjoyed the early tracks from Animal Alpha, Bad Omens & Bring Me The Horizon to be honest. There was some nice, heavy, yet still inherently catchy material there. Rage Against The Machine fans will definitely enjoy the back end of the list as there's an obvious influence in two or three songs. 

Prowler - "Blood & Honour" demo (1985)

This five-song demo tape represents the earliest recordings from Melbourne progressive metal outfit Taramis who you may know from their 1988 debut album "Queen of Thieves" which is widely believed to be the earliest example of a more progressive metal sound to come out of Australia. You won't find any of that here though as "Blood & Honour" still sees them residing primarily in the traditional heavy metal camp with the occasional step out into US power metal territory (see the closing title track). The vocals are pretty pitchy & go off the rails at times but the band is pretty capable from an instrumental perspective which is not surprising when you consider that they'd paid their dues as a cover band. Iron Maiden were obviously the major influence & you can see that very clearly most of the time, particularly on highlight track "Vengeance" & the instrumental piece "3rd Day 9th Night" which borrows pretty heavily from Maiden's early instrumental works. Of the five songs on offer, I struggle a bit with the opening & closing numbers, mainly due to the flat vocal hooks & delivery, but the remaining three songs that make up the middle of the demo are all worth hearing & I found myself enjoying the experience overall. You won't find anything too extreme here but "Blood & Honour" does possess a naive charm, even if it's entirely inessential.

For fans of Iron Maiden, Manowar & Taramis.

3.5/5

Cryptopsy - "Ungentle Exhumation" demo (1993)

I was lucky enough to pick up a high-quality dubbed copy this early demo tape from the Canadian brutal death metal masters shortly after it was released through one of my Neuropath band mates who had somehow gotten their hands on an original copy. It was right up my alley too & saw me giving it lots of revisits that year. I'd also suggest that it contributed to Neuropath taking an increasingly more brutal musical direction over the next few years. Interestingly, despite being a huge fan of the brutal death metal subgenre & having played in a notable band myself, I've never rated Cryptopsy's two most celebrated records (i.e. 1994's "Blasphemy Made Flesh" & 1996's "None So Vile") as highly as most other extreme metalheads seem to. In fact, I don't even like "Blasphemy Made Flesh" much & I think that some of that likely comes back to my initial experiences with Cryptopsy. This demo simply sounds much better than their debut album with the production job being much more accomplished than you'd expect from a release of this type. I've never enjoyed it when Flo Mounier tries to play ridiculously fast blast-beats because he simply couldn't pull it off (at least not in the mid-1990's) so it's always left me bemused when people talked about him like some kind of a god. Those that possess a deeper understanding of extreme drumming must surely know better. Anyway.... there's a lot less of that here & the vocals don't sound as ridiculous either which leaves "Ungentle Exhumation" sounding a touch less overthetop & with a few less obstacles to gaining my affection. The two tracks that bookend the release are where the real gold is with opening number "Gravaged: A Cryptopsy" being my pick of the bunch. This is savage shit for fans of savage music only but it does it really well, so much so that I rank this demo as my second favourite Cryptopsy release behind 1998's "Whisper Supremacy" album. There wasn't much more extreme music than this at the time.

For fans of Suffocation, Lykathea Aflame & Wormed.

4/5

Really digging the four-track run from Jag Panzer through to Annihilator. I wasn't familiar with the Jag Panzer track either so it kinda ripped my face off. I don't generally like Gamma Ray much but this track is one of the ones that I don't mind. The Glacier track is nice & ballsy & "Dream of Mirrors" is my favourite track from "Brave New World" too so I've been enjoying my time with this month's list, despite never really being able to get into that Sortilege track.

Nothing Sacred - "Live" demo (1985)

After checking out the 1985 demo tape from Renegade this week, I thought I'd also give the 1985 "Live" demo from fellow Melbourne-ites Nothing Sacred too as they're often referred to in the same conversations around the earliest Aussie thrash metal bands. This thirteen-song live set sounds like it's been recorded at a fairly well-attended headline show & includes a number of well-received cover versions from popular international bands like Metallica, Judas Priest, Savatage & Motorhead amongst a collection of original material that would appear to be quite familiar to the audience so one would have to think that Nothing Sacred had already built themselves a pretty decent following off the back of their live shows. The recording quality is typical of the time & will be a struggle for those that don't come from the tape trading scene but it's certainly listenable & you can make everything out pretty comfortably. The instrumentation & song-writing is really quite mature for an unreleased band but I have to say that the vocals are patchy at best. There's very little in the way of genuine thrash metal here either with the majority of the material sitting in the heavy metal space with US power metal & speed metal also playing a role. The only real thrasher is the cover version of Metallica's "The Four Horsemen" as far as I can see so I'd suggest that Depression & Renegade were slightly ahead of Nothing Sacred in terms of extremity & thrash metal credentials at the time. Still... this is a better listen than the Renegade demo in my opinion & I've ended up quite enjoying the experience even if I'm unlikely to return to it again in the future. The cover version of "Ace of Spades" that closes the set comes across particularly well in the live environment & is my pick of the material.

For fans of Iron Maiden, Prowler & Motorhead.

3.5/5

Opeth - "The Last Will and Testament" [Progressive rock/metal from Sweden]

Some new releases that I'll be checking out in the coming weeks:

Suffocation - "Cérémonie" live video [Brutal death metal from New York, USA]

Full of Hell - "Live at Blackandje Fest 2024" [Grindcore from Maryland, USA]

The Crown - "Crown of Thorns" [Melodic death/thrash from Sweden]

Chat Pile - "Cool World" [Noise rock/sludge metal from Oklahoma City, USA]

I really dug their 2022 "God's Country" debut album so I'm looking forward to this one.

Sunami - "LDBBB Fest 2024" [Metalcore from San Jose, USA]

I quite liked the self-titled 2020 E.P. from these guys so this could be interesting.

A new release that I'll be checking out in the coming weeks:

Kreator - "Live in Chile 2023" live video [Thrash metal from Germany]

Depravity - "Silence of the Centuries" E.P. (1993)

Finnish death metallers Depravity were only together for a relatively short time & released only a very small amount of material but it was strong enough to gain the attention of the extreme metal underground which led to me picking up both of their E.P.'s through the tape trading scene. I believe it was their 1992 "Remasquerade" E.P. that first graced my ears but it impressed me enough to see me seeking out the follow-up "Silence for the Centuries" which was a little stronger & seems to have developed somewhat of a cult following over the 31 years since its release. Deservedly so too in my opinion because, listening back now, one has to wonder why Depravity weren't more well known back in the mid-1990's.

"Silence of the Centuries" is a five-song affair that spans just 21 minutes but leaves a lasting impression nonetheless. It doesn't attempt anything you haven't heard before but is unanimously successful in everything it undertakes. The mastering does tend to be a little variable with the volumes differing a little from track to track & the MDM-Studios production job can sound a touch different with each song too but I feel that this element only adds to the release's mystique. The Depravity formula is simple yet both efficient & effective. It takes the rock-solid, muscular, crunchy BOSS HM-2-driven Swedish death metal sound & combines it with the more atmospheric, moody & melodic sound of their Finnish homeland. It works an absolute treat too with the eerie yet qwuite beautiful lead guitar component being a clear feather in Depravity's cap.

The musicianship levels of the four instrumentalists is well up to the task with the rhythm section of bassist Petri Ilvespakka (Diaboli) & drummer Matti Johansson (Korpiklaani) laying the perfect platform for the guitars & vocals to work from. The Entombed-style tremolo riffage of the twin guitar attack of Elias Viljanen (Diaboli/Sonata Arctica) & Olli are another major protagonist in the direction of this material with the melodic hooks proving to be highly memorable & a touch more atmospheric than you would normally expect from your dime-a-dozen Swedish mob, kinda like Darkthrone delivered on their debut album "Soulside Journey". In fact, there's also the occasional reference to black metal in the way the riffs are constructed too which adds layer of intrigue for me. The only lineup change from 1992's "Remasquerade" E.P. is the replacement of front man Petro with newcomer Martti who had also appeared on the "Phantasmagoria" demo earlier that year. While Martti's delivery isn't anything terribly original, his deep, dark death grunts work really well with the Depravity sound & remind me of Benediction's Dave Ingram at times although they're a little less intelligible.

The short tracklisting is entirely without blemish but I will say that "Silence of the Centuries" is a touch top-heavy. The opening three tracks are easily the best ones with the opening title track being my personal favourite. The last two songs ("Phantasmagoria" & "Vacuum of Thoughts") are both pretty decent but seem like a step down from the earlier tracks. Still... it's hard to be too critical because Depravity have produced an excellent release here & one that compares very well with its Finnish death metal peers. While it may not try anything too bold, it does manage to borrow from the Swedes in a fashion that still sounds undeniably Finnish which is a testament to the band's maturity & class. I think most death metal fans will find something to enjoy with "Silence of the Centuries" without having to make a huge investment of time. I do have to wonder whether the fact that Depravity's recording career was so fleeting has contributed significantly to their underground following because I have to admit that it does add a little but of extra intrigue to a release that still clearly belongs in the second-tier of the genre.

For fans of Cartilage, Abhorrence & Demigod.

4/5

I recently revisited the seminal 1987 debut album "Total Armageddon" from legendary early Australian thrashers Renegade & quite enjoyed it which got me wondering what their earlier demo tape was like given that Renegade are often a part of discussions around the earliest examples of Aussie extreme metal. The four-song tape is generally well put together with the sound quality being more than acceptable for a demo of the time. The four tracks see Renegade jumping around a little bit stylistically & you can see the band are already in a transition phase from a classic metal sound towards a more exhilarating speed/thrash metal one. Two of the four songs were familiar to me from the album with opening track "Black Ritual" being the clear highlight & seeing Renegade taking on a fully-fledged thrash metal sound similar to "Show No Mercy"-period Slayer. The other album track "Lucifer's Reign" combines heavy metal & Anthrax-style thrash for more of a speed metal feel with the vocals going a bit rogue & hinting at a Cirith Ungol-esque shrieky tone. I found that song to be a little flat on the album & it's left me with similar feelings here. "The Executioner" takes the form of a traditional Judas Priest-style heavy metal number while closing speed metal number "Cold & Evil" is pure Motorhead worship but neither quite hit the spot for me unfortunately. Overall, I've found Renegade's demo to be fairly inessential as it hasn't added a lot to my life. "Black Ritual" was certainly one of the earlier examples of genuine Aussie thrash metal though.

For fans of Motorhead, early Razor & "Show No Mercy"-era Slayer.

3/5

Sentenced - "North From Here" (1993)

Finnish death metallers Sentenced were a minor hit with me during my early tape trading days with their 1992 debut album "Shadows of Past" giving me quite a bit of replay value & subsequently leading me to seek out the band's three earlier demo tapes (1990's "When Death Join Us...", 1991's "Rotting Ways to Misery" & 1992's "Journey to Pohjola"), the latter two of which I really enjoyed. This would lead to me showing a keen interest when word of a sophomore album hit the underground & I'd quickly pick up a high-quality rip of the album through one of my two Blue Mountains based traders who owned a CD copy. I'd very quickly realise that the "North From Here" album was a very different prospect to anything Sentenced had delivered previously though &, on paper, it could have been one that left me a little hesitant. The quality of the music it contained was of such a high standard though that I was immediately taken aback & would spend a lot of time with that cassette over the next couple of months. You see, Sentenced had undergone & significant transformation in the time since "Shadows of Past" & it would prove to be one that would make "North From Here" the band's crowning achievement.

The building blocks of the "North From Here" sessions were very similar to those that produced "Shadows of Past" strangely enough. Sentenced had returned to the same recording studio in Tico-Tico Studio in Kemi & the process was overseen by the same producer/engineer in Ahti Kortelainen who has worked with a long list of Finnish metal bands. There had been no changes to the band line-up that produced the debut either so Sentenced would seem to have been in a very stable place when they produced their second effort. The thing is though, it sounds nothing like anything Sentenced had produced previously. The meat-&-potatoes death metal sound of their earlier work has been completely replaced with a complex & quite technical brand of melodic death metal that immediately impressed me with its increased scope & ambition. It's very easy to tell that the band members had been obsessively listening to Atheist while perusing this record as there are so many clear signs of worship across the eight-song tracklisting. The similarities to the Floridian legends' riff structures is unmistakable & suits Sentenced really well too. There's a clear European feel to the melodic component though & one would have to suggest that "North From Here" belongs in the discussion when talking about the earlier examples of the melodic death metal sound. The musicianship on display is outstanding with guitarists Sami Lopakka (KYPCK) & Miika Tenkula weaving a rich tapestry of melodic counterplay while the vocals of bassist Taneli Jarva (Impaled Nazarene/The Black League/Friends of Hell) showcase a blackened snarl that I find to be quite incisive. There are even moments where the band veer into melodic black metal territory at a time when that the subgenre was still yet to be properly defined so it's fair to say that "North From Here" is a dazzling display of creative intent.

Now look, I've never shied away from admitting that the more melodic brand of death metal is much more of a struggle for me than the traditional one but there's something about the sheer class that Sentenced deliver their product with that leaves me unanimously impressed. The tracklisting is invariably consistent with all eight pieces offering enough quality to keep my attentive gaze from wavering. There are a couple of tracks that are less fully realised than others though with "Awaiting the Winter Frost" & the more conventional closer "Epic" coming across as merely acceptable rather than being particularly impressive like the other six inclusions which are all very solid. I wouldn't say that I find any of them to be genuine classics though which keeps Sentenced in the second tier as far as the overall death metal scene goes. There's no doubt that my position changes on that when I limit myself to just the melodic death metal subgenre as "North From Here" is one of the absolute cream of that crop in my opinion. I have to admit that I find it a little strange that the album isn't referred to as technical death metal all that often though as it very clearly falls under that banner as far as I can see. I mean, if Atheist are tech death then this release is too because it so obviously draws upon the same techniques & feel.

"North From Here" was the very definition of a pleasant surprise & would quickly become the jewel in the Sentenced crown. It still sounds fantastic today but seems to have slipped under the radar a little bit over the years as it's rarely talked about when referring to the elite examples of the melodeath sound with people tending to look solely at Carcass & the Swedes. That shouldn't be the case though as "North From Here" competes on that level very comfortably & should be essential listening for those with a penchant for that sound.

For fans of Atheist, Stortregn & Enfold Darkness.

4/5

Conception - "Parallel Minds" (1993)

I've always liked what I heard from Norwegian progressive metallers Conception but hadn't committed to a full release up until now with my previous experience being limited to the odd inclusion on Spotify playlists or on metal radio. I thought I'd start with their most well-known record as it was somewhat of a breakthrough release for the band & I can see why too. There can be no denying the class of a band like Conception & one feels that their critical success was almost a foregone conclusion. The presence of future Kamelot front man Roy Khan certainly didn't hurt their cause either & he plays a monumental role in "Parallel Minds" that sees him being very much the central figure with his pure vocal tone simply oozing of his pedigree in opera which means that Conception really only need to place the right hooks into his capable hands in order to captivate their audience. Whether they succeed in that task is up to the listener to decide though.

"Parallel Minds" isn't the most technically demanding of progressive metal releases but it's certainly complex enough to keep the prog fiends interested. The suitably clean production job & performances afford the compositions the opportunity to connect in a fairly accessible manner & the strength in the song-writing through the first two thirds of the album takes full advantage of it too. The album is highlighted by two genuine classics with the wonderful "Roll The Fire" being as captivating as any progressive metal anthem you're likely to find. "Silver Shine" isn't far behind either while I also tend to favour the more muscular title track. These very strong examples of their type see the album really flexing its muscles from track 1-7 but I can't help but feel that the tracklisting tends to fade a little over the remaining three tracks which are clearly the weakest of the ten on offer with even the epic eight & a half minute closer "Soliloquy" (which was obviously intended to be somewhat of a centrepiece for the album) tending to limp to the finish line rather than galloping in a similar fashion to the earlier material. I still get enjoyment out of all of these tracks & the slight dip in quality hasn't proven to be enough of a concern to see me altering my rating but I do feel that it was somewhat of a missed opportunity nonetheless.

I'm surprised that I haven't seen more comparisons between Conception & Dream Theater to be honest as "Parallel Minds" showcases a very clear influence, particularly from Dream Theater's classic 1992 sophomore album "Images & Words". Fellow US progressive metal legends Fates Warning were no doubt the other primary influence here with Khan's vocal histrionics tending to sit in the middle ground between Dream Theater front man James LaBrie & Fates Warning's Ray Alder. There are some impressive guitar solos from Ark/D.C. Cooper axeman Tore Østby included which was always gonna tick a few boxes for an old shredder like myself but I also found myself getting into the power metal influence that pops up from time to time, particularly on tracks like "And I Close My Eyes". The ballad "Silent Crying" takes a more commercial heavy metal direction to the rest of the album but has grown on me significantly with each listen after it initially seemed like an ill-guided attempt at achieving radio play. The rhythm section of bassist Ingar Amlien & drummer Arve Heimdal are impressive throughout & give Conception a solid platform for which to work off while keyboardist Hans Christian Gjestvang contributes a tasteful performance that doesn't ever push out into cheese territory.

"Parallel Minds" has really impressed me here. I often find myself digging the more traditional 1980's brand of progressive metal when it contains soaring & universally capable clean vocals & there's no denying Conception's clear qualification against that criteria. Some of the riffage is a little uninspired during the weaker moments (just look at the clear rip-off of the main riff from Pantera's "Mouth For War" in "Wolf's Lair" for example) but the overall package is executed with such efficiency & class that I never find my gaze being broken for too long. I'll certainly be returning to "Parallel Minds" in the future & also look forward to seeing what Conception's next couple of albums offer too.

For fans of Ark, Sunburst & Eldritch.

4/5

My adjusted Top Ten Funk Metal Releases of All Time list (despite the fact that only very few releases with this tag are genuinely worthy of it in my opinion):

01. Faith No More - "The Real Thing" (1989)

02. Primus - "Frizzle Fry" (1990)

03. Mr. Bungle - "Mr. Bungle" (1991)

04. Faith No More - "Introduce Yourself" (1987)

05. Primus - "Sailing The Seas Of Cheese" (1991)

06. Scatterbrain - "Here Comes Trouble" (1990)

07 Primus - "Pork Soda" (1993)

08. Living Colour - "Stain" (1993)

09. Living Colour - "Time's Up" (1990)

10. Mordred - "In This Life" (1991)

https://metal.academy/lists/single/265

I really enjoyed "Hammer of the North" when  we featured it so perhaps I'll give this one a few spins too. I have a huge gap with the rest of Grand Magus' back catalogue actually.

I look at it like this:

Technical = Consciously complex & hard to play.

Progressive = Utilizes a more expansive palate of thematic, structural & melodic ideas which gives the music a more sophisticated (& sometimes spacey) feel. It can often be quite technical but not always.

Most technical releases could easily fit under the progressive tag in my opinion but I don't feel that the same can't be said in reverse. Personally, I think we'd be way better off not having tech death & tech thrash subgenres in The Horde & The Pit, instead using progressive metal to differentiate those releases. We could even add a "technical metal" subgenre to The Infinite if we thought it was necessary. This would avoid the current problem where people tag obviously progressive death or thrash metal releases as technical simply because there's no progressive tag in those clans which sees those releases missing out on a rightful membership in The Infinite. This feature release is a prime example of that & I'd suggest that our The Infinite members are just as likely to enjoy a record like this one as our The Horde or The Pit members.

Please be advised that the Deathgrind subgenre has now been removed from the Metal Academy database with all previously tagged Deathgrind releases now listed as both Death Metal & Grindcore which better aligns with our genre tree system given that we can't attach a subgenre to two genres.

Do you not hear an album that should be included in The Infinite here though Andi, regardless of whether you think it's more technical or progressive? I see it as exactly the sort of release that should belong in The Infinite to be honest as it reaches well outside of the standard death & thrash metal genres, just like Hemotoxin's major influences (i.e. 1990's Death, Cynic, Atheist, Vektor, etc.) who are all better served with progressive tags than they are technical ones.

I see there are a couple of new releases coming out that might interest some of you:

Skid Row - "Live in London"

Mötley Crüe - "Cancelled" E.P.

A few new releases that I'll be checking out over the next month or so:

Flotsam & Jetsam - "I Am The Weapon" [Thrash metal from Arizona, USA]

Bewitcher - "Spell Shock" [Speed metal from Portland, USA]

Agent Steel - "Mad Locust Rising - Live at Hammersmith Odeon" [Speed metal from Los Angeles, USA]

Kate's Acid (aka Acid) - "Blowing Your Ears Off at "Keep It True" 2023" [Speed metal from Brugge, Belgium]

A few new releases that I'll be checking out over the next month or so:

 Agrypnie - "erg" [Melodic black metal from Germany]

Winterfylleth - "The Imperious Horizon" [Atmospheric/melodic black metal from Manchester, England]

 Esoctrilihum - "Döth-Derniàlh" [Black metal from France]

1349 - "The Wolf & The King" [Black metal from Oslo, Norway]

A few new releases that I'll be checking out over the coming month or so:

Disfiguring The Goddess - "Softly With You" [Brutal death metal from Nevada, USA]

Undeath - "More Insane" [Death metal from New York, USA]

Blood Incantation - "Absolute Elsewhere" [Death metal from Denver, USA]

A couple of new releases from old NWOBHM bands coming out shortly:

Blitzkrieg - "Blitzkrieg"

I didn't mind Blitzkrieg's 1980 demo tape or their 1981 "Buried Alive/Blitzkrieg" single but found that they'd kinda lost me by the time they finally got their 1985 "A Time of Changes" debut album out. They've released about ten thousand albums since then though so who knows what this one will be like in 2024.

Satan - "Songs in Crimson"

Then we have this one from Blitzkrieg vocalist Brian Ross' other band Satan. Everyone raves about Satan's 1983 debut album "Court in the Act". I don't mind it but can't say I see what's so special about it. I haven't liked anything else I've heard from the band either so I can't say that this one excites me too much.

Eagle Twin & The Otolith - "Legends of the Desert: Volume 4"

I haven't heard Utah stoner/doom outfit Eagle Twin before but I thoroughly enjoyed The Otolith's 2022 debut album "Folium limina" so this collaboration album might be worth a look.

https://metal.academy/hall/534

https://metal.academy/hall/533

Quicksand - "Slip" (1993)

I hadn't heard the debut album from this New York alternative rock band before but I've always loved the two biggest singles taken from it so it's been on my radar to investigate for decades. Having finally gotten around to giving "Slip" a few spins now, I have to ask what in the actual fuck I was doing all these years because "Slip" is an absolute classic as far as I can see. Quicksand understood what heavy rock music is all about as the song-writing builds into big, loud, exciting & dynamic crescendos in most tracks, despite their generally short run times. The vocals often remind me of a lower register Jane's Addiction/Porno For Pyros front man Perry Farrell for some reason too & are both very capably delivered & universally successful in their undertaking.

"Slip" is often claimed as an alternative metal release & you can see why as there are three or four metal tunes included here but I'd suggest it's not enough to qualify as more than an influence with the sound of the grunge movement being the strongest component. Post-hardcore actually seems to be the most common descriptor but there's no hardcore here whatsoever so there's no merit in that tag as far as I can see. While it may not be a metal record, I'd suggest that all members of The Gateway will get a lot of enjoyment out of "Slip". It's an essential accompaniment to the grunge movement that doesn't get enough attention in my opinion.

For fans of Helmet, Rollins Band & early Tool.

4.5/5

Primus - "Pork Soda" (1993)

Wacky Californian trio Primus are an act that I’ve been aware of since the release of their debut album “Frizzle Fry” way back in 1990 but never really gave the time to genuinely understand & appreciate until relatively recently. I guess I just always assumed that they wouldn’t be something that would interest me but that hasn’t ended up being the case with both “Frizzle Fry” & Primus’ 1991 sophomore album “Sailing the Seas of Cheese” leaving me thoroughly impressed with their unique & quirky take on rock music. I’d always intended to close out my exploration of Primus’ classic trio of releases with 1993’s “Pork Soda” third album but somehow that’s taken a lot more time than I was expecting & I’ve only just closed out that endeavour this week. It’s proven to be a worthwhile exercise too, although I’d suggest that “Pork Soda” was perhaps not quite as satisfying as its two older siblings.

Despite its inherent weirdisms, there’s no doubt that “Pork Soda” is an attractive record. The cover art is humorous & never fails to leave a smile on my face while the production jobs is bright & full, everything you could want for a record like this one that relies so heavily on space & timbre. The musicianship on display here is excellent too, particularly the sublime bass guitar work of front man Les Claypool who was already a bass enigma at this point in his career. The things he can do with his instrument while handling the vocal duties at the same time is nothing short of mind-blowing but his skills are always used creatively & artistically which leads me to believe that Les has a great understanding of the art of song-writing & composition. Former Possessed guitarist Larry Lalonde is the perfect foil for Les, more often than not spewing forth layers of artsy noise that takes the form of controlled chaos. Drummer Tim “Herb” Alexander tends to aim to tie everything together & stays generally well within himself which is what’s required when you’re looking to anchor two visionaries like Claypool & Lalonde.

As with Primus’ first two albums, I have to seriously question people’s ability to hear of they think this record has even the most remote link to metal. There’s hardly a second of the entire 57-minute run time that sees me reaching for metal descriptors with no semblance of a metal tool coming within miles of “Pok Soda”. What we receive here is once again a highly experimental rock record like “Frizzle Fry” & “Sailing the Seas of Cheese’ but this time it’s less funky & much more psychedelic, so much so that I’ve decided that the best way to describe it is experimental/psychedelic rock. There’s a generous fifteen tracks included here so you can expect a few detours here & there but this is generally a pretty druggy & cerebral record & I kinda dig that approach too.

The tracklisting kicks off in very fine style indeed with the first four proper songs all being particularly solid. The quality levels start to jump around a little bit from there but there are also a few stronger inclusions later in the piece too. The decision to include a number of short interludes hasn’t exactly set the house on fire as I found a few of them to be pretty silly but I think that was kinda the point really as I can’t deny that they do help Primus take you to the twisted, sweaty, meth-ridden, red-neck countryside they were obviously aspiring to. Tracks like “Pork Chop’s Little Ditty” & “Hail Santa” just don’t add anything from a purely musical point of view though. My favourite pieces tend to be some of the heavier groove-led ones like “My Name Is Mud”, “DMV” & my personal fave “Hamburger Train” which is essentially an eight minute jazz fusion jam session that would have worked brilliantly as a point of collaboration with my beloved Miles Davis if he was still alive today.

While “Pork Soda” certainly has its strengths, I can’t help but feel that it’s a step down from the first two albums, mainly due its reduced consistency. Given its lengthy run time, I feel that Primus could have culled a few tracks & benefitted the holistic album in the process. As it is though, “Pork Soda” is still an intriguing listen. It’s perhaps not as essential as its predecessors were though.

For fans of Nuclear Rabbit, Mr. Bungle & Flagman.

3.5/5

He only did a couple of years for it.

Tim Lambesis really nails the harsh aggressiveness without resorting to annoyingly excessive shoutiness, his clean vocals are also very good. T

It's a pity that he attempted to hire an undercover police officer to murder his wife a decade ago but I guess nobody's perfect.

Absolutely pumped for this one as their last four releases have been right up my alley.

Atheist - "Elements" (1993)

There are few metal bands that I heard more of through the first half of the 1990's than Florida technical death metal masters Atheist. I first encountered them through their 1990 debut album "Piece of Time" which I thoroughly enjoyed but it was 1991's classic "Unquestionable Presence" sophomore album that really sealed the deal for me & I still regard it as one of the true greats of its era. I even had some time for Atheist's 1988 "Beyond" demo tape so I think it's fair to say that I regarded myself as a committed fan by the time their 1993 third album "Elements" rolled around. People may not be aware of this given its status in the modern day but (much like Pestilence's divisive "Spheres" album from the same year) "Elements" initially received a fairly mixed reception from a large chunk of the death metal audience. I could see what people were saying but the creativity & innovation put into Atheist's latest effort still seemed kinda exciting so I gave it a good run. A couple of my fellow Neuropath band mates were absolutely obsessed with the band too so there was rarely a party where Atheist didn't get a run along with a drunken air guitar tournament or two. But the past few decades have seen me largely tending to steer away from "Elements" in favour of its two older siblings so I thought it was time to take a deeper look at why.

As much as I love "Unquestionable Presence", I do have to admit that its production job wasn't its crowning achievement & my initial revisit to "Elements" highlighted that it hadn't faired all that much better in that department with the rhythm guitars lacking weight & the vocals sounding echoey & a touch flat. In fact, I can't help but wonder what "Elements" may have been able to accomplish with a clean & bright modern-day sound because there's an incredible amount of creativity & instrumental prowess contained within this record. It's interesting that most people seem to still wanna tie this album in with the tech death crowd too because frankly... there's not a second of death metal on this mo'fucka. Atheist's death metal credentials were already a little sketchy in my opinion as I always maintained my position that they were more of a death/thrash band but here we see the new five-piece configuration (following the recruitment of additional lead guitarist Frank Emmi) dropping extreme metal altogether for a fresh new approach that saw them indulging in various strands of pure progressive metal. Hell... I'd even go so far as to suggest that "Elements" would sit more comfortably in The Gateway than it does in The Horde where it really has no right to be. I've never been one to judge an artist for taking creative risks though so I was still just as open to discovering whatever magic Atheist had in store for me.

The superiority of the musicianship on "Elements" is nothing short of staggering at times. The increased reliance on jazz structures created a wonderful platform for new drummer Josh Greenbaum & bass virtuoso Tony Choy to flourish, often at the expense of front man Kelly Shaefer who struggles a little bit behind the microphone with his vocals coming across as a bit flat after dropping much of their death metal menace. The real highlight here is the incredible lead guitar work of Emmi & Rand Burkey which is nothing short of invigorating though. I simply love the danger in their jazz fusion inspired shredding & feel that the album would have been significantly weaker with some less highly credentialed exponents of their craft. Choy isn't far behind though with his scintillating bass lines proving once again what a force he can be.

"Elements" sees Atheist exploring a vast array of difference subgenres & textures, often within the same song, & for that reason, it can sound a little jerky at times. There are no weak tracks included in the twelve on offer but I can't say that too many of them really hit the spot like Atheist's last two records did. The two track run of progressive metal masterclass "Air" into the jazz fusion influenced instrumental interlude "Displacement" is my favourite part of the album but I also enjoy the jazz guitar instrumental "See You Again" quite a lot. The rest of the record is pleasant enough but I rarely find myself enthralled like I was in the past. Many of the grooves the band hit on would feel more appropriate on an alternative metal release & there's a minor lack of cohesion in the compositional flow at times too.

There's no doubt that Atheist were still a class act & there were not many bands that could have created a record like "Elements" in 1993. It seems to have gone on to build somewhat of a cult following in the underground over the years & is now even considered to be another essential tech death metal release from the band. I can't agree with that mentality though as I can't shake the feeling that "Elements" is a step down from Atheist's first two full-lengths. Few can deny that it's a very interesting & intriguing listen but I'd challenge anyone that claims it to be an essential release.

For fans of Cynic, 90's Death & "Spheres"-period Pestilence.

3.5/5

I've had to adjust my Top Ten Technical Thrash Metal Releases of All Time list after checking out this month's The Pit feature release as it's a belter:

01. Coroner – “Mental Vortex” (1991)

02. Sadus – “A Vision Of Misery” (1992)

03. Hemotoxin - "When Time Becomes Loss" (2024)

04. Sadus - "Swallowed in Black" (1990)

05. Obliveon - "Nemesis" (1993)

06. Coroner – “No More Color” (1989)

07. Hellwitch - "Syzygial Miscreancy" (1990)

08. Cryptic Shift – “Visitations From Enceladus” (2020)

09. Ripping Corpse - "Dreaming With The Dead" (1991)

10. KAT - "Bastard" (1992)

https://metal.academy/lists/single/173

Here's my review:

Seriously, how much do I love it when I stumble upon a band that makes me stand up & pay attention, leaving me wondering why in the actual fuck I'd never heard of them before, & that's exactly what Pittsburg's Hemotoxin have managed to accomplish with their brand new fourth album "When Time Becomes Loss". It seems almost unbelievable to me that this artist has released three largely unheralded full-lengths & an E.P. prior to this record as it's honestly one of the best examples of its type that I've had the pleasure of hearing.

Surprisingly given the complexity & sophistication of the music on offer, Hemotoxin is essentially the work of one man in Condition Critical/Ripped To Shreds guitarist Michael Chavez who delivers the vocals, bass & most of the guitars on "When Time Becomes Loss". This wasn't always the case & it would appear that Hemotoxin were more of a band leading up to this release but something has gone awry along the way & Hemotoxin appears to have been left in the hands of Chavez. Here we see him enlisting the services of lead guitarists Tony Barhoum (Condition Critical), Andrew Lee (Azath/Draghkar/Houkago Grind Time/Ripped to Shreds/Skullsmasher) & Donnie Small (Laceration) as well as the superb drumming skills of Scott Fuller (Abysmal Dawn/Havok/Morbid Angel/Sentinel Beast) to produce an incredibly ambitious record of a consistently high quality.

The production job of Andrew Lee is more than appropriate to showcase the skills of the participants who obviously possess a deep pedigree in a wide range of extreme metal. The class in the musicianship & execution is phenomenal with Hemotoxin's sound drawing together the technical death metal, technical thrash metal & progressive metal genres & reiterating them in a fashion that leaves the listener with no choice but to be impressed. Chavez' vocals delivery sits somewhere between the raspy modern-day tech thrash sound of bands like Vektor & the classic death metal growl of Death's Chuck Schuldiner, often borrowing from Chuck fairly closely in his articulation & phrasing. The same can be said for the music actually as Death's more progressive later releases would appear to be Hemotoxin's primary influence here along with other early 90's bands like Cynic & Atheist. There's a clear thrash metal component to this material though which brings to mind bands like Miscreance & Revocation who manage to harness both the tech death & tech thrash sounds in equal measure. That's a pretty good way to summarize the first half of the record actually but the second half sees things getting more progressive with the ear-catching melodic guitar solos drawing upon jazz fusion at times & the soundcapes being more lush & expansive.

The guitar & bass interplay is dazzling at times & it's probably not all that surprising that this record was largely the creation of one man when you take that into account. But then, the contributions of the other participants seem to be so significant & also fit like a glove so it's hard to imagine how the music was put together in this fashion. The drumming of Scott Fuller is a prime example as it's the clear highlight of the album for me personally. Some of you may know him as the skinsman from Morbid Angel's 2017 "Kingdoms Disdained" album but his blast-beats are utterly sublime here, so much so that I could listen to the whole record just for that element alone. The clear highlight track "Reborn in Tragedy" is the most obvious example of that as Fuller almost single-handedly takes a really solid set of musical ideas & absolutely slays over them to create what is nothing short of a progressive death/thrash classic as far as I'm concerned. The rest of the material may not come close to reaching those lofty heights but all six remaining tracks are very solid, high-quality extreme metal tunes displaying a clear focus & understanding of the various subgenres of metal they're harnessing.

Honestly, I've rarely heard a better tech thrash record than this one & it doesn't do too badly when placed alongside the stronger tech death & progressive metal releases out there either. Perhaps some of the material is a little more melodic & unashamedly technical than I would usually go for but I can't deny the class with which it's been produced. How Hemotoxin have managed to sneak under my radar for the last twelve years is baffling to say the least & I thank Vinny for finally rectifying that glaring omission with this month's outstanding feature release nomination.

For fans of Hexen, Miscreance & 90's Death.

4/5

Here's my review:

I’ve been a fan of Portland-based death metallers Witch Vomit for around eight years now after they first came to my attention through their 2016 “A Scream From The Tomb Below” EP. I’ve followed each release with interest ever since that initial experience so Karl’s selection of their brand-new third album “Funeral Sanctum” as our September feature release was quite welcome for me personally, particularly as I was still yet to get to it of my own accord. These old-school-obsessed Americans had been building nicely over the course of their last few releases which gave me the impression that a serious record might be just around the corner so I went into this week with some level of anticipation. I’m not sure that “Funeral Sanctum” has delivered that but it’s still another highly enjoyable release that I can see myself returning to quite often.

If you’re looking for the next big thing in metal then Witch Vomit aren’t gonna tick that box. You see, these four dudes indulge themselves in an unapologetic celebration of the past on their latest offering with their sound showcasing the influence of the greats of the early 90’s US scene. You’ll likely be able to detect elements of graveyard-inspired bands like Incantation & Autopsy in their sound, not to mention a bit of Morbid Angel in the riff structures & lead guitar solos, so Witch Vomit are unlikely to surprise you with a fresh new take on extreme metal. However, they clearly possess a strong pedigree in the genre & maintain a strong understanding of what’s given it such a lasting appeal with so many of us.

The production job is well balanced, offering a nice combination of grimy zombification & modern clarity that recoils from any tendency to get too clinical. I think this helps Witch Vomit’s cause quite a bit actually as it gives them an added layer of authenticity that I find quite appealing. The musicianship isn’t the tightest either but neither does it need to be to create a soundscape that’s suitable for summoning the dead to rise from their tombs. I will admit though that the drumming of Vincent Van Dell (Hemorrhoid/Nekrofilth) is a bit too loose for my liking, particularly during his blast-beats when he often struggles for timing which is a fairly major bug bear of mine. Although this failing does taint the record a little, I don’t think it’s had enough of an impact to see me dropping my rating so I guess there’s not much harm done in the grand scheme of things.

The tracklisting is generally pretty consistent with all ten tracks included offering me some level of enjoyment. None of them are undeniable classics though which leaves me with the feeling that Witch Vomit belong purely in the second tier of the death metal landscape. The middle of the album is arguably its strongest section with the three track run of “Serpentine Shadows”, “Decaying Angelic Flesh” & “Black Wings of Desolation” (my personal favourite) floating my boat the most. There are a few traces of a newly incorporated melodic sound to be found here (particularly on “Blood of Abomination”) & I’d suggest that these moments (perhaps unsurprisingly) offer me the least appeal on the album. The stronger material definitely comes when Witch Vomit commit to laying down their darker tremolo-picked death metal riffs with the deep growls of guitarist Tony Thomas proving to be a more than suitable protagonist in this imposing collection of extreme metal.

Look, Witch Vomit certainly don’t attempt to reinvent the wheel in any way, shape or form but there’s something to be said for an act than can so accurately reenact the feelings I cherished so much as a young fella & these four dudes do it better than most. I’m not sure that “Funeral Sanctum” sees the band reaching a new level by taking the next logical step up the death metal ladder though. In fact, I’m not sure I enjoy it quite as much as Witch Vomit’s last few releases if I’m being honest but it’s still a highly enjoyable display of evil intent & I can’t see too many of our The Horde members struggling to connect with it.

For fans of Mortuous, Torture Rack & Vastum.

4/5

Ben, please add Melbourne heavy metallers Virgin Soldiers.

Ben, please add the 1987 "Warlords" debut album from Melbourne heavy metallers S.A.S.

Here's my review:

I'd never explored a full Merauder release prior to nominating their 1995 debut album "Master Killer" for feature release status last week but there was no doubt about which one I'd have a crack at as the reception for their first-up effort has tended to dwarf the remainder of their back catalogue over the years. My recent investigation of the stronger 1990's metalcore records has reaped quite a bit of reward thus far & the general reputation that "Master KIller" has built for itself saw me feeling a level of confidence & anticipation leading into my first listen & that faith proved to be warranted too because Merauder's piece da resistance proved itself to be worthy of all the hype & acclaim.

The strength of Cro-Mags guitarist Parris Mitchell Mayhew's production job hit me like a tonne of bricks during the first few seconds of "Master Killer" as it certainly doesn't sound like it was recorded almost three decades ago. The weight of the guitars & the clarity of the sound is a major feather in Merauder's cap & allows the material the best possible chance to win over the first-time listener. The riffs & song-writing appear to be very solid too though & after the first song I was left wondering whether I may have stumbled onto one of the more important metalcore releases in my lifetime. Unfortunately, muscular opener "Time Ends" is as good as the album gets though but that's not to say that the remainder of the album is anything to scoff at because that's far from the truth.

Merauder's sound is often tagged as a combination of metalcore, groove metal & New York hardcore but I think that's a little ambitious to be honest. There' really not much doubt that "Master Killer" is a metal release so I don't think the New York hardcore references are all that relevant, despite the clear influence in the crushingly heavy yet inherently simple power chord riffage. The groove metal reference is a little more relevant but it's honestly more to do with the vocals of front man Jorge Merauder than anything musical as he sounds exactly (& I mean EXACTLY) like Pantera legend Phil Anselmo's more violent work on "Far Beyond Driven". Jorge brings the aggression in a major way here & is a major drawcard for Merauder, acting as the ringleader in what amounts to a highly professional & efficient metalcore outing. There's probably more of a thrash metal influence in the instrumentation than there is a groove metal one in all honestly with Slayer riffs popping up quite regularly but the vocals & general structure inevitably draw things back into the metalcore space.

You won't find any duds on this classy debut with the tracklisting being completely blemish-free. The weaker moments tend to occur when the band go for a bouncier/rappier delivery like on "Life is Pain" or where the chorus hook sounds a little clunky like on "Fear of Sin" but neither are without their charms. The previously-mentioned opener "Time Ends" is probably the heaviest of the ten tracks included here & I've quickly fallen in love with its masculinity & power. The title track "Master Killer" is probably my second favourite inclusion & it's not hard to see why it was selected as the focal point of Merauder's sole music video. I also really enjoy the thrashy "Downfall of Christ" which really gets me going but there's a lot to enjoy here.

If "Master Killer" has a weakness then it's probably the lack of sophistication in the riff structures as this is all pretty basic stuff that could be achieved by almost any metalcore band reasonably comofortably. I'm not sure that matters much with this style of music though as it's hardly the point of the punk mentality now, is it? "Master Killer" is all about telling stories of the streets which is very much in line with the essence of the New York hardcore scene & they do it with a enormous amount of success too. There are perhaps more substantial metalcore records out there & I'm not sure that "Master Killer" will quite make it into my top ten or anything but it's a very solid effort nonetheless & I can't see it disappointing too many The Revolution members.

For fans of All Out War, Twitching Tongues & Terror.

4/5