Daniel's Forum Replies

Ben, I'd suggest that "The Black Halo" is definitely a power metal record. The strong use of symphonics & double-kick & the extensive focus on the melody place it pretty comfortably within that category in my opinion although it sounds much more like a European power metal record than it does a US one. Despite this, it has to be said that Kamelot keep their cheesier urges in check much more successfully & the anthemic vocal hooks hold a much greater level of sophistication than the vast majority of their power metal competition. The symphonics are used as an accompaniment in order to accentuate the song-writing rather than as an overthetop focal point too.

Although I've stated earlier that I think "The Black Halo" is the pinnacle of the power metal genre (at least in my experience), there are certainly other releases that you'll find enjoyment in. I'd highly recommend that you check out one of the recent The Guardians feature releases in Unleash The Archers' "Apex" from 2017. Xephyr submitted that one & Vinny & I really dug it which is saying something given our more extreme tendencies & general aversion to a lot of power metal. Interestingly though, Unleash The Archers used to be a melodeath band in their earlier days. Anyway... I'd like to challenge you to check that one out & report back to us. I'd be really interested to hear your thoughts.

Crusty Californian sludge metal for fans of Sea Of Deprivation, Damad & Noothgrush.

Dystopia - "The Aftermath" E.P. (1999)

After thoroughly enjoying 1994's "Human=Garbage" E.P. from crusty Californian sludge metal outfit Dystopia, I decided it'd be well worth my while to check out some more of their back-catalogue & I thought I'd start with this short 20 minute E.P. from 1999 which seems to be regarded in a similar vein. It's certainly not as twisted as "Human=Garbage" in that it doesn't drape itself in the blatant serial killer themes of its older sibling however it doesn't sit far behind in terms of overall quality. The hardcore vocals are spat out in pure contempt throughout while the production is suitably dirty. I really enjoy the hints at artistic experimentation within some of the compositions although it has to be said that the short spurts of blasting drums are poorly executed even if they do have an endearing quality about them. I don't find the doomier final track "Sleep" to be quite as compelling as the first three songs however it's still enjoyable & there's an impressive consistency to the tracklisting that sees me feeling significant reward at its completion. This gives "The Aftermath" a strong replay value even if there are no genuine classics included.

For fans of Sea Of Deprivation, Damad & Noothgrush.

4/5

Classic old-school English death metal with a strong grindcore influence. For fans of Benediction, Hail Of Bullets & 90's Napalm Death.

Bolt Thrower - "Realm Of Chaos" (1989)

Revisited this old friend for the first time in many years this morning. It was my introduction to Bolt Thrower around 1989/90 & I would go on to purchase the album on cassette a short time afterwards. "Realm Of Chaos" showcases a band that was starting to find their sound but was still waiting for their technical skills to catch up with their ambition because the production & performances are pretty sloppy but this doesn't take away from a gloriously pure death metal atmosphere. There's a much stronger grindcore influence to this album than you'll here on Bolt Thrower's later material with early Napalm Death & Carcass clearly having been an inspiration along with "Reign In Blood" era Slayer. You'll get the odd hint at those signature Bolt Thrower melodies here & there but the catchy song-writing is already in full effect despite the rawer faster & more blast-beat driven approach. This is still a very solid death metal record that possibly hasn't aged as well as some which has subsequently seen me rating it behind later releases like "The IVth Crusade", "...For Victory" & "Those Once Loyal".

For fans of Benediction, Hail of Bullets & 90's Napalm Death.

4/5

Congratulations Ben. Amazing work.

Can I request the ability to edit the name of a forum thread?

I actually think there's a strong case for this month's feature releases being the strongest we've had since we introduced the clan-member submissions arrangement as I'm not sure I've gained the consistency of enjoyment before.  Here are my results in order of preference:

1. Akhlys - "The Dreaming I" (2015)  5/5

2. Leprous - "Tall Poppy Syndrome" (2009)  4.5/5

3. Katatonia - "Brave Murder Day" (1996)  4.5/5

4. Dog Fashion Disco - "Adultery" (2006)  4/5

5. Saxon - "Thunderbolt" (2018)  4/5

6. The Chasm - "Procession To The Infraworld" (2000)  4/5

7. Nuclear Assault - "Game Over" (1986)  4/5

8. Skycamefalling - "10.21" (2000)  4/5

9. OLD - "Lo Flux Tube" (1991)  3.5/5

There were a few old favourites from Nuclear Assault, Katatonia & The Chasm that are still as potent as they've ever been. There were not one but TWO brand new classics to hang in my Hall of Metal Glory from Akhlys & Leprous. The Dog Fashion Disco, Saxon & Skycamefalling releases were all pleasant surprises & I even found myself getting into the OLD record, despite not finding it particularly interesting back in the day.

And well done to Vinny who has given me one of the greatest extreme metal experiences I've ever had in that Akhlys record. To say I was blown away is a massive understatement. It's one of the best couple of discoveries I've been gifted with since the Metal Academy website started up a few years ago.

Possibly the greatest example of the more European variety of power metal ironically comes from a US outfit in Kamelot. For fans of Dream Theater, Avantasia & Sonata Arctica.

Kamelot - "The Black Halo" (2005)

Ben first introduced me to this wonderful American power metal record back in 2014 & it's since continued to develop an increasingly more significant hold on my emotions ever since. In fact, I don't think I can deny that it's my favourite power metal record after this revisit. The below review was completed at the time & it still rings very true today:

I'm generally not much of a fan of power metal but this album has really gotten under my skin. The production & performances are outstanding & vocalist Roy Khan is an amazing talent. "March Of Mephisto", "When The Lights Are Down", "The Haunting (Somewhere In Time)" & "The Black Halo" are all five star belters with loads of hooks that'll have you singing the choruses in your head for days afterwards. There are some cheesier moments but none of the weaker material has a major impact on my overall enjoyment levels as there aren't really any genuine duds here. There seems to be a strong Dream Theater influence in the band's sound & that can't be a bad thing as far as I'm concerned. It's not overly technical though. It's more in the atmosphere & melodic structure. At the end of the day there can be very little doubt that this is a high quality melodic metal record that could possibly be my new favourite power metal album.

For fans of Dream Theater, Avantasia & Sonata Arctica.

4/5

Here's my updated list after revisiting Kamelot's "The Black Halo" album over the last couple of days:

01. Iron Maiden – “Somewhere In Time” (1986)

02. Iron Maiden – “Seventh Son Of A Seventh Son” (1988)

03. Iron Maiden – “Powerslave” (1984)

04. Judas Priest – “Painkiller” (1990)

05. Ozzy Osbourne – “Speak Of The Devil” (1982)

06. Black Sabbath – “Paranoid” (1970)

07. W.A.S.P. – “The Crimson Idol” (1992)

08. Iron Maiden – “Live After Death” (1985)

09. Crimson Glory – “Crimson Glory” (1986)

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

11. Black Sabbath – “Live Evil” (1982)

12. Iron Maiden - "Rock In Rio" (2002)

13. Black Sabbath - "Sabotage" (1975)

14. Iron Maiden - "The Number Of The Beast" (1982)

15. Queensryche - "Operation: Mindcrime" (1988)

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

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

18. Iron Maiden - "Piece Of Mind" (1983)

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

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

21. Motorhead - "No Sleep Till Hammersmith" (1981)

22. Dio - "Holy Diver" (1983)

23. Black Sabbath - "The End: 4 February 2017 Birmingham" (2017)

24. Queensryche - "Operation:LIVEcrime" (2001)

25. Judas Priest - "Defenders Of The Faith" (1984)

Magnificent US grindcore for fans of Gridlink, Fuck The Facts & Antigama.

I was in dire need of some violence & brutality to revitalise my metal mantra when I finally returned to extreme music after a decade in the electronic music wilderness in 2009 & this requirement was promptly met in no uncertain terms by the 2000 third album from New Jersey grindcore act Discordance Axis. “The Inalienable Dreamless” unapologetically beat my brains in with a jackhammer & left me wondering if the entire scene had gone insane in my time away. Strangely, I haven’t returned to it since so a revisit has been well overdue for many years now.

In classic grindcore style, “The Inalienable Dreamless” comprises of a full 17 tracks but takes just 23 minutes to pummel you into submission. It doesn’t muck around either because this is some of the most ridiculously abrasive material you’re likely to find in extreme metal & this isn’t just due to the awesome blasting drum performance of talented skinsman Dave Witte whose amazingly powerful performance is highlighted by a brilliant understanding of how to use his ride cymbal to further accentuate his blast beats. Front man Jon Chang unsurprisingly screams his fucking guts out & there’s a spasmodic chaos to this record that borrows heavily from mathcore acts like The Dillinger Escape Plan in order to create an added layer of interest with the use of odd time signatures & more angular riff structures taking the album to new levels of interest & intrigue.

Despite pushing past the majority of its peers as far as pure savagery goes, this really isn’t your average grindcore record. It’s much more sophisticated than that & sports a production job that offers the perfect balance of clarity & extremity. The fact that I often find myself looking back at each track & wondering how the band have managed to stuff so much substance into such a short period of time is a sure sign of a superior grindcore act. It's worth mentioning that this is not the type of album that I feel like sticking on all that often though as it fits a very specific niche & does it particularly well to say the least as you’ll rarely find a release that possesses more energy, violence & chaos than this one. These are some of the primary requirements of good grindcore music too which makes "The Inalienable Dreamless" one of the most effective examples of its type. In fact, I’m gonna go so far as to say that it’s just slipped past Pig Destroyer’s “Prowler In The Yard” to snatch the honour of being my all-time favourite grindcore release these days so it should be essential listening for anyone interested in the genre.

For fans of Gridlink, Fuck The Facts & Antigama.

4/5

The Lord Weird Slough Feg - "Traveller" (2003)

Andi, I'd imagine that you'd really dig this epic US power metal record. You too Vinny if you haven't already given it a run. Think Brocas Helm, Manilla Road & Eternal Champion.

Some very solid US power metal from Pennsylvania, USA. For fans of Brocas Helm, Manilla Road & Eternal Champion.

Late 80's Swiss technical thrash metal.

Coroner - "Punishment For Decadence" (1988)

My below review from many years ago still holds up but I'm now finding that I'd probably take "R.I.P." over the CD version of "Punishment For Decadence" due to the entirely unnecessary cover version of Jimi Hendrix's "Purple Haze" that's tacked on the end. The vinyl & cassette version (which is what I grew up with) is a step up though. There are some genuinely great moments, despite the fact that many of the riffs still resemble practice exercises more than artistic expression.

"This was my introduction to Coroner way back in 1988/89. I bought the album on cassette & listened to it quite regularly. It was certainly a much classier effort than their debut album "R.I.P." from the previous year but I still found myself struggling a little with Tommy's occasional neo-classical indulgences. Instrumental "Arc-Lite" with its Malmsteen-esque arpeggios was a particularly awkward listen for me as the neo-classical element seems to take away from the darkness of the atmosphere & at times it all seems a little cheesy. The rest of the album is generally quite enjoyable though with "Absorbed", "Sudden Fall" & "The New Breed" being the pick of the bunch. It's definitely a solid release but 80's Coroner never really appealed to me like 90's Coroner did."

4/5 for the vinyl/cassette version

3.5/5 for the CD version

High quality blackened death metal from Mexico. For fans of Dissection, Cenotaph & Infinitum Obscure. 

I first became aware of Mexican outfit The Chasm through a South American tape trader way back in the mid 1990’s & didn’t mind their first couple of doom-laden death metal albums, particularly their 1996 sophomore effort “From The Lost Years…”. But it would be more than a decade before I’d return to the band & discover that they’d become somewhat of a cult artist in the underground extreme metal scene while I’d been busy indulging myself in the electronic music scene. 2000’s “Procession To The Infraworld” (arguably The Chasm’s most highly regarded work) would be the first of The Chasm’s classic period releases that I'd investigate & it didn’t make as big an impact on me as I’d expected upon first listen. Thankfully, I gave it some time & was warmly rewarded for my patience.

“Procession Into The Infraworld” isn’t the most clinical death metal record you’ll find. Instead, it goes for a much looser & more chaotic approach to both its production & execution. The musicianship isn’t amazing to be honest. Antonio León’s drumming is certainly pretty ambitious however the incredibly clicky kick drum sound is particularly unforgiving & showcases Antonio’s technical failings fairly obviously while the lead guitar work is performed at a pretty basic level & is one of the weaknesses of the album. The complexity of the song-structures is quite impressive though with The Chasm rarely sticking to the one riff for more than a few bars which gives the album an urgency that it might not have possessed otherwise. Daniel Corchado’s vocal performance offers great variety & a significant amount of menace which gives some of the less imposing tracks a little more underground credibility too. Those of you who are familiar with Incantation's "Diabolical Conquest" album might be pleasantly surprised at the alternative directions he takes here in comparison to the more consistently deep & guttural contribution he made to that particular late 90's classic.

Musically, “Procession Into The Infraworld” isn’t the most brutal death metal release you’ll find & it doesn’t have the darkest atmosphere either but neither of those comments should be taken as negatives. The Chasm’s more death metal inclined riffage sports a uniquely Mexican edge that’s got plenty of room for melody without ever crossing over into melodeath territory. It reminds me a lot of Corchado’s early 90’s band Cenotaph’s 1994 sophomore album “Riding Our Black Oceans” & also 2009’s “Sub Altris Caelis” record from fellow Mexicans Infinitum Obscure which was more than likely influenced by it. But if you allow yourself to ignore all of the genre-tagging you see online, close your eyes & focus on what’s really going on, you’ll notice something really interesting because at least half of the guitar work on this release sits more comfortably under the black metal banner than it does under a death metal one & I feel that this major element is deserving of the "blackened death metal" label. There are loads of dissonant open-string arpeggios going on that wouldn’t feel out of place on a Satyricon or Burzum record & there’s a thrashy edge to some of it that’s not all that dissimilar to Immortal’s “At The Heart Of Winter” album too. But the major influence I pick up from “Procession To The Infraworld” is that of Swedish melodic black metal gods Dissection with the same sort of complex melodic movement being employed consistently across the tracklisting. It’s this ever-changing combination of accessible black metal melody & more meaty death metal chug that give this record its widespread underground appeal in my opinion.

On paper, “Procession To The Infraworld” isn’t exactly in line with my usual death metal preferences however it’s hard not to admire the integrity in its concept as it really is an unabashed statement on the strength of the underground extreme metal scene & it’s this characteristic that allows me to overlook its flaws. There are some really strong tracks included here but it’s really only closer “Storm Of Revelations” that sees me reaching tier one levels of admiration. The rest of the album is very consistent but the lack of precision & polish in the performances I mentioned earlier combines with a greater concentration on melody than I’m usually comfortable with to see me reeling my adoration in a bit. There’s no doubt that this is a strong record. It’s just not the classic that some people would have you believe it is.

For fans of Dissection, Cenotaph & Infinitum Obscure.

4/5

Avant-garde industrial metal from New Jersey, USA. For fans of Godflesh, Voivod & early Scorn.

My nomination of the 1991 sophomore album from New Jersey artist OLD as our monthly The Sphere feature release was very much intended so that I could take a retrospective look at an album that I overlooked at the time. I’d become acquainted with OLD through their 1988 debut full-length “Old Lady Drivers” a short time before the release of “Lo Flux Tube” which was mainly due to the band’s link to the amazingly consistent Earache Records label. Unfortunately, the tongue-in-cheek brand of grindcore that the debut album presented me with hadn’t left a huge impression on me however I noticed that their follow-up effort seemed to be receiving an increased level of attention so gave it a casual once over. It didn’t hit the spot for me on that brief dalliance so I redirected my attentions towards releases that were more in line with my tastes at the time. Listening to the album now, I have to say that I’m not terribly surprised at this outcome given that I was completely obsessed with the darkest & most extreme death/black metal in the world back in the early 1990’s but there were also a couple of obvious obstacles for a young fella to overcome too. My musical palate is much better equipped to navigate those issues these days though so I think it’s time to see whether I’ve missed out on a rewarding artistic experience over the last three decades or not.

The first element that confronted me after pressing that little triangle on my iPhone screen is the weak production job & I was immediately reminded of the reasons for my having initially struggled with “Lo Flux Tube”. The guitars reside in a space that almost sounds like they’re in another room & have a very noisy & treble-heavy tone that reminds me a lot of early 80’s gothic rock & post-punk. In fact, those influences also play a role in the use of the bass guitar throughout the tracklisting with the bass being positioned quite forward in the mix even though it’s not afforded all that much actual bass from an equalization point of view. It took me a full listen to the duration of the album to become accustomed to production flaws but once I returned for my second visit I found that I was able to see past them & the album started to open up a bit. In saying that though, this is an unusually inaccessible record for other reasons too. To be more specific, the vocals of Alan Dubin (who was also in Khanate with band leader James Plotkin during the early 2000’s) take some getting used to as they amount to nothing more than a shrieking black metal scream that at first seems fairly out of place on top of the experimental noise going on beneath it. Again, this issue becomes much easier to deal with over time & I’m now a lot more comfortable with it but there’s no doubt it was a career-limiting move & I can’t help but think that these vocal & production traits are what prevented me from committing to “Lo Flux Tube” a good three decades ago now.

Instrumentally, the album openly highlights a couple of fairly obvious inspirations but utilizes them in a way that amounts to much more than simply being the sum of those influences. The first is that of English industrial metallers Godflesh with the consistent use of artificial harmonics & feedback over the top of mid-paced & mechanical sounding drum machine programming forming the basis of OLD’s sound. But it needs to be said that OLD take that sound to much more bizarre places than Justin Broadrick ever dreamt of with avant-garde Canadian progressive metal outfit Voivod playing a big part in the chaos that ensues at regular intervals across the tracklisting. In fact, it wouldn't be a stretch to claim "Lo Flux Tube" as a combination of "Streetcleaner" & "Dimension Hatross" really as there’s an unconventional & often alarming psychotic feel to the way that the riffs are structured & it seems like they’ve made a conscious decision to focus on messing with people’s minds as much as creating an enjoyable listening experience. OLD often employ the use of psychedelics in order to further dismantle the listeners mental state which works pretty well for the most part & is a characteristic that was always going to offer me a fair amount of appeal. It doesn’t always work of course but it’s hard not to admire the ambition even when things don’t quite gel.

“Lo Flux Tube” is undeniably a strange listening experience however it’s also an entertaining one with only the misguided instrumental psych-out “Dissassemble” failing to hit the mark. Its flaws were always going to prevent it from reaching the top tiers of the industrial metal genre however there’s a lot to take in here which sees it possessing a strong replay value that’s further enhanced by the sheer intrigue it offers with its avant-garde & cerebral approach.

For fans of Godflesh, Voivod & early Scorn.

3.5/5

Here's my updated list:

01. Burzum - "Filosofem" (1996)

02. Deathspell Omega - "Kénôse" E.P. (2005)

03. Akhlys - "The Dreaming I" (2015)

04. Darkthrone - "Transilvanian Hunger" (1994)

05. Oranssi Pazuzu - "Mestarin kynsi" (2020)

06. Burzum - "Hvis lyset tar oss" (1994)

07. Oranssi Pazuzu - "Värähtelijä" (2016)

08. Wolves In The Throne Room - "Two Hunters" (2007)

09. Bathory - "Blood Fire Death" (1988)

10. Mayhem - "De mysteriis dom Sathanas" (1994)

https://metal.academy/lists/single/120

Here's my updated list:

25. Dead Congregation - "Promulgation Of The Fall" (2014)

24. Darkthrone - "Transilvanian Hunger" (1994)

23. Carcass - "Necroticism: Descanting The Insalubrious" (1991)

22. ISIS - "Panopticon" (2004)

21. Suffocation - "Despise The Sun" E.P.

20. ISIS - "The Mosquito Control" E.P. (1998)

19. diSEMBOWELMENT - "Transcendence Into The Peripheral" (1993)

18. Neurosis - "Souls At Zero" (1992)

17. Botch - "We Are The Romans" (1999)

16. Rosetta - "The Galilean Satellites" (2005)

15. Slayer - "South Of Heaven" (1988)

14. Immolation - "Close To A World Below" (2000)

13. Suffocation - "Pierced From Within" (1995)

12. Boris - "Boris At Last -Feedbacker-" (2003)

11. Alice In Chains - "Dirt" (1992)

10. Death - "Human" (1991)

09. Morbid Angel - "Altars Of Madness" (1989)

08. Metallica - "...And Justice For All" (1988)

07. Mick Gordon - "DOOM (Original Game Soundtrack)" (2016)

06. Akhlys - "The Dreaming I" (2015)

05. Sunn O))) - "Black One" (2005)

04. Pig Destroyer - "Natasha" E.P. (2008)

03. Deathspell Omega - "Kenose" E.P. (2005)

02. Burzum - "Filosofem" (1996)

01. Slayer - "Reign In Blood" (1986)

Post #3709

Here's my revised list:

1970: Black Sabbath – “Paranoid”

1971: Black Sabbath – “Master Of Reality”

1972: Black Sabbath – “Vol 4”

1973: Black Sabbath – “Sabbath Bloody Sabbath”

1974: Budgie – “In For The Kill”

1975: Black Sabbath – “Sabotage”

1976: Judas Priest - "Sad Wings Of Destiny"

1977: Quartz – “Quartz”

1978: Judas Priest – “Killing Machine”

1979: Judas Priest – “Unleashed In The East”

1980: Diamond Head – “Lightning To The Nations”

1981: Motorhead – “No Sleep Till Hammersmith”

1982: Ozzy Osbourne – “Speak Of The Devil”

1983: Slayer – “Show No Mercy”

1984: Metallica – “Ride The Lightning”

1985: Exodus – “Bonded By Blood”

1986: Slayer – “Reign In Blood”

1987: Bathory – “Under The Sign Of The Black Mark”

1988: Metallica – “…And Justice For All”

1989: Morbid Angel – “Altars Of Madness”

1990: Slayer - "Seasons In The Abyss"

1991: Death – “Human”

1992: Alice In Chains – “Dirt”

1993: diSEMBOWELMENT – “Transcendence Into The Peripheral”

1994: Darkthrone – “Transilvanian Hunger”

1995: Suffocation – “Pierced From Within”

1996: Burzum – “Filosofem”

1997: Exodus – “Another Lesson In Violence”

1998: ISIS – “The Mosquito Control” E.P.

1999: Botch - "We Are The Romans"

2000: Immolation – “Close To A World Below”

2001: Tool - "Lateralus"

2002: ISIS – “Oceanic”

2003: Boris – “Boris At Last -Feedbacker-“

2004: ISIS – “Panopticon”

2005: Deathspell Omega – “Kenose” E.P.

2006: Celtic Frost – “Monotheist”

2007: Wolves In The Throne Room – “Two Hunters”

2008: Pig Destroyer - "Natasha" E.P.

2009: Ulcerate - "Everything Is Fire"

2010: Deathspell Omega - "Paracletus"

2011: Inside The Beehive - "Drink Bleach; Live Forever" E.P.

2012: Deftones - "Koi no Yokan"

2013: Gorguts - "Colored Sands"

2014: Dead Congregation - "Promulgation Of The Fall"

2015: Akhlys - "The Dreaming I"

2016: Mick Gordon - "Doom (Original Game Soundtrack)"

2017: Fen - "Winter"

2018: Saxon - "Thunderbolt"

2019: Altesia - "Paragon Circus"

2020: Oranssi Pazuzu - "Mestarin kynsi"

2021: Nekromantheon - "Visions Of Trismegistos"

Ultra-brutal yet endlessly atmospheric US black metal for fans of Blut aus Nord, Leviathan & Darkspace.

Thank you so much Vinny for bringing this wonderful release to my attention. It's utterly blown me away. Here's my review:

Oh…. My…. Fucking…. God… !!!!! It’s amazing how extreme music continues to surprise me after all these years. Just when you think that all of the good stuff has already been done, an underground release comes along & obliterates all of the walls that you’ve so carefully constructed to protect the eras you’ve placed on the highest pedestals. 2015’s “The Dreaming I” sophomore album from Colorado-based black metal duo Akhlys is one such release for me. I’ve always had an enormously strong passion for the darkest & most brutal end of extreme metal & my chosen brand of black metal is no exception. I like my drums blasting, my lyrics blasphemous & my vocals searing with an atmosphere that’s as cold & suffocating as a séance in an arctic snow storm. It seems that I’ve found a couple of kindred spirits here in Naas Alcameth & Ain too because this record couldn’t be more up my alley if they’d set out with the sole intention of satisfying my evil fantasies.

I have to admit that I had a little bit of a head-start on “The Dreaming I” as I gave it my first spin in late July after seeing Vinny name it as his all-time favourite black metal release. I got to know Vinny a bit on other metal-focused internet forums for a number of years before Metal Academy became a thing & over the extended period of time that we've been connected I’ve realised that we share some pretty similar tastes when it comes to black metal so my interest was immediately tweaked upon noticing that he held a release that I’d never heard in such high regard. The amazing cover artwork was also a major drawcard but I didn’t even manage to get halfway through the opening song before realising that I was experiencing something pretty special. In fact, the only reason that I haven’t mentioned it up until now is because my feelings were so strong that I had to get my head around just how much praise I could deem to be appropriate for a release that I was still so new to & the answer to that question has been… well…. all of it really!! Every bit of praise I can muster.

I’ve noticed “The Dreaming I” being labelled as atmospheric black metal which is interesting. Sure, there can be no doubting the all-encompassing power of the atmosphere of sheer darkness however this is much too brutal & the riffs are too upfront for that tag in my opinion. I’m much more comfortable with the conventional black metal one. Perhaps these links are encouraged by the dark ambient sections, the densely layered wall of guitars & the slow pace of the longest piece “Consummation” but they seem a little unnecessary to me. In saying that though, I can certainly see the irony in the fact that my brain wants to link Akhlys to other bands that receive the same sort of comparisons.

This 45 minute album contains just the five tracks & begins with a couple of absolute blast-fests. I’m a total sucker for insanely overthetop extreme metal drumming & you won’t find too many better examples of it than this one. I was actually wondering whether I was listening to a real drummer at times, such was the precision intensity on display & I’m still not entirely sure to tell you the truth. I suspect not though given the tone & timbre of the drum kit which has impressed the pants off me. Then we get a 17 minute epic piece that sports a slower tempo & gradually builds through a cacophony of intentionally warped melodic ideas & eventually culminating in one of the truest realizations of pure evil I’ve ever encountered. The dark ambient component is executed outstandingly well at various times throughout the tracklisting which is another key element of the album &, as someone that’s spent a lot of time with that particular niche subgenre, I was blown away by how well Akhlys understand the intricacies of ambient music. The use of twisted higher register melodic motifs is another important element of their sound & it’s unnerving to hear just how dark these can come across at times. The screaming vocals of Naas Alcameth are quite brilliant too as he works his evil magic & engulfs the listener in unholy contempt.

I’m completely unable & unprepared to find fault with “The Dreaming I” to tell you the truth. It’s as perfect a representation of the modern black metal sound as I’ve heard in many years &, after giving it the time to really sink in over the last couple of weeks, I’ve decided that it’s a top three black metal release of all time for me. In fact, it’s easily forced its way into my all-time top ten for metal in general & I don’t take a statement like that lightly at all after all these years of obsessive musical exploration. Akhlys have managed to truly capture every last inch of me with this record. I’m fully invested & it’s actually left me wondering if I should reverse my decision to leave The North given that I so clearly hold such a strong passion for black metal.

For fans of Blut aus Nord, Darkspace & Leviathan.

5/5

"They Played Rock 'n' Roll" is certainly not one of the stronger tracks from the album but it's a long way from a stinker in my opinion. I actually quite like it.

This one is my pick from the album. It a melodic heavy metal anthem out the highest order & a real ear-worm. For fans of Judas Priest, Accept & Grim Reaper.

This one has really surprised me. I wasn't expecting all that much going into it to be honest. I've had a very long relationship with Saxon after having first experiencing them through 1981's "Denim & Leather" album back in the late 80's & then exploring the remainder of their classic trio of 1980-81 records. It wasn't until Ben & I conducted the Metal Academy podcast three or four years ago that I took a focused look at their self-titled debut as well as the three records that immediately followed their classic period. The debut was the only one of Saxon's first seven records that I didn't have time for with 1983's "Power & the Glory" surprisingly becoming my personal favourite, closely followed by their 1982 live album "The Eagle Has Landed: Live" & 1980's legendary "Strong Arm Of The Law" record. Strangely, I've never gotten around to giving a single post-1985 Saxon release a chance until now however "Thunderbolt" has unceremoniously turned things on their head as I actually think it may be my new favourite Saxon release.

"Thunderbolt" is certainly the most metal Saxon release I've heard to date. In fact, it's a seriously metal record in general which was always going to be a feather in its cap with someone like myself. The AC/DC & Van Halen worship that was so prevalent on Saxon's 80's material is nowhere to be found while the Judas Priest influence has been beefed out significantly & is more focused on Priest's post-1970's material now. Bif Byford's vocals are surprisingly as strong as they've ever been & are a real highlight, as is the stunning lead guitar work of the ever reliable Paul Quinn & new kid on the block (well he's been there since 1995 but I've never heard him Saxon before) Doug Scarratt. There are a truckload of great riffs included & they're accentuated by a splendidly chunky production job that sees this release completely shunning any references to the NWOBHM. In fact, if this record came out of the USA then you'd be seeing it being labelled as US power metal, such is the weight of its riffage.

The tracklisting is impressively consistent with only the lacklustre & lethargic chorus of "Speed Merchants" failing to keep me entertained. The album opens with a beautifully executed & suitably imposing intro piece called "Olympus Rising" that sets the tone for the album nicely. Then you'll find yourself thrust into a world that's simply full to the brim with metal pedigree. The anthemic album high point "The Secret Of Flight" is as addictive as anything Saxon have done in their career while the dark majesty of "Nosferatu (The Vampires Waltz)" captured me from the word go. I'm not sure I really need the raw version of that track tacked onto the end of the album though. It may not include the synthesizers of the original version however it doesn't really add anything to my life. The less impressive tracks are generally those that take more of an old school approach that borders on speed metal. These are still fairly fun inclusions but are certainly less substantial than the more ambitious & noticeably meatier mid-paced material. On the other hand though, Saxon records have traditionally included the odd commercial dud & thankfully you'll find none of those on this occasion so it's hard to complain much.

I have to admit that I'm well impressed with just how relevant Saxon still sounded after 42 years of existence & that fact that they've managed to achieve a sound that's better suited to my personal tastes than their classic material was is a testament to that. I've always liked Saxon but I rarely loved them. It's nice to see a group of old codgers that aren't afraid to get with the times & are still so clearly influenced by great metal music.

For fans of Judas Priest, Accept & Grim Reaper.

4/5

I've only heard 1998's "Art Of Life Live" E.P. from X Japan & subsequently tagged it as a symphonic power metal release. I've never seen them referred to as a rock band before however they're not really any of my business so I wouldn't say that I've paid all that much attention.

Great review Vinny. Sums up my feelings really well. Glad you liked it as much as I did too.

Could be my age here, but I honestly don't get much of the appeal to NWOBHM. We have bands like Iron Maiden, Motorhead, and of course, Saxon dominating the popularity of metal in the 80s, yet the less overrated American power metal scene is hidden under our noses. 

To be fair Andi, I have no doubt that "Thunderbolt" would be labelled as US power metal if it came out of America & had another band's moniker on the front cover. No one would even mention the NWOBHM as this record sports a much chunkier & more pure heavy metal sound that's completely free of the AC/DC & Van Halen influence that was so prevalent in Britain in the early 1980's (particularly on Saxon's classic trio of albums).

Maryland-based avant-garde alternative metal outfit Dog Fashion Disco have been around for over 25 years now & I’ve seen their name floating about quite often in that time, usually in connection with their 2006 sixth album “Adultery” which seems to be regarded as their career highlight by a fair margin. The comparisons with Mike Patton & (in particular) Mr. Bungle have always intrigued me as Ben & I spent many an hilarious evening laughing our asses off to Bungle’s 1991 self-titled debut as teenagers in the early 1990’s. They certainly weren’t traversing an artistic space that I would usually have been interested in but god damn if they weren’t as fun as fuck & the same can be said for Dog Fashion Disco if this record is anything to go by.

Now let’s deal with the elephant in the room right from the get-go, shall we? Dog Fashion Disco really love Mr. Bungle & aren’t afraid to show it. In fact, “Adultery” is pretty much a variation on a theme that Patton & co. had already well & truly defined. However, it also has to be said that that statement isn’t something you hear all that often & there aren’t all that many alternatives for diehard Bungle fans in all honesty, particularly ones that are written, performed & executed as well as this one is. The film noir template they’ve based their themes around works beautifully & ensures that the listener is constantly being treated to new scenes & stylistic u-turns while always maintaining a wonderfully fresh energy & an uncanny understanding of a whole plethora of disparate genres.

Front man & band leader Todd Smith sounds a lot like Mike Patton most of the time. In fact, you could say that he’s a dead ringer for him but that doesn’t take away from the clear talent he has for a charismatic delivery of a whole bunch of different tones & techniques. There are a few jarring transitions here & there but they make perfect sense from a thematic point of view which sees you making excuses for them a lot of the time. I definitely enjoy the heavy alternative style guitar parts a lot & think that Dog Fashion Disco are at their best when they’re at their opposite extremes i.e. the chunkier & more up-tempo alternative metal material with the catchy vocal hooks & the much deeper film noir-driven ambience that sees me taking a swift chill pill or two.

The musicianship, song-writing & execution are all top notch & there are plenty of sections that leave me gasping at the sheer ambition on display. The consistency in the song-writing is also outstanding with only the country number “Desert Grave’ failing to engage me which is mainly due to my overarching issues with country music in general. The rest of the album ranges from pretty decent to very solid to absolutely mind-blowing with the peak of the album residing in the sexy stripped back lounge feel of “Private Eye” leading into the total banger that is “The Darkest Days” (i.e. the clear high point of the record for me personally). The themes are certainly intended to be in foreground but don't think that it's essential to follow them in order to enjoy the album. Lyrical content has never been something I've focused on terribly much & after giving this record a few spins I still have no idea what the storyline is about but it really doesn't matter all that much in the grand scheme of things because the music is of a high enough quality to easily stand on its own two feet.

Whether you’re a diehard member of The Gateway clan, a casual fan of alternative metal or simply a curious passer-by, “Adultery” comes thoroughly recommended from this jaded ol’ metalhead. If you ever feel that you need a time-out from the norm & are looking for a temporary escape to a dark & wonderful place filled with mystery & intrigue then Dog Fashion Disco may just have provided you with the perfect outlet.

For fans of Mr. Bungle, Stolen Babies & Polkadot Cadaver.

4/5

Ben, I think you'd get a kick out of this one. If only for a bit of nostalgia.

Wonderfully kooky avant-garde alternative metal from Maryland, USA. For fans of Mr. Bungle, Stolen Babies & Polkadot Cadaver.

A wonderful Norwegian progressive metal excursion for fans of Opeth, Haken & Ihsahn.

This was a great selection Andi. I hadn't checked it out before but I ended up really loving it so thanks for bringing it to my attention. And for the record, us Aussies are very well versed in the concept of the "tall poppy syndrome". It's in our DNA over here. Anyway... here's my review:

I was a little late to discover the wonders of Norwegian progressive metal high-achievers Leprous to be honest. When I returned to metal in 2009 I was simply too focused on making up for lost time in the extreme metal space & it seems that “Tall Poppy Syndrome” may have floated by right in front of my face without me ever bothering to look up. It wasn’t until 2013 that their “Coal” album saw me getting onboard the Leprous train & the experience impressed me enough to entice me into checking them out on their first Australian tour three years later when they co-headlined with Perth’s Voyager at the Factory Theatre here in Sydney. Leprous were really solid in a live environment too but didn’t play anything further back than 2011’s “Bilateral” & that may well have contributed to me never having felt the urge to venture any further back into their back-catalogue which, as it tuns out, is a real shame given the results of the last couple of day’s listening sessions.

“Tall Poppy Syndrome” certainly gave me a solid nudge but I wouldn’t say that it knocked me off my feet on first impression. I was undoubtedly struck by the overall class of this record however I didn’t find myself reaching for elite level comparisons until subsequent listens & I think that has a bit to do with the fact that it relies so heavily on a few highlight pieces. The 63-minute, eight-song tracklisting is extremely consistent with the shortest & most laidback inclusion “Fate” representing the least impressive of the eight tracks but still being quite enjoyable. It’s interesting that Leprous have opted to hold back on drawing from their best material until a good fifteen minutes into the album though & I think that’s one of the reasons that it took me a couple of listens to see my feelings reaching their fullest realisation as I found that my initial impressions were already set by the time I got to those tracks the first time around & I needed time to let it all settle in my brain before being open to the finer nuances that became more evident with a great level of exposure. The first two tracks are both highly professional & are really very strong in their own right however they simply don't prepare me for the wonderfully constructed & more obviously hook-laden pieces from a little later in the tracklisting with “Dare You”, the title track or “Not Even A Name” all being superb pieces of progressive metal that saw my score rising into the stratosphere.

You won’t see the wheel being reinvented here by any means & the tendency for people to want to toss around terms like “avant-garde” are completely misguided, as are the references to progressive rock as there’s not a single track here that branches outside of the metal spectrum. “Tall Poppy Syndrome” is simply a very high-quality progressive metal record that presents its influences fairly openly for all to see but manages to match its more widely celebrated peers pretty comfortably in the process. It’s not hard to identify the sort of Dream Theater-isms that have been essential ingredients in virtually every clean-sung progressive metal release since the early 90’s but there are also moments when Leprous flirt with the more extreme territories that the band’s Norwegian homeland has built its reputation on. Opeth is clearly the biggest influence on “Tall Poppy Syndrome” though & it’s the moments where they drift closest to their Swedish idols’ sound that I get the most excited about to be honest. The title track is a great example & I often caught myself wondering whether a good half of its huge appeal is due to a sense of comfort built on familiarity or nostalgia.

I’m not sure that Einar Solberg’s vocal hooks are as consistently potent as they would become in later years (particularly on their classic “Live At Rockefeller Music Hall” double album which is my all-time favourite progressive metal release these days) & this would see me holding back from fully engaged worship for a period. However once Solberg starts to nail those melodies I find myself getting dragged in pretty quickly & it was really hard not to let those few genuine highlight tracks guide my rating to be honest, particularly given that the rest of the material is so blemish-free & invariably displays an undeniable class in its execution. Eventually I just gave in as it was clear that my subconscious had strong enough feelings to warrant it. Above all else, it’s important to note that Leprous never forget about the importance of song-writing & composition within a progressive structure. In fact, they get the balance of technique & accessibility just right on this occasion & in doing so create a stunning piece of art that will stay with me for some time yet.

For fans of Opeth, Haken & Ihsahn.

4.5/5

Let's get something out of the way right away, "Brave Murder Day" was a hugely important record for me in the late 1990's &, despite not having heard it in a good three years or so, I don't need to give it a revisit in order to provide this synopsis. You see, it was one of a few much beloved albums that got me through the hardest part of my life. It was a time that saw me recovering from a toxic three-year relationship which involved prolific drug use, the death of multiple associates & persistent long-term emotional manipulation, the final scene seeing me discovering that my de facto partner was three months pregnant with another man's baby who she was living with in China whilst on a one-year work trip that I was paying for. To say that I was in a dark place is a massive understatement & it was at this time that I completely left metal behind as it was simply too painful a place for me to stay. "Brave Murder Day" would one of the rare exceptions to the rule though. 

I first became acquainted with Katatonia through their "Jhva Elohim Meth... the Revival" E.P. back in 1993 & religiously checked out each subsequent release however I'd be lying if I told you that I thought of them as anything terribly special up until "Brave Murder Day". Their 1993 debut album "Dance Of December Souls" has always left me feeling underwhelmed & it wasn't until 1995's "For Funerals to Come..." E.P. that I started to see my interest reaching the next level. But "Brave Murder Day" would smash all of those releases out of the park with a much more mature & well-defined sound that was further highlighted by the brilliant vocals of Opeth front man Mikael Åkerfeldt. It was the amazing guitar melodies that really floated my boat with tracks like "Brave", "Rainroom" & "Endtime" sporting some of the most melancholic & angelic examples you're ever likely to hear. I'd find myself able to immerse myself in their beauty with their impact only increasing with each repeat listen. In fact, I'd go so far as to suggest that these might be the most distinctive melodies in the entire doom/death subgenre.

If I had of given "Brave Murder Day" a rating back in the 1990's it would unquestionably have gained full marks. It's interesting though that my most recent revisit has seen time taking a small toll &, despite maintaining its ability to tear at my emotions, I decided that it's not quite the perfect record I thought it was. Most tracks have moments of sheer genius however there are noticeable blemishes in the song structures & the gothic elements haven't aged as well as they might have. Don't get me wrong, there are no weak tracks included here however I don't find "Day" & "12" to be much more than mildly enjoyable & so it's really an album that's driven by its highlights, the superlative opener "Brave" being the most breath-taking of the six tracks included.

"Brave Murder Day" should be essential listening for anyone with even a mild interest in the doom/death metal subgenre.

For fans of October Tide & early Anathema/Paradise Lost.

4.5/5

A lengthy post-rock excursion from this talented New York metalcore outfit whose debut album "10.21" should appeal to fans of Converge, Norma Jean & Cave In.

I didn’t have any prior experience with New York metalcore outfit Skycamefalling coming into this month’s feature release submission but have seen their 2000 debut album receiving consistently high praise from critics & fans over many years now so have been meaning to investigate it at some point. “10.21” is a lengthy undertaking clocking in at just over 63 minutes in duration however it never feels arduous & that run time is slightly extended by one of those needless four & a half minute periods of silence at the end of the tracklisting which only ends up resulting in a one-minute fading reprise of the closing number.

Skycamefalling’s sound is extremely well defined for a band that was only conducting their very first full-length recording effort & they’ve achieved a beautiful balance of consistency & creativity here to tell you the truth. They represent something much more than your generic metalcore fodder, despite the vocals of Christopher Tzompanakis sitting very much within the confines of the subgenre specifications. Christopher’s gravel-throated screams remind me quite a bit of Converge front man Jacob Bannon actually however the instrumentation is just as likely to draw from external influences as that of Jacob’s band. Unlike some of Converge’s more highly celebrated material though, “10.21” doesn’t offer the most imposing, urgent or extreme variety of metalcore you’re ever likely to hear. In fact, it’s pretty unintimidating is many respects & has chosen a very different tool set with which to slice its prey.

The production job of Jim Winters is a real highlight & on first listen you’d be forgiven for thinking that this album had only just hit the shelves last week. The guitar & bass tones are both warm & thick & maintain a suitable amount of heaviness without ever really feeling particularly metal. Sleepcamefalling actually sit much closer to the hardcore punk side of the metalcore equation than the metal one & that tone is well suited to the hardcore environment. Some of the riffs have a clear alternative rock edge to them too which is further complimented by the guitar tone & this results in even the more rocky & generic & sections presenting themselves in a lively & enthusiastic way.

As strong as the heavier tracks may be though, the most entertaining element of Skycamefalling’s sound is their use of post-hardcore experimentation with the majority of my album highlights aligning themselves with the band’s more ambitious undertakings & casting aside the heavy guitars & screamed vocals altogether. The opening intro piece is a great example as it sounds uncannily like something that Radiohead might have done. I always find myself waiting (even begging) for Thom Yorke’s nasal vocals to slither their way out of my speakers & into my eager ear cavities & it’s almost disappointing when one of the better heavy tracks “With Paper Wings” finally savages your expectations at its completion. Then you’ve got a lovely two-minute clean guitar driven post-rock instrumental that breaks things up nicely a few tracks into the album & the wonderfully epic ten-minute title track with its relaxed tribal rhythm & slowly building acoustic guitar work. You’ll rarely find a better example of the post-hardcore sound & it’s these elements along with the undeniable consistency of the tracklsting that sees my score sitting at such an impressive level.

Overall, “10.21” is fairly easy on the ears for a metalcore record. There are relatively few signs of the abrasive approach that the majority of their contemporaries pride themselves on however there’s simply not a requirement for it here as Skycamefalling have a much broader palate of influences to draw upon & have an acute understanding of the tools at their disposal & the dynamics required to keep the listener genuinely engaged. Throw in a tracklisting that’s completely free of blemishes & you get yourself a damn entertaining metalcore record that won’t disappoint its target audience.

For fans of Converge, Norma Jean & Cave In.

4/5

Andi, I'd suggest this'll be right up your alley..

Actually Andi, I've just listened to the Dark Version & have quickly reverted to the original. It's pretty obvious that neither belong on a The Guardians playlist though.

Meshuggah – “I” (from “I” E.P., 2004)

5/5. Felt sneaky enough to bend the length rules by adding a 21-minute track, eh, Daniel? 

Not really mate. That rule hasn't been in place since we moved to time-based playlist submissions.

I was first introduced to Nuclear Assault through their 1989 third album "Handle With Care" which I really enjoyed & this triggered me to head back & explore "Game Over" & their sophomore album "Survive" a short time later. I've always found a lot like about "Game Over". Sure, the guitar sound is lacking in distortion & definition but the rest of the mix makes up for it along with a particularly solid performance from the rhythm section. The tracklisting is very consistent with only the disappointing "My America" failing to keep my interest & highlight tracks like "Betrayal" & "My Nuclear War" still sit amongst Nuclear Assault's best material in my opinion.

One of the real strengths of early Nuclear Assault is that they didn't really sound like anyone in particular. They'd already developed their own brand of hardcore-tinged thrash metal that never quite pushed out into full-blown crossover territory. I don't remember "Game Over" blowing me away on first listen. It sounded different to what I was expecting & took a couple of listens to get used to before the quality & energy in the song-writing eventually drew me in but, as you can tell from my score, it was well worth the investment of time & comes highly recommended.

For fans of Hirax, Tankard & "Among The Living"-era Anthrax.

4/5

Septic Flesh – “The Eldest Cosmonaut (Dark Version)” (from “A Fallen Temple”, 1998)

4.5/5. The song in the Spotify playlist is actually the original version, but that's fine. 

I've fixed this up now Andi. It was just an oversight.

Here are the lucky recipients of the September feature release nomination duties:

THE FALLEN: Ben, Daniel, Sonny, Andi

THE GATEWAY: Saxy S, Daniel

THE GUARDIANS: Xephyr, Andi, Vinny

THE HORDE: Vinny, Ben, Daniel

THE INFINITE: Xephyr, Saxy S, Andi

THE NORTH: Xephyr, Sonny, Ben, Vinny

THE PIT: Ben, Daniel, Sonny, Vinny

THE REVOLUTION: Andi, Daniel

THE SPHERE: Daniel

Utterly mind-blowing New Zealand technical death metal for fans of Gorguts, Baring Teeth & Artificial Brain. 

I've certainly learnt a lot during the few years Ben & I have been administering the MA website. The most impressive function of MA is its ability to draw like-minded people together in an open, judgement-free & artistically invigorating environment & I genuinely look forward to seeing what everyone has to say about their music as I hold so much respect for the group as a whole. I've always been open to all types of metal & like to think that I hold a pretty rounded taste profile but I think it's fair to say that the more extreme end of the metal equation has always been my preference so it's been great to see my horizons being expanded through the monthly feature releases & playlists. In fact, the expansion of those two features into a more collaborative clan-based function has given the site a whole new dimension & seems to have created an increased level of engagement & interest for everyone. I've definitely been opened up to more new releases than I might otherwise have been & have been thrilled to find that the modern metal scene offers as much quality as it has in decades. 

This is a prime example of why I struggle with German heavy/power metal outfit Running Wild.

German heavy/power metal for fans of Grave Digger, Blazon Stone & Rage.

I'll attempt it, even though I have to agree that it seems weird that most of Running Wild's discography rivals that of much more established Heavy/proto-Power Metal bands in terms of scoring. 

I think it has to do with the fact that Running Wild are very much the middle of the road in terms of bridging the gap between classic, traditional Priest era Heavy Metal and a proto-Power Metal sound. So middle of the road, in fact, that they fall into the inoffensive category that allows them to, apparently, appeal to a hardcore but wide range of Power/Heavy Metal listeners. I can agree that Death or Glory and Black Hand Inn are great albums, but the fact that Under Jolly Roger, Port Royal, and to a lesser extent Pile of Skulls are almost just as celebrated is kind of a joke. 

As someone who likes a lot of Power Metal, especially European Power Metal, Running Wild give traditional Heavy Metal that little kick of energy that it needs for me to really enjoy it. I have nothing distinctly bad to say about what they do, even though after revisiting Death or Glory compared to Black Hand Inn I decided to bump down my score to a 4 rather than a 4.5 because I can a agree that a bit more than half the album is just slightly catchy, mid-tempo Heavy Metal songs that don't necessarily push the envelope but are still great songs nonetheless. I think that Black Hand Inn has a better album flow, more memorable riffs and sections with tracks like "Mr. Deadhead", "The Privateer", and "Freewind Rider" to name a few. Plus you get the 15 minute closer that lets Running Wild stretch their songwriting abilities a bit more. 

I think to answer about what you're missing, and I know you won't like this so much Daniel, but for me, Running Wild are the epitome of a solid, no bells and whistles Heavy Metal band that manages to be incredibly consistent enough to be "just good enough" to a lot of folks. The vocals aren't the greatest in Heavy Metal, but they're far from unserviceable. The songwriting may not be as good as peak Iron Maiden, but I still really enjoy the riffs and very slight Speed Metal influence on some songs. Plus the band as a whole just sounds bigger, grander, and a bit more epic in style compared to your other classic Heavy Metal bands, giving them their own niche. Plus, I listen to a lot of bad, bland Power Metal. I know what it's like to be utterly bored out of my mind when listening to a Power Metal album, and I never got that from any Running Wild album save for Under Jolly Roger. It might just be a perspective thing at the end of the day. 

OK so it's taken me some time to get around to it but I've finally given "Black Hand Inn" a few spins to see how it differs from Running Wild's 80's material which left me feeling so underwhelmed. The first thing I'll say is that I find "Black Hand Inn" to be the strongest Running Wild release I've heard to date. The vocals are more professionally executed, the production is cleaner & more vibrant & there's a strong Maiden/Priest/WASP influence that I really enjoy. Unfortunately though, a good half of the album is made up of that cheesy Helloween/Gamma Ray style German power metal sound that I struggle with so much. I find the guitar harmonies in particular to be a real turn-off at times actually & this undoes a lot of the good work that's been done in catchy heavy metal numbers like "Fight The Fire Of Hate" & "Freewind Rider" which I find genuine enjoyment in. When I look at the tracklisting holistically I just find it to be a real mixed bag of wins & losses with the power metal component only successfully winning me over on the epic "Genesis (The Making & Fall Of Man)". The kick drum sound also annoys me a bit but it's nothing major. I guess Running Wild simply isn't for me.

Running Wild - "Black Hand Inn" (1994)

For fans of Grave Digger, Blazon Stone & Rage.

3/5

I agree with you here Andi. The heavy metal tag is completely unnecessary as far as I can see.

RYM doesn't list the releases I'm talking about as progressive metal Andi which is kinda my point.