Daniel's Forum Replies

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.

I'd suggest that it's a lot closer to progressive metal than it is to heavy metal in all honesty. I'd take it out of The Guardians too if it was up to me.

To be honest I've always regarded the US power metal movement as more of a scene than a sound. I mean the term was originally penned to draw together bands that had removed the hard rock edge from the NWOBHM brand of heavy metal & taken a more chunky & aggressive approach to heavy metal (more often than not incorporating the influence of the new & exciting speed metal & thrash metal genres) but in reality it ended up encompassing a whole range of sounds with many of them amounting to nothing more than heavy/progressive metal instrumentation with an operatic/theatrical style of vocal delivery. A large percentage of these bands would have sat very comfortably under the already established heavy metal, progressive metal or speed metal tags if they weren't American, particularly those that resided on the white collar side of the US power metal equation (i.e. the more melodic & progressive side as opposed to the more thrashy & testosterone fueled blue collar variety). There were loads of bands that were simply ripping off Iron Maiden & Judas Priest but still seemed to get lumped in with the US power metal crowd when no one ever considered their idols for inclusion under the power metal banner, despite having the same sound & even the same vocal style. I'd be much more comfortable with releases simply being labelled as heavy metal, speed metal, power metal, thrash metal or progressive metal or a combination of the five as those terms genuinely mean something whereas the US power metal tag doesn't have much meat on its bones in my opinion, at least it didn't until more modern times. And what of releases that have the US power metal sound but don't come from the US? Why shouldn't they receive the same tag if they have the same sound? It's never made sense to me. In fact, I don't regard a good half of my top ten as US power metal but have chosen them simply because they're generally regarded as being a part of it.

I've never bought into the idea that Fates Warning's "The Spectre Within" was the release that initially created the classic US progressive metal sound. "The Warning" was a fully fledged progressive metal release as far as I'm concerned & it's always baffled me that it's not regarded as such. There were actually a few earlier & significantly more underground examples of progressive metal too in my opinion however they were all a bit rough around the edges & weren't as well defined & executed as this one. I'll chuck 'em your way & see what you think at some point Andi.

Classic early 90's Finnish death metal for fans of Depravity, Adramelech & early Convulse.

Demigod - "Slumber Of Sullen Eyes" (1993)

The debut album from this highly regarded Finnish outfit is a great example of the strength of the early 90's underground death metal scene. Demigod's first up effort combined the old school death metal of the Swedes with the classic graveyard atmosphere of Incantation & the melodic sensibilities of Paradise Lost to create one of the defining releases in the history of Finnish death metal. The musicianship & execution aren't perfect however there can be no denying that the band had a strong understanding of what made death metal so great. The variations in pace, the melancholic guitar lines & the deathly vocals all highlight a record that brings together several key influences in order to achieve a fresh take on the genre without ever threatening to reinvent the wheel. The consistency of the tracklisting & the deathly atmosphere are certainly impressive however the lack of genuine classics prevents me from exploring the upper echelons of the rating spectrum. It's a very strong release for fans of classic death metal though & comes highly recommended.

For fans of Depravity, Adramelech & early Convulsed.

4/5

Vinny & Sonny, this one should offer you plenty of appeal.

Here the link to my top ten US power metal releases of all time:

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

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

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

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

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

05. Crimson Glory - "Transcendence" (1988)

06. Queensryche - "The Warning" (1984)

07. Riot - "ThunderSteel" (1988)

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

09. Griffin - "Flight Of The Griffin" (1984)

10. Queensryche - "Queensryche" E.P. (1983)

They have a new album coming out on 25th September too gents.

Well done mate. No I don't think I've checked out that Slough Feg record before. I actually have another one of their albums on my playlist for the next few weeks already so you've given me some encouragement to get stuck in. Thanks for the tip.

I did my list some time ago & it can be found here:

https://metal.academy/lists/single/9

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

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

03. Iron Maiden - "Maiden Japan" E.P. (1981)

04. More - "Blood & Thunder" (1982)

05. Saxon - "Power & The Glory" (1983)

06. Diamond Head - "Lightning To The Nations" (1980)

07. Saxon - "The Eagle Has Landed: Live" (1982)

08. Saxon - "Strong Arm Of The Law" (1980)

09. Def Leppard - "High 'n' Dry" (1981)

10. Grim Reaper - "See You In Hell" (1983)

Ben & I did a ton of research on the NWOBHM while recording our podcast several years ago now. We found that the movement really ran from 1979-1983 & ended with the rise of glam metal & MTV in the USA as well as the kick-off of the US power metal movement.

Chaotic Norwegian death metal for fans of Incantation, Portal & Infester.

Molested - "Stormvold" E.P. (1997)

I remember this relatively unknown Norwegian death metal band creating quite a stir in the underground tape trading scene in the mid-to-late 90's & you can easily see why given the metal-at-all-costs approach taken here. Molested were built around Borknagar guitarist Øystein Garnes Brun who also handles the super-deep growly vocal duties here &, on the evidence of this short five-song EP, it would seem that his prime ambition for the project was to create as much chaos as humanly possible.

"Stormvold" kinda sounds like they've taken the suffocating death metal of Incantation & combined it with the out-of-control execution of the South American extreme metal scene & the commitment to outright insanity of the war metal subgenre. Now that synopsis sounds pretty amazing to me in theory but I've always wanted to like this E.P. more than I actually do. I certainly appreciate the vicious atmosphere they've managed to achieve however the execution isn't everything I'd like it to be. It's simply TOO chaotic for my taste a lot of the time with the riffs struggling to maintain their structure.

There's no doubt that this is a metal-as-fuck release that will appeal to fans of the most extreme of the extreme & it ticks many of my boxes in the process (see the outrageously metal guitar tone for example) however it unfortunately doesn't end up becoming something that I find myself returning to all that often.

For fans of Incantation, Portal & Infester.

3.5/5

Classic heavy metal for fans of Iron Maiden, Dio & Halford.

Bruce Dickinson - "Accident Of Birth" (1997)

Vinny & Andi, I'd suggest you give this one a few spins if you haven't already.

Cripplingly cold & atmospheric Swiss black metal for fans of Burzum, Darkspace & ColdWorld.

Paysage d'Hiver - "Winterkaelte" (2001)

Swiss atmospheric black metal solo project Paysage d'Hiver may be most well known for his 1999 self-titled demo however I've always questioned the validity of that particular release being his crowning achievement as I don't rate it amongst Wintherr's strongest material. 2020's epic "Im Wald" release is still my favourite after the second hour absolutely blew me away me away however 2001's "Winterkaelte" isn't far behind as it possesses one of the purest frost-bitten Scandinavian atmospheres you'll ever hear & doesn't taint it with ill-fitting clean instrumentation nearly as regularly as the self-titled.

This time we see Wintherr offering us six lengthy pieces that generally exceed the ten minute mark with the two strongest tracks opening proceedings. If you struggle with trance-inducing repetition then this won't be the release you're looking for but if you love nothing more than closing your eyes in pure darkness & being engulfed by a swarming mass of arctic winds then this will be right up your alley. The general ambience is further accentuated by well-executed field recordings that add further weight to the feelings of desolation & loneliness you'll inevitably be experiencing through the layers of guitars & distant drum pulse. It really does come at you in waves with Wintherr's insane screams being a real highlight. You would have to imagine that he would have completely burnt his voice out with this performance. 

The last couple of tracks do see the quality dropping a touch which is mainly due to their faster tempos which see the drum machine becoming much more obvious & this element does take a little away from the atmosphere however it's not enough to see me pulled out of the foreign & intimidating place I've been transported to. The 79 minute run time is a little extreme too however the consistency of the tracklisting is excellent so it's very hard to argue against it, particularly when I don't have any problems taking in the whole release in one sitting. Overall, "Winterkaelte" is a glorious & majestic piece of black metal art that should captivate anyone regarding themselves as a black metal purist.

For fans of Burzum, ColdWorld & Darkspace.

4.5/5

Ben, Vinny & Sonny, I noticed that you haven't rated this one yet. I highly recommend that you investigate it.

Here's another earlier demo tape we did in 1995.

I think 1993 was the beginning of the golden metal age in my opinion

Personally I'd suggest that 1985-1995 was the golden age of metal but it depends what genres you're into. Most people would probably say it started a little earlier in the 1980's than I do.

1993 was the final year in death metals five year reign at the top of extreme metal with black metal taking the mantle the following year.

This month's feature release list was so impressive. I loved all bar one of the nine records included & even added the M.S.W. album to my Hall of Metal Glory. It was good to revisit some old favourites from my past (Ministry, Converge, Alice In Chains, Necrodeath) & the Blood Red Throne, Keep Of Kalessin & Altesia records were all worthy additions to my collection. The Altesia one was particularly surprising given that I'd never heard of them before. To be fair on Andi, I was never gonna like the Gamma Ray album as that variety of European power metal just isn't my bag.

Here's the list of features in order of preference:

1. M.S.W. - "Obliviosus" (2020)  4.5/5

2. Ministry - "The Mind Is A Terrible Thing To Taste" (1989)  4.5/5

3. Blood Red Throne - "Altered Genesis" (2005)  4/5

4. Converge - "You Fail Me" (2004)  4/5

5. Keep Of Kalessin - "Reclaim" E.P. (2004)  4/5

6. Altesia - "Paragon Circus" (2019)  4/5

7. Alice In Chains - "The Devil Put Dinosaurs Here" (2013)  4/5

8. Necrodeath - "Into The Macabre" (1987)  4/5

9. Gamma Ray - "Power Plant" (1999)  3/5

Well done to Sonny who has picked up my monthly award for best feature release too.

This track is such a disappointment given the undeniable strength of some of the other material on Savatage's "Edge Of Thorns" album.