Daniel's Forum Threads
Onslaught - Killing Peace (2007)
I am a big fan of Onslaught's first two albums. Let's face it they were one of the very few thrash metal bands of any real consequence that hailed from the UK, so a bit of local bias came into play to endear them to me, even though those two albums are really good anyway. However, I have never listened to any of their post-reformation albums. Well, the intervening years between the 1991 split and 2004 reformation had seen the thrash world fall under the thrall of the groove gods, with the shadow cast by the likes of Pantera and Machine Head proving to be almost all-encompassing. In the 21st century it feels like the thrash world split into two distinct camps, the bands who embraced extremity and incorporated more death or black metal into their sound (let's call these the good ones) and those who sold their souls to the groove gods (for argument's sake we will call these the bad ones) in the hunt for increased record sales. Listening to "Killing Peace" it is obvious that Onslaught took the latter path, despite their earlier stuff suggesting they would be more likely to embrace the former.
To be honest, after only a handful of tracks I had had enough of this, it's groove-oriented approach sounding far too much like a knock-off Machine Head for me to stomach it for long. I stuck it out until the end as I was out dog-walking and it was easier to keep listening than change it. However, come album's end I had the horrible empty feeling in the stomach that I get when I realise a band I once really dug has sold out and is nothing more than a trend-following shell of its former glory. In fairness only two of the guys who recorded "Power From Hell" were present on "Killing Peace", drummer Steve Grice and lead guitarist Nige Rockett who had even relegated himself to rhythm guitar in the new band, but even so, the latter album sounds like it was conceived and recorded by a completely different band, possibly one from a different dimension such is the lack of connection I make to it. For me, this is akin to the chasm in quality between St Anger and Master of Puppets.
On the plus side the production is super clean, as you would expect from an album recorded this century and there are a couple of quite gnarly solos, with opener "Burn" being a case in point. Steve Grice's drumming is very good too and is one of the only reasons to listen to this more than once, which I am doing right now, so dedicated am I to delivering a considered opinion! The lead vocals are pretty horrible though ("Destroyer of Worlds" is just painful), the gang backing vocals are even worse and those bouncy, groove-oriented riffs are anathema to all I hold dear. Add in yet another overused "I am become death" Oppenheimer sample and I have just about had it with this.
I originally had this pegged as a 2.5, but further listening has hardened my opinion agaginst it and I can't bring myself to go higher than a 2.0. I will definitely stick with Onslaught's 80s stuff and file their reform albums in the bottom drawer of the filing cabinet in the shed at the bottomof the garden marked "Do Not Listen - Ever".
Ambush - "Evil in All Dimensions" [Swedish heavy metal]
Get your denim and leather jackets ready for AMBUSH and their Napalm Records debut Evil in All Dimensions, out September 5, 2025! Bursting with relentless energy, this monster captures the classic essence of heavy metal - championing the genre’s roots while setting a new benchmark for modern heavy music. Formed in 2013, AMBUSH quickly became a staple of the Swedish metal scene, delivering classic heavy metal vibes with a modern twist. Drawing inspiration from the likes of Judas Priest, Accept, and Iron Maiden, AMBUSH’s unique blend of traditional metal and fierce energy has earned them a dedicated fanbase around the globe. From fingernail-shattering riffs to screaming-solos and emotional lyrics, the Swedes emerged from the underground scene landing performances at Europe's most prestigious old school metal festivals like Muskelrock, and touring as a fan-favorite next to heroes like ENFORCER and COBRA SPELL.
Marking the beginning of an exciting new chapter in their relentless quest for speed, AMBUSH are ready to rise to even greater heights with Evil in All Dimensions, and its explosive collection of high octane, riff driven anthems. The title track and opener perfectly delivers classic 80s heavy metal hooks with sleek, modern production. Taking listeners along a nightmare turned reality, this song kicks off with high energy drum grooves by Linus Fritzson and powerful riffs from guitar-virtuosos Karl Dotzek and Olof Engqvist. Bassist Oskar Andersson knows how to hypnotize the audience with his lines in the brooding “The Night I Took Your Life”, while "Maskinovka" is an anthem with a standout performance from vocalist Oskar Jakobssons. The track’s mid-tempo groove personifies the difficulties of standing up for truth in a world shaped by manipulation. But there is no rest for the wicked: whipping drums, sharp guitars, and high-pitched vocals, “Come Angel of Night”explores themes of reconciliation when the damage seems irreversible, culminating in a soaring solo that highlights the band's musical prowess. In addition to their undeniable talent to revive fast and glorious 80s headbangers, the Swedes also surprise with the gripping power ballad "I Fear the Blood”. It’s a song to pump your fist to, vacillating between themes of escapism and self destruction, amidst the battle against one’s inner demons. Founder Oskar Jakobssons screams his soul out in this heavy-hearted and honest masterpiece, which creates the perfect moment to wave your lighters in the air, passionately belting along.
Evil in All Dimensions is undeniable proof of the band's unwavering passion and talent for the genre. With Napalm Records as their partner, they are primed to take the world by storm. The evil in this world can't hide – AMBUSH will take care of it with relentless heavy metal power!
Spinal Tap - The End Continues" [US heavy metal]
The soundtrack release from the new film sequel "Spinal Tap II: The End Continues".
Before the Dawn - "Cold Flare Eternal" [Finnish melodic death metal]
Tuomas Saukkonen, Finland's most prolific musician in the field of Nordic metal, follows the motto “If you want to create, you have to destroy”. Over the past 20 years, he has created and disbanded numerous projects that have shaped the Finnish metal scene. In 2023, he brought the band Before The Dawn back after an eleven-year break with the album Stormbringers, which was celebrated as a musical comeback. Now the follow-up is already in the starting blocks, a work characterized by strong band chemistry and musical brilliance.
In the new album, Saukkonen reunites the band in its best line-up and creates a hard-hitting work that shines with aggressive yet melodic sounds. The album captures the energy and atmosphere of the band's performances and combines it with the deep, mystical beauty of Finnish nature. Saukkonen, who is also known as a solo artist with projects such as Wolfheart and Dawn Of Solace, has released several albums since 2022 and continues to perform with passion and creative energy.
Despite his intense workload, Saukkonen emphasizes that he also has more time for his hobbies such as fishing. The new album not only shows his continued passion for music, but also a tremendous energy that is reflected in both the lyrics and the music. Saukkonen remains a passionate musician who continues to focus on creating new music even after more than 20 years in the scene.
In Mourning - "The Immortal" [Swedish melodic death metal]
At some point, a band simply has to try something else in some form or another lest their sound begin to become stale and uninteresting. It can be in even the smallest ways that such a change can make for a wild difference. For some, it’s the inclusion of another band member or trying a slightly different approach. For others, something more radical and transformative must take place for the band in question to really feel as though they’re breaking new ground. After forming twenty-five years ago, it was only expected that In Mourning would eventually try something else. We’ve seen them dabble in previous efforts with their more progressive leanings, but it’s here in their seventh album that they fully take the plunge.
When dealing with a band like In Mourning, it’s important to remember where we’ve come from. For years now, this has been a band that has been massive for all intents and purposes in their own corner of death metal with their own doom and gothic leanings that have always allowed a ton of interesting flavor and vigor to pour out of virtually every performance the band has thrown down thus far. It’s only natural that after becoming certified masters of that craft that they would seek alternate avenues to explore and see what else they can do. With the nine tracks of “The Immortal”, it’s clear that In Mourning is already more than competent at their new approach with the nuance, diversity, and organic nature of the record as a whole speaking to the ingenious talent at play here. The sheer scope of this record is something to be admired. “The Immortal” is just as beautiful in its grace as it is unyielding in its intensity with In Mourning pulling from its decades of experience to ensure that these ten tracks were far from one-dimensional and can really become something to become lost within. Undeniably dynamic and able to throw down tremendous progressive passages while never sacrificing its brutality in the process, this is the kind of album that can inject all sorts of new life into a band that’s been at it for a long time.
In Mourning has never been one to doubt, and it’s with “The Immortal” that one cannot help but be overwhelmed by the excellence that’s commanded with masterful precision. If they were seeking to prove something with the crafting of “The Immortal” then I cannot but feel as though In Mourning as more than succeeded as this record makes a difficult transition seems fluid and compelling. Overflowing with light and majesty, it’s the whole of “The Immortal” that enables In Mourning to have a future not many of us could have seen coming.
“The Immortal” releases on August 24th!
Between the Buried & Me - "The Blue Nowhere"
Progressive metal visionaries Between the Buried and Me return with their most immersive and eclectic record yet—The Blue Nowhere. Mixing uncharted musical detours with their distinctive aggressive identity, the band create a conceptual world unlike anything in their incredible catalog.
releases September 12, 2025
Pestilential Shadows - "Wretch"
Northern Silence, in conspiracy with Brilliant Emperor, are proud to present Pestilential Shadows' highly anticipated eighth album, Wretch.
One of Australia's longest-running and most respected black metal bands, Pestilential Shadows have been building a towering canon of work since 2003. Whereas many of their native land's extreme metal exports either tend toward the chaotic or too clean, the shadowy collective led by founding vocalist / guitarist Balam consistently create compelling swathes of drama and darkness, all-enveloping emotion and regal-yet-gritty grandeur. Truly, Pestilential Shadows are black metal classicism par excellence.
And while the last handful of their albums the past decade-plus have seen sizable gaps between them, Pestilential Shadows strike while the iron's hot with Wretch. Simply and substantially titled, Wretch follows from last year's Devil's Hammer and continues the band's progression / regression toward uglier, gnarlier expanses. Mind you, it's a lateral development rather than a vertical one - the "form" is still BLACK METAL, and its attendant contents are ruminations on death and the beyond - but the fact that Pestilential Shadows can subtly-to-significantly shift their sonic palette whilst conveying their characteristic melancholy and tragedy speaks to the enduring strength of their songwriting. What's more, the album's production is palpably professional, feeling effervescent and crisp even when running through those uglier, gnarlier expanses. If anything, said recording style of Wretch - mastered by Krvna mainman Krvna Vatra, who played on the aforementioned Devil's Hammer, with mixing done by Balam - gives the record a uniquely ethereal aspect, even when the band have kicked into ultraviolent overdrive. Above all, the eight songs that comprise the 49-minute Wretch prove Pestilential Shadows as masters of pacing, doling out the sublime and the profane with equally windswept aplomb. Of especial note is the solemn procession of "Where Sunlight Goes to Die," which features guest choral vocals from Dis Pater of Midnight Odyssey.
As always, totality is key, and thus has Greallach Art been brought back to provide stark & austere cover artwork for Wretch. On the strength of this album alone, Pestilential Shadows continue to assert their position as a classics-minded black metal vanguard, and will cement that position in the flesh with a European tour slated for late August through September and then an Australian / New Zealand tour to follow in October.
Esoctrilihum - "Ghostigmatah - Spiritual Rites of the Psychopomp Abxulöm"
From Bandcamp, “Often accused of having no sense of measure, Asthâghul churns out a new double album that is grandiose, symphonic, psychedelic, liturgical, delirious. In a word, excessive. "Ghostigmatah" is a prism that reflects every single nuance of the ESOCTRILIHUM sound. Conceptually, the album is divided into four chapters, each of which tells a ritual stage in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm, who will finally deliver them to eternal nothingness. A post-mortem ritual that is told in the secret grimoire of the “Ghostigmatah,” a sort of modern Necronomicon that constitutes another piece in ESOCTRILIHUM's phantasmagorical visionary world.”
The album has ten long-titled songs. “Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather” is first. The sounds that spew forth are like the worst utterings that Hell has to offer…thick, resonating bass notes, a wall of guitars, backing keyboards that are harrowing, machine gun drumming, and harsh vocals screams/gutturals. “Kneeling Before the Keeper of the Golden Key to the Absolute Void” has a more traditional Black Metal sound, but still, this is a lot of sonority coming from a single composer. The keyboards add a layer of melody to the song, but it’s mostly a landscape of controlled aggression. “Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, the Giant Fly” has both deeper elements on the low end, and surprisingly melodic ones on the upper end. A lot of the song seems to be part of a sight seeing trip down each plane of Hell.
“Hypnotic Danse Macabre of the Blind Noctivagants” embraces melody, and leaves some of the aggression behind. The abrupt change of pacing is a testament to the composer’s songwriting skills. “Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme” returns to some of the naked aggression of the previous songs. Harrowing elements abound, and it’s akin to being tortured over and over again. The bass work here is outstanding. “The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite” features deep, cavernous vocals and chaos that almost sees the wheels come off of the speeding bus. There is so much dissonance, it’s about all that you can peer through. “Mauled, Swallowed and Dissolved Into Nothingness by the 8-Eyed Psychopomp” features a gentler sound as well as some clean vocals, but take that with a grain of salt…it’s still dark, dangerous, and aggressive.
“Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites” is the final offering, and mysterious tones end the album. For me, the psychedelic landscape brings up more questions than answers. The album seemed to encapsulate everything that someone might come across in the underground…chaotic aggression, and vocals that can frighten you even when you are asleep. The composer is obviously talented, and the album is just diverse enough. Any fans of Extreme Metal will find this to their liking.
Merzbow - Metalvelodrome
Genres: Harsh Noise
On my noise ventures I found myself mostly driven by the challenge of finding truly artistic music from the more extreme variants: harsh noise and harsh noise wall. And I've found some that I've liked, but mostly when it plays with other genres like a Uboa album. But this 4-hour Merzbow album is at the top of the RYM harsh noise charts. Was that a good sign, or is this an album that only the ones who would listen to four hours would finish anyway, thus allowing less people who see problems with it to even rate it in the first place? Since I have the capacity to enjoy noise music and am mostly a rocker, I felt I had to say something.
And this is what I have to say: it's definitely the latter. If Merzbow, a man who had been doing noise albums for 15 years up to that point, wanted to make a 4-hour behemoth of ugly sound, then he should've done more to play with the sound. By this point, the vast majority of noise tricks pulled in these four hours can be done by literally anybody if you ask me. I've heard imitators that were much more intriguing. It starts out cool, but the entire first half is just generic noise music at this point. Now a lot of wacky and cool ideas are played in the 45-minute track, Another Crash for High Tide. The weird sounds, the vocal effects, it's all pretty cool. But there's so much packed into it that most of these ideas only get about 20 seconds of album time. And the worst part? THIS SONG STARTS AFTER THE FIRST TWO HOURS ARE OVER. In other words, it's two hours of generic noise before creativity has a say. Why the hell didn't Merzbow flesh all of these ideas out into better songs throughout the whole? That's pretty infuriating, especially since it goes back to generic noise for the rest of it, mostly.
This four hour behemoth needs a serious re-evaluation on RYM by more serious and diversified explorers. This is a pretty standard noise album for most of it with some creativity attached, going into unholy lengths to get 1 job done for three out of the four hours. Merzbow would do much better in the close-by following years, so while this album shouldn't need to be heard, historically speaking, it doesn't deserve to be the highest rated harsh noise album on RYM at all, let alone any website that covers noise music. If you wanna hear REAL Merzbow music, try Electric Salad.
52
Miroslav Vitous - "Infinite Search" (1970)
The second solo album from Weather Report bassist Vitous has been a stellar find this week. I had no idea who the supporting cast were going into the record but was easily able to identify some of them as soon as their music hit my ears as their signature styles are so familiar to me:
Miroslav Vitouš: – bass
Joe Henderson: – tenor saxophone
John McLaughlin: – electric guitar
Herbie Hancock: – electric piano
Jack DeJohnette: – drums
Joe Chambers: – drums (on track #6, "Epilogue")
Wow! That's an unbelievable lineup, particularly given the inclusion of McLaughlin who is my all-time favourite jazz guitarist. The material sounds very similar to the classic Miles material from the period too & has clearly been inspired by those classics while also being a little more avant-garde with Vitous' bass being the main protagonist most of the time which isn't all that common. This record comes highly recommended for jazz fusion fans.
For fans of Miles Davis, Joe Zawinul & Jaco Pastorius.
4/5
Kaikkivaltias - "Routaa ja Rautaa" (2025)
EP cover looks like a Finnish Tourist booklet inspired by a Windir record (which is ironic given Windir are Norwegian). Anyway, this fella likes the trilly aspects of the tremolo and uses acoustic, medieval sounding instruments to flavor his melodic bm/heavy metal. Wears a big, silly and frilly white shirt and black waiscoat too and likes a dungeon synth interlude. Can make a significant din as well fortunately so I will forgive him dressing like Meatloaf to some degree. I set out to listen to something a little obscure to kick my evening off with and so I found what I sought.
The last track is mindless wankery though.
2.5/5
Jeff Buckley - Grace (1994)
Genres: Alt-Rock, Singer/Songwriter, Art Rock
I'm looking forward to an opportunity to catch the new Jeff Buckley documentary on Prime, but it's been way too long since I checked out any Jeff Buckley. Truth is, I had been so bent on checking out and discovering albums since I first heard this in my first year of album logging that I haven't heard this in 13 years. Poor guy only met his dad Tim once, but that made all the difference. This guy clearly listened hard and smartly, not only to the works of his father, but to all the classical and rock artists that influenced him. You can hear mild bits of the Mozart and even Siouxsie influence in his singing and his melodies. But in the end, the many ingredients that make this album all become the Jeff Buckley identity, nothing short. Hell, even when Dream Brother practically sounds like a cover of a Siouxsie song, it's still a Buckley song. This is rock at some of its most gorgeous and heartfelt. His singing has a falsetto range even beating Thom Yorke, and his ability to go from soft and folksy to rough and noisy is some of the most carefully constructed and carefully flowing transitioning I've ever heard. Hell, he's the only one who can sing Hallelujah and make me think "Buckley" instead of "Shrek." God, I wish he didn't drown. One album into his career, he proved that he was a musical genius.
I tend to spin this record about once a month and this recent remaster of The Gits' classic 1992 "Frenching the Bully" album is an absolute beauty so my vinyl order has just gone into Amazon. This is one of my all-time favourite US punk albums, up there with Bad Brains first, DK's Fresh Fruit and The Ramones "It's Alive". This remaster has given it a sharp cutting edge and cements it's place as a punk rock classic. The murder of singer Mia Zapata, apart from cutting short the life of a vibrant young woman, robbed the world of one of the best punk singers ever committed to tape. RIP Mia...
While I am on the subject, here are my top ten Punk Rock albums:
1. The Stranglers - Rattus Norvegicus (1977)
2. Dead Kennedys - Fresh Fruit for Rotting Vegetables (1980)
3. Ramones - It's Alive (1979)
4. The Gits - Frenching the Bully (1992)
5. The Clash - The Clash (1977)
6. Bad Brains - Bad Brains (1982)
7. Misfits - Earth A.D. (1983)
8. Suicidal Tendencies - Suicidal Tendencies (1987)
9. Subhumans - From the Cradle to the Grave (1984)
10 Discharge - Hear Nothing See Nothing Say Nothing (1982)
Caronte - Spiritvs (2025)
I am a big fan of this Parma five-piece and was stoked to see they had a new album out, with minimal fanfare from the metal world, a long six years since previous offering "The Wolves of Thelema". Their brand of doom metal sits smack-bang between the stoner and the epic, with a wide streak of occult psychedelia, in the vein of The Devil's Blood, running through it's dark heart.
They have a quite distinctive sound, chiefly down to mainman Dorian Bones' vocals which come on like a mixture of the gothic flavour of Paradise Lost's Nick Holmes and the expansive epicness of a Robert Lowe. Over the previous decade and a half they have also become exceedingly proficient at writing more memorable, uptempo doomy riffs that are likely to be rolling around your head for hours after the record stops spinning. The rhythm section is exceedingly solid, with both drummer Mike De Chirico and bassist Henry Bones solidly and unshowily driving the tracks along and providing a solid foundation on which everything else is built.
The opening one-two of the punchy and catchy "Scarlet Love" and the slower and doomier "Aiwass Calling" sees the album kick off in fine style with two of the album's strongest numbers. Most of the tracks are mid-paced affairs, but the band do include a couple of slower, more doom-laden numbers with the aforementioned "Aiwass Calling" and the penultimate "Fire Walk With Me" being well-placed to prevent the album from sounding too samey. I feel there is a bit of a drop-off in the middle, though, with side one closer "Antikristos" and side two opener "Beyond Daath" not really hitting the spot for me. "Antikristos" feels like the band are fishing to catch the Jex Thoth / Devil's Blood crowd and "Beyond Daath", despite having a decent riff, leans too much into the occult theatrics vocally. Luckily things pick up with the album's doomiest (and my favourite) track "Fire Walk With Me" imparting a bit of class before closer "Interstellar Snakes of Gold" rounds things out with a melodic chorus and nice riff.
As much as I enjoyed Spiritus, I find myself being reluctant to impart a top-tier score. The main reason for this is the lack of adventure the band display, particularly in the restraint with which the guitar leads are deployed and their willingness to stick to the same old formula which has, admittedly, served them very well over the years. I think the album is lacking a really good solo or two with the leads mainly used to add melody over the riffs when I couldn't help feeling that on a couple of occasions they could have really let rip, but feel constrained by the tight discipline of the songwriting. The closing section of the aforementioned "Fire Walk With Me" is the only really extensive solo and even that feels like it is being held in check when it should howl and soar.
In truth, I don't need a band to constantly be pushing the envelope and redefining themselves for me to enjoy them, but sometimes they can be found sitting just a little bit too comfortably and I feel like that about Caronte at this point in their career. There are some good tracks here, but it feels to me like there is a little too much filler too with "Antikristos", "Beyond Daath" and "Interstellar Snakes of Gold" almost feeling like a band going through the motions and I hate saying this about a band I enjoy as much as I do Caronte.
I'm afraid I can only award it a measly C+
Kvelertak - "Kvelertak" (2010)
The debut album from this Norwegian crew offers a fairly enjoyable example of the black 'n' roll style, combining blackened hardcore screams with really well produced & executed punk & hard rock instrumentation. The energy levels are excellent throughout & one can easily pick up the influence of classic hard rock artists such as AC/DC, Motorhead, Jimi Hendrix & Led Zeppelin along with flashes of black metal aggression. This isn't generally my sort of release on paper but I can't deny that it's been beautifully done & has kept me engaged for the majority of its run time.
For fans of Owls Woods Graves, Wormwitch & Zorn.
3.5/5
-16- - Guides for the Misguided (2025)
I haven't listened to a whole lot from L.A.'s 16, but what I have, I have always found to be angry and confrontational, from a band railing at the world, their relationships and even themselves. Guides for the Misguided starts off in much the same vein with a couple of quick-tempo efforts, Bobby Ferry's anguished and angsty shouting almost making me suspect that they are trying to grab the attention of the metalcore crowd and the band coming off as the result of a cross-pollination of Crowbar and Converge.
However, things soon take a turn down a different alley with third track, "Blood Atonement Blues". Starting with a piano intro that is rapidly swamped by a really nice bluesy, howling lead. The track then turns down an unexpected gothic metal sidestreet, complete with a catchy chorus which isn't as good as the rest of the track, although that howling guitar lead does make a very welcome return. At this point I must admit I was now a bit thrown off track, thinking I knew what I was getting here, but subsequently having those expectations trashed. "Fortress of Hate" is a groovier slab of sludge metal that I would, once more, associate more with Crowbar than I would -16-. This groovier approach and the deployment of generally more catchy choruses continues with "Proudly Damned" and especially "Fire and Brimstone Inc" which has one of those choruses that you just can't shift from your head.
I am then even more confounded by "Desperation Angel" which sounds like a sludge metal track that has been written by Dave Grohl and, even though it is more aggressive-sounding than most of the preceeding tracks with the harsh vocals coming back to the fore at last, it just doesn't quite hit hard enough for my liking. In fact it isn't until "Resurrection Day" that I get the anger and visciousness that I turn to a -16- album for, although the track is a little bit patchy in truth. This is followed, though, by the quite short "Give Thanks and Praises" which has much more of a hardcore feel and so is a better representation of what I personally look for from the band and which, despite it's brevity, is probably my favourite track. Admittedly the album does finish more strongly with "Give Thanks" being followed by the hulking "Kick Out the Chair".
In conclusion, "Guides for the Misguided" probably threw more curve balls at me than I was expecting. This may not be entirely out of character as this is only the third album I have heard from the band, but it does seem at odds with what I have heard previously, not with a massive departure exactly, but it feels like an album from a band toning down their aggressive tendencies in order to garner wider acceptance. Look, this is not a bad album and has some fine moments, it may turn out that this is one hell of a grower and I may look back in future days perplexed at my intital reactions, but at this moment in time I am a little disappointed that -16- have seemingly watered-down their venom.
3/5
I couldn't agree more on this one. I never took time to write a review but basically got to the same rating for the same reasons.
Bring Me The Horizon - "Sempiternal" (2013)
I have to admit that I've never explored a full Bring Me The Horizon record until now but, on the evidence of this fourth full-length, it would seem that I could have been missing out because "Sempiternal" is a really solid outing that proves that stadium metal anthems can be appealing to your average extreme metalhead too. Terry Date's production job is clear & attractive, the consistent use of electronics is used very tastefully throughout & front man Oli Sykes gets his scream-factor just right so if you like your alt-metalcore thing with a side helping of post-hardcore then you'll definitely wanna explore this release which is buoyed by consistently strong song-writing.
For fans of Of Mice & Men, A Day To Remember & Architects.
4/5
Another one's coming as well! Dark Angel's looooooong-awaited new album will come out next month.
N.W.A. - "Straight Outta Compton" (1989)
I find N.W.A.'s debut album to be a little bit overrated to be honest. It certainly kicks off in fine fashion with the first couple of tracks (particularly the opening title track) being iconic gangsta rap anthems but the rest of the record is a little inconsistent. It's still definitely worth exploring but I feel that "Straight Outta Compton" is far more culturally important than it is musically essential with earlier releases from Public Enemy, Eric B. & Rakim & (to a lesser extent) Ultramagnetic MC's being superior.
For fans of Ice Cube, Public Enemy & Geto Boys.
3.5/5
Drudkh - Shadow Play (2025)
Genres: Atmo-Black Metal
Now we all know that Drudkh had a leading say in the development of nature-themed black metal. They were basically THE band for the job. They had a bit of a rocky road after their 2009 album Microcosmos, as the people say, but there seemed to be, ahem, light in the forest, during recent years. So while I came into 2025's Shadow Play with some good expectations, I remained aware that those expectations wouldn't be met. So while the album's getting great reviews, I have to say that they've once again become a passable and generic black metal band. This whole album is all about relying on, and drawing out, half of the basics they had already mastered in the 2000's from Forgotten Legends to Blood in Our Wells. The album's going for finely-tuned production above everything else, so black metal riffs and melodies come off as unoriginal. As well, the production doesn't always balance out the ambient backgrounds and the riffs in the foreground, occasionally coming off as muddily-handled despite the ambiance. I mean, Drudkh influenced so many bands that have done this album so many times that it's not a joke. Did you know, if you just check the RYM charts and filter it by year and with only black metal, you'll get 25 pages of 40 black metal albums? And 25 is the maximum they show in custom charts. That means every year, we get over 1000 black metal albums. These days, thanks to other nature-themed atmo-black bands like Panopticon and Ashenspire, I can guarantee you a good portion of those albums is nature-themed. That means Drudkh has gone from influencing a classic form of metal to producing the same tripe that their own imitators make every year, just with better studio production that sometimes gets in the way. What an overrated disappointment. Production will keep it tolerable throughout, but otherwise this is kinda bogus.
52
Tenhi - "Maaäet" (2006)
The third full-length (or fourth if you include Harmaa's "Airut:aamujen" album from 2004) from these Finnish dark folk leaders is arguably my favourite release from the whole movement. I find it's stripped back post-rock-inspired vibe to give it a deeper & more introspective feel which appeals to me greatly. The vocals aren't quite captivating enough to see me reaching for my higher scores but "Maaäet" is still a really strong & consistent release that never fails to engage with the patient listener.
For fans of Forndom, Kauan & "The Mantle"-period Agalloch.
4/5
Jan Jelinek - "Loop-Finding-Jazz-Records" (2001)
This debut album was huge for me during my 2000's electronic music obsession & still holds up beautifully today. I'd describe it's sound as sitting somewhere between glitch & microhouse with layers of intricate blips & bleeps being interwoven to create a deep, dubby atmosphere that proved to be perfect comedown material after a big night out dancing. I even played a few of these tracks in some of my opening DJ sets over the years (see "Rock in the Video Age", "They, Them" & "Tendency"). It's pretty much impossible to identify that the vast majority of the samples were taken from old jazz records because they sound nothing like traditional instruments. "Loop-Finding-Jazz-Records" is an unmitigated electronic classic that I can't recommend enough.
For fans of Rechenzentrum, Farben & AOKI takamasa.
4.5/5
Destruction - The Least Successful Human Cannonball (1998)
Genres: Thrash Metal, Groove Metal
Despite being in the Pit for my love of Metallica, can't say I'm very in tune with groove metal. I give it chances on and off, but have little interest in a deep exploration at this time. This is partially because so many classic thrash bands made the switch to at as quickly as the European prog giants of the 70's switched to AOR and pop rock, and the results were about the same: middling and generic. Of course, I can't deny that a part of me absolutely loves the album Invisible Touch by Genesis more than my technical rating states (which is already sitting pretty at 93). But how can I complete my Destruction marathon without getting through an album so bad it might as well be Lulu? It's a key part of their history just like Risk is for Megadeth, and I plan on stopping at their comeback album, The Antichrist. So, here we go.
Aside from a half-cocked album cover that looks less like a thrash album and more like a screenshot of a Monty Python animation with a quickly placed cheap font for a logo because "money's tight," I found it easy not to hate the album, shall we put it. Now I encourage change and variety so that a band can prove they're capable of many other things, thus potentially improving greatness by virtue of multiple talents. But how does this groove album stack up against the others? Well, with the groove aspect and slower tempos maintaining SOME of the thrash genre that defined them, this newfound love of the 90's sound fails to stand out. Catchiness is spotty and riffs are pretty done before. On top of which, it's pretty obvious how much of their previous identity they forsook for this new route. I'm sure if they had bothered to diversify their earliest albums more so that stuff like this feels a little more natural, this wouldn't have happened. I mean, the vast majority of these groove songs do more or less the same thing, which in itself is hardly a surprise considering that it's a Destruction album. There's a rare exeption in Brother of Cain which goes into some major thrash power. Otherwise, it hardly gets interesting at all, and mostly just worries about getting on 90's radio. So this really doesn't do Destruction, or the groove world, any favors. Having said that, it's still a bit better than those two groove EP's they did in the eight years between this album and their last, Cracked Brain, so it's not terrible, just not promising.
57
Destruction - Eternal Devastation (1986)
Genres: Teutonic Thrash Metal
Big three of Teutonic thrash? I was starting to question such a decision made by 80's society with Destruction's debut EP and debut studio album failing to meet my standards for greatness. I was really hoping for something more artistic this time. judging from the way Curse the Gods put up a couple more tricks, making six minutes feel like four at the same time, I thought to myself I might finally get that are I was lookin6 for. I mean, sure, they fall in the same tempo and stylistic tropes for the most part, but it seemed like they were really trying to get something historical out there. Or so I thought at first. Unfortunately, there are still times where things feel too drawn out yet again. It's obvious that the five-to-six minute edge doesn't generally work for them.What really bothers me about this album is the way the percussion sounds. It's not heavy enough, being almost entirely drowned out by the lead and rhythm guitars. Now the unpredictable sense of art comes back for the shorter songs on Side B, making things interesting again. The drums can even be heard properly. The last track is even a much better example of the aggression and technique that the band's been largely relying on, being much heavier and more powerful than ever. So while this managed to be a slight improvement in writing, it also fixed its production problem in the first half.
71
I'll be posting other Destruction reviews on their album pages. I don't want to flood this forum.
Have finally had to kiss goodbye this classic Dissection hoodie which became too dodgy looking to wear out in public some time ago. I did the gardening in it this morning & it got so covered in thorns that I decided it was easier to simply toss it out than to remove them all effectively.
This oldie has seen better days. I picked it up for free as compensation for the headline act Ozzy Osbourne dropping off the bill for the Sydney festival in 2019. This was the flyer for the event:
Rage - "The Missing Link" (1993)
I've never been able to get into these German power/heavy metal stalwarts & their seventh full-length (arguably the most highly regarded of their 27 albums) is not gonna break that cycle. There is some more than decent material here but it's generally cancelled out by more subpar song-writing, even if the thrashy speed metal riffage is often really solid. I think 1995's "Black in Mind" is probably a touch better than "The Missing Link" but neither do much for me to be honest & I think I'm gonna have to keep Rage at the bottom of my "none of my business" bin for the foreseeable future.
For fans of Grave Digger, Running Wild & Avenger.
3/5
Osamu Sato - "Transmigration" (1994)
The second full-length from this Japanese electronic producer features two tracks from the "Eastern Mind: The Lost Souls of Tong-Nou" video game soundtrack. You can expect a combination of downtempo IDM & dancefloor acid techno with the quality levels generally being very high. Closing track "Tong-Nou (Esoteric Mix)" is an absolute belter & caps things off beautifully too. This is well worth seeking out.
For fans of Ken Ishii, PilotRedSun & Soichi Terada.
4/5
Alcest - "Spiritual Instinct" (2019)
The sixth full-length from these French blackgaze gods probably isn't one of their finest releases to date but it's still worth checking out as there are no weak tracks included & it oozes of professionalism. I'd suggest that the track programming could have been a little better because the best material doesn't arrive until right at the end of the tracklisting with the very solid "Le miroir" & album highlight "Spitirual Instinct" being comfortably my pick of the six songs on offer. I don't think it's a coincidence that those two are also the only tracks that I'd call post-metal either as I've found myself appreciating that side of Alcest's sound a touch more than their signature blackgaze one here. I don't think I can see myself reaching for "Spiritual Instinct" over records like "Kodama", "Les voyages de l'âme" or "Souvenirs d'un autre monde" but it's certainly not a creative failure & is easily more rewarding than 2014's "Shelter".
For fans of Amesoeurs, Lantlôs & Deafheaven.
3.5/5