Daniel's Forum Threads
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:
The Gerogerigege - Instruments Disorder
Genres: Harsh Noise
Listening to noise albums helps drown out unwanted sounds when doing outside work, so I've kind of forced my subconscious to become interested in critiquing noise music. Just started this iconic one, and it's not the first of their albums I've heard. I heard a couple of their "Senzuri" ones ages ago in prep for this and later forgot.
Current top 10 noise albums (not including noise rock, pop, punk, etc., unless the album falls under both straightforward noise and one of these genres.)
1. Uboa - Impossible Light (100)
2. Full of Hell & Merzbow - Sister Fawn (100)
3. Man Is the Bastard - The Lost MITB Sessions (100)
4. Uboa - The Origin of My Depression (97)
5. Cabinet - Hydrolysated Ordination (96)
6. Full of Hell & Merzbow - Full of Hell & Merzbow (96)
7. The Caretaker - Everywhere at the End of Time: Stage 5 (95)
8. Lingua Ignota - Caligula (95)
9. Uboa - All the Dead Melt Down as Rain (95)
10. Alder Deep - Chapter 2: Kobolds, Goblins, Cretins, Fiends (95)
WHOA. Didn't think I had ten five-stars.
This Heat - "Health & Efficiency" single (1980)
This single from a critically acclaimed London experimental rock outfit contains just the two lengthy tracks but spans over nineteen minutes in duration. The title track is an ambitious & highly engaging eight-minute rock effort while the B side "Graphic/Varispeed" represents one of the earlier forays into drone territory & sounds nothing like the rest of This Heat's material. I thoroughly enjoy the title track as it possesses a live electricity & vitality that's rarely found in rock music these days. "Graphic/Varispeed" is probably the reason a lot of people discover this E.P. & it's not bad but does tend to suffer from being overly long at over eleven minutes with very little variation on its theme.
For fans of Can, The Fiery Furnaces & Matmos.
3.5/5
I binged the two studio albums and this EP a while back. Overlong yes, but fun, You know, those were two of the first post-punk albums I ever heard, and I couldn't get into them at the time, even though I admited they were pretty good. I feel similarly to the debut, but Deciet is just phenomenal.
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
Scorn - "Lick Forever Dog" E.P. (1992)
I've always had time for the early Scorn releases, particularly their excellent debut album "Vae Solis" & this spin-off remix E.P. which is my pick of their three 1992 records. It features an alternate edit of the title track (which was taken from "Vae Solis") & three excellent remixes, all of which shun Scorn's early metal sound for their genre-defining new "illbient" one which combines elements of their metal roots with dub, ambient & traditional industrial loops. The title track is OK but it's really the remixes that are the star attraction here, particularly the brilliant "On Ice (Disembodied in Dub)" which I regard as somewhat of a classic. Those looking for a metal release will probably find themselves to be somewhat disappointed but this is great stuff & comes highly recommended nonetheless.
For fans of Godflesh, Techno Animal & The Third Eye Foundation.
4/5
Dream Theater - "Octavarium" (2005)
I have to admit that I hadn't heard anything these Boston progressive metal legends have done since 2003's very solid "Train of Thought" album prior to entering into their eighth full-length "Octavarium" this week. The generally luke-warm response to it is warranted though as I think it's one of the least impressive Dream Theater release I've experienced to date, even if I did still leave it with a generally positive feeling. It's definitely a less complex record than I'm used to from the band & is also a little more commercially accessible with the more radio-friendly tracks like "The Answer Lies Within" & "I Walk Beside You" doing very little for me. Things start to get significantly more proggy later in the tracklisting & there are some nice chunky metal tunes like "These Walls" (my personal favourite), "Panic Attack" & "Sacrificed Sons" included but I don't think there are any genuine classics here to balance out those weaker numbers which leaves me feeling like I'm unlikely to return to "Octavarium" in the future, particularly when there are so many great Dream Theater releases out there to fulfill my needs.
For fans of Symphony X, Rush & Liquid Tension Experiment.
3.5/5
Uboa - All the Dead Melt Down as Rain (2025)
Genres: Death Industrial, Dark Ambient
I had no idea Uboa had a new EP out a couple months ago. I just now checked wondering if she had a new album announced. Didn't expect one so soon, and I'm super happy about this because Impossible Light and Origin of My Depression are just flatout phenomenal, doing much of what Lingua Ignota does but creepier and more wild. Sitting pretty at 37 minutes, this EP manages to do A LOT and never break its horrifying vibes. This one was extra-diversified in its range of ambiance, noise and industrial sounds. This is as freakishly creepy as I'd expect from Uboa, and almost reaches the heights of Impossible Light.
95
Bobby Prince - "DOOM" (1993)
A bootleg of the original soundtrack to the "DOOM" video game. I've been absolutely infatuated with the 2016 Mick Gordon version of "DOOM" for a number of years now so I thought it was about time that I checked out the original but the experience has left me sorely disappointed because this is nothing like the incredible blend of techno, dark ambient & djenty metal that took a three-pronged approach to encapsulating my closest musical passions. Instead, we receive a cheap, home-made MIDI backdrop that sounds every bit as you would expect from an early video game. Fuck knows how two thirds of those voting for genre-tagging on RYM could possibly associate this release with metal. Those people clearly no fuck-all about what constitutes a metal release. The more eerie & atmospheric numbers are by far the most effective & I have to admit that I've got a bit of enjoyment out of them but the ones that try for a rockier feel inevitably fail to engage. It is worth mentioning that the attempts to cover bands like Pantera & Slayer in a synthesized format are fucking hilarious though & are worth hearing simply to enjoy how conceptually misguided they were.
For fans of ZUN, Ian Taylor & dai.
2.5/5
Tyler the Creatore - Don't Tap the Glass (2025)
Genres: Pop Rap, Dance
So one of modern hip hop's most experimental and wide-ranging artists, a total genius in the field, has now done a pop rap and dance album. Is this selling out? What reason would Tyler have to sell out? It's his right to do a pop album if he wants, so judging it based on that merit, this is extraordinarily catchy and clever. This so-called pop album might not be "experimental," but it's totally unpredictable. The behavior of the album fits perfectly within the Tyler the Crator canon, cleverly combining many of the tricks and techniques this guy used in the past, even if he's using more pop-oritented genres than soul-oriented ones. The production is almost constantly balancing out multiple facets with ease. Maybe fans will miss the more thematic elements of his lyrics and music, but sometimes, a guy just needs to have some fun. Tyler obviously considered that, and I'd say this is a very fun album full of good bangers. I'm putting it in the same league as Bjork's Post.
93.5
Massive Attack - "Blue Lines" (1991)
Here we have the debut album from one of my all-time favourite artists, an act that very much changed the course of my life for the next decade during the late 1990's. And while it may not be the Bristol trip hop legends' finest hour, there can be denying the impact that "Blue Lines" had on the global music scene with the chillout movement pretty much exploding off the back of it. It's an absolute stormer of a record too, it's tracklisting being littered with seriously mature & impeccably produced classics that were just as heavily influenced by dub, EDM & hip hop. The three-track run that contains "Five Man Army", Unfinished Sympathy" & "Daydreaming" is utterly earth-shattering & would challenge any trio of songs from the subgenre overall. I'll always prefer later releases like "Mezzanine" & the incredibly underrated "100th Window" but "Blue Lines" is an undeniable classic in its own right too.
For fans of Portishead, Tricky & Air.
4.5/5
Cryptopsy - "And Then You'll Beg" (2000)
I have to admit that I've never quite understood the public reaction to Canadian brutal/technical death metallers Cryptopsy. I got into them quite heavily with their 1993 "Ungentle Exhumation" demo tape at around the time of release but didn't like their debut album "Blasphemy Made Flesh" much & have never thought that "None So Vile" was anything terribly special. They reached their peak once they headed into more technical territories with 1998's "Whisper Supremacy" third album in my opinion which certainly isn't a common position to take but I also have to question the lethargic reaction to records like 2000's "And Then You'll Beg" too as it's really not that bad a record. Sure, Mike DiSalvo's vocals aren't the best you'll find on a death metal record but that failing is made up for with some interesting & inventive instrumentation & some generally consistent song-writing with opener "...And Then It Passes" being the clear highlight. Just don't go in expecting to hear a brutal death metal release because Cryptopsy no longer fell into that category by this point in their evolution. I know how big a call it is to say this but I'd take "And Then You'll Beg" over either of Cryptopsy's supposedly classic first two mid-1990's albums & the same can be said for 2005's more widely appreciated "Once Was Not" record too.
For fans of Suffocation, Gorguts & Wormed.
3.5/5
Behemoth - The Shit ov God (2025)
Genres: Blackened Death Metal
Even though I believe in God, I've made a point of forgiving people for sins that don't really affect me. Now matter how much I bitch and whine, there will be people who disagree with me on philosophy, so might as well accept it as a part of the natural world while acknowledging the difference in philosophy. So I've heard all the Slayer albums, a good deal of Bathory, and am of the opinion that the best death metal band is Septicflesh. But Behemoth really made their point of hatred towards religion a million times over, so do we really need it again?
Considering how familiar this album is, I'm going to have to say "not this time." Behemoth's "The Shit ov God" is obviously built specifically to get anti-religious people to buy the album, as if they're relying on edge factor. Newsflash: that's how people LOSE interest. Hell, Wes Craven used to think being edgy was what mattered most, and his early career was pretty downhill once he hated and disowned his own porn flick, and switched right to THEMES, which made his movies much better overtime. But Behemoth took the opposite route.
Now the two good things that can be said about this album are that the production is absolutely perfect. The crystal clarity is some of the finest in metal, but that's to be expected from veterans. As well, half the riffs are quite catchy, which really does help. I found myself really enjoying the bits that got quite proggy, like the midtro of O Venvs, Come. So there's a strong metal energy here that can help everything be at least fairly enjoyable to some, but this is also an extremely typical album for them. I said half the riffs were catchy, but the other half are so standard that you can pull them off of any obscure crap lost in the RYM charts. So only half the time does the production justify these performances. As well, taking a look at the lyrics, they feel thrown together and basic. The overabundance of old-timey / medieval phrasing seems to distract from that aggressive, angry nature that they're trying to promote so brutally, so the ancient vibes and the religious anger kind of contradict each other like matter and antimatter.
So this most recent entry in the Behemoth catalogue was an attempt at bringing back the vibes of their most beloved work, The Satanist, but the quality steers a bit closer to their middling debut, Sventevith. Fun moments and boring moments are held together with a strong metallic presence and pure diamond production, so while it's perfectly listenable, it has its problems.
64
Deftones - "Gore" (2016)
What exactly is people's problem with Deftones' eighth full-length? Of all of their back catalogue, it's this one that seems to cop the heat but, to my ears, it doesn't stand out from the rest much at all, instead being very much another high-quality effort from an act that probably couldn't produce something crap if they tried at this point. "Gore" is known for being Deftones' experimental record & for being a touch less heavy than the rest of their releases but neither of those things make it sound like anything other than another Deftones record with their impact being dramatically overstated. There's not a dud amongst the eleven tracks on offer &, even though there aren't a lot of clear highlights, the overall consistency makes this a highly rewarding experience for fans of the band. In fact, I'd comfortably take "Gore" over Deftones' popular 1995 debut album "Adrenaline" & would even go so far as to place it ahead of 2003's self-titled as well. People need to stop believing everything they read & give this record a chance because the rewards become visible pretty quickly with a little patience.
For fans of Fleshwater, System of a Down & Kittie.
4/5
Krallice - Diotima (2011)
So, here is yet another example of the fact that I have no idea what I am talking about, or even what I like half the time. My only other exposure to Krallice was their 2015 album, Ygg Hur, to which I awarded a measly 2.5 stars. I remember said album as being a bit technical and a bit dissonant in the way that I didn't especially enjoy around that time. As such, I wasn't particularly enthused going in to this, but it is actually pretty good and I enjoyed it a helluva lot. It is made up of fairly lengthy and repetitive tracks of muscular black metal that seem to have a beefiness derived from employing death metal production techniques. With the repetitious nature of the riffs and lengthy runtimes you would be forgiven for filing this away as atmospheric black metal but it isn't really as I don't think the repetition is deployed in a way as to create atmospheric layers, but rather to bludgeon the listener and make them feel like they have taken a metaphorical punch on the nose. There is some dissonance involved, but nothing too egregious and certainly not enough to put even my sensitivity to it on alert, just enough to add a bit of bite and edge to the tracks to prevent them becoming too warm and fuzzy.
I don't want to give the impression that this is a boring slog of repetition, though, because the songwriting and composition of a track like "Telluric Rings" is much more accomplished and nuanced than that and is a fine of example of a band who want to make interesting black metal whilst still delivering on the darker side of the genre. The band employ two vocalists, the main one, I think, is guitarist Mick Barr whose vocals are a harsh bark in a more death metal style than the more familiarly thin shrieks of second vocalist, bassist Nicholas McMaster. Speaking of which, I must also make mention of McMaster's bass playing which is busily at work doing some serious heavy lifting for a fair bit of the runtime, not content to just follow the riffing, the bass weaves some quite complex patterns, adding some nice flavour to the musical mix.
I have got to say, I am quite impressed by Diotima and feel that maybe I have been unjustified in giving Krallice short shrift in the past. Every track is strong, but the aforementioned "Telluric Rings" sounds like something special to me and is possibly heading towards becoming a firm black metal favourite of mine. I notice that I am the first on here to rate it, but I strongly recommend a listen to most of the North regulars because, honestly, it is much better than I make it sound.
4.5/5
Gary Moore - "Blues for Greeny" (1995)
Our father got really into this Irish guitarist through his 1990 ninth album "Still Got the Blues" which was a huge commercial breakthrough for Moore who had spent the majority of his career in hard rock up until that point. That record was played on repeat around our house & in our car for many years & saw Dad also picking up this Peter Green (Fleetwood Mac/John Mayall's Bluesbreakers) covers album on cassette five years later. While it certainly wasn't as strong as "Still Got the Blues", Gary's one of the most talented blues guitarists I've ever heard so I've always maintained a soft spot for this release, even if it is a bit inconsistent in its appeal for this ol' shredhead. I tend to enjoy the more atmospheric & stripped back numbers over the groovier blues stompers but there's certainly enough to keep me interested here, even if I can't necessarily see myself returning to "Blues for Greeny" in the future.
For fans of Peter Green, Eric Clapton & Stevie Ray Vaughan.
3.5/5
Fans of Austin Lunn will be happy to know that he will release Laurentian Blues on 15th August. This is his eleventh full length and is released via Bindrune Recordings.
New Drain record due out 07th November, ...Is Your Friend. First couple of promo tracks are very aggressive and vocally remind me of Anselmo this time around.
Sodom have a new record out and I am hearing positive things, but I am yet to venture myself.
Lustmord - "Paradise Disowned" (1986)
The second studio album from this Welsh dark ambient god sees Brian Williams returning with a similar sound to his 1981 self-titled debut album which was very much a dark ambient/industrial hybrid, only this time Williams leans more heavily towards the dark ambient sound & with a greatly improved result. This record is often overlooked in the Lustmord back catalogue & I'm gonna suggest unfairly too as "Paradise Disowned" is a high-quality record in its own right. It's somewhat of a tale of two halves as the A side is jam-packed with excellent dark ambient music while the B side is covered in industrial noise which is something that you have to have a taste for so I'm not surprised to see a lot of Brian's ambient fans struggling a bit with this release. But if you can stomach the abrasive nature of the early industrial movement then there's plenty of good shit on offer here, particularly "Dreams of Dead Names" which is an undeniable classic of the dark ambient genre.
For fans of raison d'être, Kammarheit & Robert Rich's "Stalker".
4/5