Daniel's Forum Threads
Throbbing Gristle - "At the Factory, Manchester" (1979)
This live album is highly regarded in terms of the early industrial scene & you can easily see why too as it presents one of the coldest & most barren visions of the world you're likely to find. There are some fabulous highlights included here but there's also a bit of inconsistency as the line that Throbbing Gristle tip toe along between pure noise & genius is a difficult one to get exactly right. Still,,, the wins easily outweigh the losses so I find myself coming out of the experience (& it IS an experience) feeling largely fulfilled.
For fans of Psychic TV, Cabaret Voltaire & Nurse With Wound.
3.5/5
Eric B. & Rakim - "Follow the Leader" (1988)
The follow-up album to 1987's highly praised "Paid In Full" debut album is a very strong example of the early hip hop sound. Rakim's rapping is excellent & is the main driver behind the duo's success. The opening title track is one of the greatest tracks in hip hop history in my opinion. The overall consistency in the tracklisting means that there's a only a bee's dick between "Follow the Leader" & Public Enemy's classic "It Takes a Nation of Millions to Hold Us Back" sophomore album that was released just a month earlier which should give you an indication of the overall quality of offer here.
For fans of Boogie Down Productions, EPMD & Big Daddy Kane.
4/5
They/Live - "Nature & Structure" (2025)
Synthy, poppy, electronic goodness right here. Perfect soundtrack to ease me into the working day. Was a fan of their previous effort "Ablation" but this is a step up.
Mercy - Witchburner (1985)
Sweden's Mercy are best known for being fronted by a pre-Candlemass Messiah Marcolin, especially as they struggled after he left, eventually splitting up in 1988. This, however, is a bit unfair on the rest of the guys because Witchburner is actually a very cool early doom metal record. It still retained a significant amount of heavy metal DNA, much like most mid-80's doom acts, except maybe Saint Vitus. It kicks off very strongly with the head-turningly-titled "I'm Your Pervert Priest" which possesses a crawling and portentously doomy riff which is topped off by Messiah's instantly recognisable vocals and marks the first time that a genuinely gifted and expressive vocalist was featured on a doom metal track, providing ample proof why Leif Edling wanted Messiah to join Candlemass after Johan Langquist refused to commit beyond the recording of "Epicus Doomicus Metallicus". What may surprise Candlemass fans is that Messiah was only seventeen at the time of recording and also played drums on "Witchburner"putting in a decent shift behind the kit, being basic, but effective. Lyrically, the track is obviously mocking of established religion, a theme that became well-established within metal circles, here given a sardonic and humorous slant rather than the out-and-out vitriolic attacks that became de rigeur within metal lyricist circles.
At this time Mercy had been reduced to a trio with three of the five that recorded the S/T debut having departed before the recording of "Witchburner" and remaining members Messiah and guitarist Andrija Veljaca being joined by second guitarist Jörgen Horst who also handled bass duties on the new record. The guitar sound on Witchburner is based on the "Tony Iommi" sound, but has a bit more of the grittiness of Saint Vitus' filthier intonation than heard on albums like Trouble's S/T or any of Sabbath's material. Where it does have more in common with these is in the songwriting, the slow, doomy material still being countered by a fair bit of traditional metal riffing, although that filthier, distortion-heavy guitar sound makes the faster riffs sound great. This was actually Mercy's sophomore full-length and I find it inconceivable that they hadn't received any exposure to the more doomy acts emerging, particularly from the US, between the recording of their 1984 debut and this because the two are worlds apart. The S/T takes its cues from the NWOBHM with the band coming off like a swedish version of Saxon for the most part, but "Witchburner" was much darker-sounding and had shed all the hard rock influences of the earlier record, becoming a much heavier album as a result.
The riffs are pretty memorable and Messiah's enunciation is excellent as usual, making "Witchburner" one of those albums that sticks around in the old grey matter and that people may find you singing along with later. The two guitarists are also impressive with some terrific soloing, the incendiary and blistering fretwork of the solo at the midpoint of Pain of Golgata, is just one example of a solo that would be salivated over had it come from KK Downing or his like and here provides a searing contrast to the plodding dirge of the main riff.
Whilst the three tracks of side one are undoubtedly the doomier and for me personally the better, the second side also has it's moments and is interesting for different reasons. The opener on side two, "Welcome to My Graveyard" is virtually speed metal and with that filthy guitar sound it actually sounds really good, so if you have always wondered what Messiah would sound like singing in a speed metal crew then here is your chance to find out. After that, "Judgement Day" has a bouncy "Children of the Grave" riff and may be the "catchiest" track on the album - all together now, "No one gets away... on Judgement Day". The penultimate track "Voodoo Kills" is for my money the weakest here being a little all over the place and not terribly well put together, but it is still listenable enough all the same. Closing out with the eight-minute title track, the ponderous ominousness of side one makes a welcome return and we are thrust into the doom-laden world of seventeenth century religious zealotry and witch huntings which was destined to become pretty standard doom metal lyrical fare.
All-in-all I think this is actually a very good example of early traditional doom metal which deserves far more attention than it has received. I would take this over Trouble's "Psalm 9", for example, which may or may not be a hot take, but is my heartfelt opinion as I think this sits much nearer to the Saint Vitus debut than to Trouble's and I would hold SV's self-titled up as the flagbearer for early trad doom. Sure this does step into trad metal and even speed metal territory occasionally, but the doominess of the three tracks on side one and the closing title track are ample proof that these Swedes were committed to playing and exploring doom metal further. It is a shame that we never really heard much more from Mercy, but as I said they struggled after Messiah left and their later output doesn't live up to this earlier promise with 1989's King Doom being a major disappointment. So, as it stands, "Witchburner" is an interesting development in the european take on doom metal and allows us to glimpse the early career of one of doom metal's iconic vocalists, making it a worthwhile listen which should be of interest to any serious student of doom metal and its history.
4/5
Mercyful Fate - "The Bell Witch" E.P. (1994)
I had this six-song E.P. bolted onto another Mercyful Fate release I purchased back in the day. It includes two studio tracks taken from the "In the Shadows" comeback album from the previous year as well as four live cuts from an October 1993 show in Los Angeles. I've never liked the title track much but the rest of the material is pretty enjoyable, particularly the live version of "Egypt" was is excellent & is my clear release highlight. The live version of "Come to the Sabbath" is superior to the album version in my opinion while "Curse of the Pharaohs" is a little less effective than its album counterpart. I wouldn't say that this is an essential Fate release as it doesn't match their early works but I'd certainly take it over any of their other 90's releases so it's probably worth giving a couple of listens if you're a fan, even though it doesn't bring anything new to the table. It does have Hank Shermann & Michael Denner's stunning lead guitar work & Snowy Shaw's rock-solid drumming in full effect so that alone should be a drawcard for many heavy metal nuts.
For fans of King Diamond, In Solitude & Attic.
3.5/5
Vàli - "Forlatt" (2004)
The debut album from this Norwegian instrumental folk solo act presents eight tracks that consistently exude a feeling of beauty & serenity. As with other dark folk artists, I can't help but question where the darkness is as this material never comes across as anything terribly imposing. It's far more sweet & melancholic than it is dark. The execution & production job are quite stunning though with the compositions benefiting from the involvement of just the one party who clearly knows the sound that he's going for very well.
For fans of Tenhi, Musk Ox & Neun Welten.
4/5
Amorphis - "Black Winter Day" E.P. (1994)
A four-song E.P. that was released four months after the Fins' highly celebrated 1994 sophomore album "Tales from the Thousand Lakes" & was clearly taken from the same sessions. The title track was one of the highlights from the album & is the clear standout here two with the other three previously unreleased pieces all playing more of a supporting role. I quite like the short "Folk of the North" as well as the doomy "Moon & Sun". Closer "Moon & Sun Part II: North's Son" doesn't do a lot for me though as it errs a little too far over towards the melodic side of Amorphis' sound. There's a fair bit of doom/death here as was the case with a lot of their early material & it's those parts that make for the more compelling material. If you're into the full-length then you'll probably want to give this release a couple of listens too as they kinda go hand in hand.
For fans of Barren Earth, Paradise Lost & Sentenced.
3.5/5
Fripp & Eno - "(No Pussyfooting)" (1973)
The first of four full-length collaborations between King Crimson guitarist Robert Fripp & Roxy Music keyboardist & ambient music legend Brian Eno. It comprises of two lengthy pieces, both around the twenty minute mark. Fripp's contribution comes in the form of extended jazz fusion improvisations which present the listener with an element of danger given that he takes plenty of melodic risks, often straying in terms of key but ultimately coming across as more inventive than incompetent. Eno's accompaniments were pretty groundbreaking for the time. "The Heavenly Music Corporation" is a twenty-one minute drone piece while nineteen-minute closer "Swastika Girls" falls more into the tape music category given that it's built from a short tape loop that's repeated throughout the full length of the piece. Both are high-quality efforts that keep me well entertained throughout & have seen me returning to Fripp & Eno's debut a number of times over the years.
For fans of Brian Eno, Harold Budd & Cluster.
4/5
Wren "Black Rain Falls" (2025)
Wren is one of the most unmetal sounding band names that could be picked really. One step up from Sparrow or Dunnock I suppose but still leans heavily on the lame side of the bird world. Whilst it may not be the most threatening name in the world metal, Wren does fit the atmospheric sludge of this London four piece as they explore a vast and dense landscape across their third album, Black Rain Falls. Foraging through punishingly slow riffs, flitting between ethereal density and atmospheric ecosystems and nesting in the rafters of the solid structures of the seven tracks on offer.
Describing themselves as a ‘blackened noise band’ (at least according to the Spotify bio anyway) could not be further from the truth, as there is no noisy element to this record. The agonising pace of album highlight, ‘Toil in the Undergrowth’ is testimony to how captivating atmospheric sludge is. By the time the first riff lands we are three minutes into the track. Those hoarse and tormented vocals heralding the arrival of the track proper perfectly as that riff crashes in behind them. This album is full of Neurosis and Isis influences, and as a result had me hooked from the off. Songs feel like they are expanding even though there is little in the way of variation to suggest this is naturally the case. Any progression is deliberate and measured, feeling organic and unforced.
Tracks often end feeling like very little has happened in the way of change once the established format has been engineered, but still, I get sense of total satisfaction from the majority of what is on offer here. The interlude in the middle of the record feels a bit out of place though, even though it does in some ways introduce the dense, bassy opening of ‘Metric of Grief' nicely. Album closer ‘Scorched Hinds’ is one of the more obvious Neurosis sounding tracks, with its shifts and swells accompanied by chiming guitar notes that remind me of Kowloon Walled City. There is a lot to like in the simplicity of Black Rain Falls and it stands out as one of my happier new finds in The Fallen clan of late.
Nino Rota - "8½" soundtrack (1963)
The soundtrack to the excellent Federico Fellini film which combines smooth classical music with loungy jazz. It has its moments but didn't really offer me a lot of lasting appeal from a purely stylistic point of view which saw me being challenged from the get-go. I went in looking for a loungy shopping mall kinda vibe & it does satisfy that criteria in patches but found that most of the high points come in the form of well-known classical pieces that you've no doubt hear many times before. That can't be viewed as a criticism of course but I didn't come away from this release feeling like I can see myself returning to it in the future.
For fans of Ennio Morricone, Jerry Goldsmith & John Barry.
3/5
Sixteen Horsepower - "Low Estate" (1997)
I thought I'd give this sophomore album a crack after really enjoying 1996's excellent "Sackcloth 'n' Ashes" album & it's subsequently delivered, if to a slightly lesser extent. The band's sound is very similar to the debut but there are definitely less highlight tracks & the material is a little more subtle & less immediate too. The main thing that sees "Low Estate" scoring a touch lower than its elder sibling is the drop in quality that occurs over the final third of the tracklisting though as the first two thirds offer some very solid gothic country indeed. Front man David Eugene Edwards is once again the highlight with his whiny tone piercing through the mix like a sharp knife. He's fucking fantastic & is what makes Sixteen Horsepower so unique.
For fans of Wovenhand, Slim Cessna's Auto Club & Calexico.
3.5/5
Phlebotomized - "Immense Intense Suspense" (1994)
I picked this unusual Dutch debut full-length up through the tape trading scene after hearing the outstanding album highlight "Dubbed Forswearer" on a compilation record back in the mid-1990's & found it to be pretty decent. Phlebotomized were a seven-piece band that championed a symphonic death metal sound complete with full-time keyboardist & violinist. They sound very much like a more up-tempo version of My Dying Bride here so I'd imagine that the Englishmen were a major influence. The production isn't amazing & neither is the majority of the song-writing but Phlebotomized have enough about them to keep me well & truly interested. Ben fucking loves this release so perhaps they'll offer more appeal to some of our more open-minded members of The Horde. Boy, that cover art is crap though, isn't it?
For fans of My Dying Bride, Pan.Thy.Monium & Disharmonic Orchestra.
3.5/5
Igor Stravinsky & the New York Philharmonic - "Le sacre du printemps" (1940)
I enjoyed this highly praised piece of modern classical this week with its bright production job & stunningly original arrangement holding up really well all these years later. There's a darkness to this orchestral ballet that must have been quite intimidating at the time & I find it inconceivable that an individual has had the breadth of mind to produce something so significant with such a disparate array of different melodic parts. I'd imagine that it would certainly have helped that the composer is also conducting the orchestra here as his vision is beautifully realised. The influence on some of the great soundtracks of more modern times is obvious too ("Star Wars" in particular).
For fans of Sergei Prokofiev, Béla Bartók & Arnold Schoenberg.
3.5/5
T-Bone Walker - "T-Bone Blues" (1959)
T-Bone's debut album is a legendary release for the Texas electric blues scene but I have to admit that I find it to be a little flat. Much of this material is so faithful to the traditional blues model & I tend to find records that stick to the tried & tested blues structure to be a touch boring. I need a bit more edge than this to be honest, preferring a more consistently "deep" or rock-infused blues sound.
For fans of Freddie King, Albert King & Lightnin' Hopkins.
3/5
Cocteau Twins - "Head Over Heals" (1983)
I've returned to this excellent sophomore album from Scottish ethereal wave/ gothic rock outfit a couple of times over the last year as I've had a real soft spot for it since the mid-1990's when I used to frequent goth clubs every weekend with the rest of the Sydney extreme metal scene. Each time I hear it I'm reminded of just how similar Elizabeth Frazer's vocals are to my all-time favourite metal front woman in The Gathering's Anneke van Giersbergen, so much so that I can't help but feel that she was a total worshipper of records like this one. The dark opening track "When Mama Was Moth" is quite frankly one of the best pieces of music ever written while the rest of the ten-song tracklisting includes a string of very strong efforts, none of them living up to the thrill of the opener but still flexing their creative muscles nicely nonetheless. There are a couple of flat moments here though in the disappointing "Glass Candle Grenades" & "Multifoiled" but the wins easily outweigh the losses to make for a highly compelling listen & one that would put the new darkwave genre on the map.
For fans of Lowlife, Slowdive & early Dead Can Dance.
4/5