Daniel's Forum Threads
Depression - "Thrash Till Death: Studio Tapes" (1988)
Those readers that are regular contributors to the Metal Academy website would likely have witnessed my recent indulgence in the back catalogue of a relatively unknown Melbourne hardcore punk band from the mid-to-late 1980's by the name of Depression over the last couple of months & have wondered what all the fuss was about. Well, the truth is that I've been taken aback by my discovery that there is a lot more to Depression's legacy than I'd given them credit for back in the day. You see, I only ever familiarized myself with Depression's final studio effort "Thrash Till Death: Studio Tapes" in my youth, trusting the consensus that the remainder of their discography stayed predominantly within the constraints of the hardcore punk sound. The reality is a bit different to that though & I've actually found a lot more that would be of interest to your average metalhead than I'd bargained for. In fact, I've uncovered the true roots of the Australian extreme metal scene along the way with 1985's "Australia, Australia" E.P. being the very first thrash-based release to be recorded in this country in my opinion. It's been a really interesting journey & one that I've found to be universally rewarding too but I've purposely left "Thrash Till Death: Studio Tapes" to the end, electing to take a chronological path through Depression's back catalogue in order to gain the appropriate level of context along the way. Depression's sophomore album made quite an impression on me as a kid & I've returned to it a number of times over the years as a result but I've been wondering how it might stack up against some of Depression's earlier works, particularly given that it apparently saw many of the band's longer-term fans jumping ship due to the increased focus on metal.
"Thrash Till Death: Studio Tapes" arrived a year after Depression's previous release in the excellent 1987 "Ultra Hard Core Mega Heavy Punk Metal Thrash" live album which documented the band's first live show in two years. Depression had parted ways with former vocalist Spike following the ground-breaking "Australia, Australia" E.P. & returned with a three-piece lineup fronted by talented guitarist Smeer (also of Melbourne hardcore act Gash) who first tested the waters behind the microphone on 1986's highly enjoyable "Big Brother" single. Producer Mark Woods (who was also responsible for producing Nothing Sacred's 1988 debut album "Let Us Prey") would once again oversee the recording sessions after the success of the "Ultra Hard Core Mega Heavy Punk Metal Thrash" exercise & he does a reasonable job here with the album sporting enough clarity to allow all of the instruments to be easily discerned but maintaining enough raw grit to adhere to the expected hardcore aesthetic. The guitars are vibrant & full of life while the rhythm section offers plenty of power, particularly the bass guitar of Liddy & snare drum of Dakka (Persecution) which add some driving bottom-end depth to Depression's audio assault. Smeer's vocals sit beautifully over the top with his higher-register delivery cutting through the instrumentation with great vitriol.
As with the last few Depression releases, this material is pretty much as showcase of the breadth of the band member's various influences, rarely sticking to the one subgenre for too long. Metal & punk are both well represented but on this occasion we find the metal component outweighing the punk one in around a two-to-one ratio which could perhaps explain the loss of some of Depression's more punk-oriented fans. I'm a little confused as to why those fans didn't drop off earlier though as I'd suggest that both "Australia, Australia" & "Big Brother" followed a similar musical trajectory with the crossover thrash tag being more than appropriate to encompass the sound of both of those records & I don't think "Thrash Till Death: Studio Tapes" is much more metal than those two in all honesty. It does, however, explore a few more of the various styles of metal music than Depression had touched on in the past with "Instrumental" toying with a more technically structured thrash metal sound, "Masters of the Universe" being a synth-backed heavy metal number that pays homage to the great Iron Maiden & closer "Spiritual Warrior" even reaching genuine speed metal status. The more straight-forward crossover thrash material is where the true gold can be found though with the incredible ode to heroine "Fifty Bucks" (one of my all-time favourite crossover tracks & the clear album highlight), the wonderfully short & violent "Civilisation of Destruction" & the powerful "Have a Look Around" being my picks of the bunch. As with most of Depression's back-catalogue, there are no weak moments to be found here as these guys were a class act & must have absolutely killed in a live capacity, particularly given that Smeer's guitar skills are pretty amazing for a punk. I mean, this dude can easily compete with (if not outclass) the best the local metal scene had to offer at the time. His ability to sing this stuff at the same time is pretty amazing really.
What can I tell you? This is really a case of another Depression record, another unheralded gem. I'm not sure whether my long-time affiliation with this album is seeing me holding any subconscious biases but I'm gonna suggest that this is Depression's best work & have now had to find room at the top of my Top Ten Crossover Thrash Releases of All Time list with "Thrash Till Death: Studio Tapes" managing to usurp all but Slaughter & S.O.D. at number three on my list. It's also worth noting that Depression now hold a previously unheard of THREE places in that list which makes them arguably my favourite crossover band of all time now. Wow! I never would have thought that might end up being the case when I undertook for my first casual listen to their earliest demo recordings a few months ago now. But that's why our beloved metal scene is so great now, isn't it? No matter how experienced & knowledgeable we think we've become, there's always something unexpectedly incredible around the corner to pull us out of our own arses.
For fans of D.R.I., Discharge & Municipal Waste.
4/5
Here's my updated Top Ten Crossover Thrash Releases of All Time list with Attitude Adjustment's "America Paranoia" being pushed out to make way for "Thrash Till Death: Studio Tapes":
01. Slaughter - "Surrender Or Die" demo (1985)
02. S.O.D. – “Speak English or Die” (1985)
03. Depression - "Thrash Till Death: Studio Tapes" (1988)
04. Depression - "Australia, Australia" E.P. (1985)
05. Agnostic Front – “Cause For Alarm” (1986)
06. Depression - "Ultra Hard Core Mega Heavy Punk Metal Thrash" (1987)
07. Cryptic Slaughter – “Convicted” (1986)
08. The Accused – “The Return Of… Martha Splatterhead” (1986)
09. Agnostic Front – “Liberty & Justice For…” (1987)
10. Ratos de Porão - "Brasil" (1989)
https://metal.academy/lists/single/174
Impaled Nazarene - "Suomi Finland perkele" (1994)
Finnish black metallers Impaled Nazarene & I got off to a rip-roaring start to our relationship back in 1993. I'd been recommended their debut album "Tol Cormpt Norz Norz Norz..." by a close associate of mine who worked at a Sydney metal record store by the name of Rock 'n' Roll Warehouse & had subsequently purchased it blind, culminating in a very positive & enjoyable few months of beer-drinking blasphemy. The follow-up album "Ugra-Karma" achieved almost as enthusiastic a response ten months later & saw Impaled Nazarene being confidently carved into my preferred band list. It also resulted in me religiously checking out the band's work for the rest of eternity, initially through their 1991 "Taog Eht Fo Htao Eht" demo tape & 1992 "Goat Perversion" E.P., both of which I quite liked. So, needless to say that I was feeling pretty hopeful when I returned home from the shops with Impaled Nazarene's third full-length CD in two years "Suomi Finland perkele" in October 1994 but my first few listens left me a little cold if I'm being honest. I would give the album a red-hot crack over the next month or so but it failed to capture me like the first two albums did & I'd soon cast it aside as a decent but inessential inclusion in the band's back catalogue. Yesterday's revisit is the first time I've returned to "Suomi Finland perkele" since the mid-1990's & I was hopeful that my reduced level of expectation might allow me to connect with the album on a deeper level.
July 1994 would see Impaled Nazarene returning to the same recording studio that had been so successful for them with their first two records in Kemi's Tico Tico studio. The strong production job on those two releases was certainly a selling point for me & "Suomi Finland perkele" doesn't disappoint in that department either with legendary Finnish metal producer Ahti Kortelainen once again affording Impaled Nazarene a clear yet powerful black metal sound with a huge snare drum. In fact, I feel like Kortelainen's contributions to the early Impaled Nazarene records were almost as important as that of the instrumentalists to be honest as he gave the band an accessibility that they may not otherwise have achieved. There had been no lineup changes between debut album "Tol Cormpt Norz Norz Norz..." & third album "Suomi Finland perkele" & I feel that this could only have had a positive effect on the Impaled Nazarene's ability to naturally evolve from the battering war metal-inspired sound of their early works to a more traditional & slightly more melodic black metal sound over the course of those first few releases. The tongue-in-cheek element that was so obvious on those early releases is still very much at play on "Suomi Finland perkele" though & it once again feels like it's not intended to be taken all that seriously.
Critics of the band will likely refer to Impaled Nazarene as simplistic, one-dimensional &... well... a bit dumb... & I can certainly understand that point of view as there's not a lot of depth to a lot of their back catalogue. There is a level of creative integrity here though with the Luttinen brothers branching out from flat-chat black metal a little here & there. The melodic "Blood is Thicker Than Water" sees them taking a crack at a more atmospheric black metal sound while "Let's Fucking Die" gets its Motorhead on big-time with a pure black 'n' roll approach. Neither appeal to me much though which is fairly telling as I've always preferred the more intense & often grindcore-influenced end of the Impaled Nazarene spectrum. You get a bit of that here too but not nearly as much as we'd seen on the first two albums. With the exception of those two songs I already mentioned, the majority of the tracklisting is quite enjoyable with the fairly straight-forward "Ghettoblaster" being the only other dud. There aren't any certified classics here though & that's a major flaw with "Suomi Finland perkele". Hell, there isn't even anything that I'd suggest is crying out for playlist inclusion either to tell you the truth with the band failing to break out of the third tier on this occasion. "Steelvagina" (my personal favourite) & "Genocide" come the closest but even they only seem to achieve a mild amusement as opposed to an emphatic fist in my musical face. I dunno.... I certainly find "Suomi Finland perkele" to be a predominantly enjoyable experience but I can't say that it compares well with Impaled Nazarene's first two albums & I can completely understand why I haven't returned to it in so long as there has been a clear step down taken from past glories.
Perhaps it's simply a matter of taste as I've always favoured a darker & more intense form of extreme metal than your average metalhead but "Suami Finland perkele" seems like a slightly watered down version of the Impaled Nazarene that I so enjoyed during their early days. There's no doubt some enjoyment to be found in it if you allow yourself to overcome the tongue-in-cheek elements of the Nazarene approach but the added touch of melody doesn't work as well with these very straight forward song structures in my opinion. The blackened doom track "Quasb/The Burning" was an interesting inclusion but even then it stops short of commanding repeat listens which kinda sums up the appeal of an album like "Suomi Finland perkele". I see it as more of a supporting cast member in the feature film of Impaled Nazarene's early albums which is a bit of a shame but it's still a fun listen for those members of The North who can see past the mystical shadows of their maces & candelabras for a while.
For fans of Sadistik Exekution, Impiety & Belial.
3.5/5
Kaatayra - Toda história pela frente (2020)
Kaatayra is one of the solo projects of brazilian multi-instrumentalist Caio Lemos who released his debut under the name in 2019 and went on to release 5 full-length albums in two and a half years. "Toda história pela frente" ("All History Ahead") is the fourth of these, being released in August 2020. Kaatayra plays atmospheric black metal infused with Caio's native brazilian folk music that makes for a refreshing change and adds a nice twist to the genre, bringing a different aesthetic to the music away from the euro-centric folk most usually encountered within the genre. Gone are the frigid, icy soundscapes more readily associated with european and north american black metal, to be replaced by a warmer, more celebratory atmosphere, where the natural environment is not so much a hard and inhospitable setting which must be endured, but a life-giving and nurturing domain that is to be acclaimed.
"Toda história pela frente" consists of three lengthy epics and was Kaatayra's most black metal album up to that point. I also think it was the album where he best integrated the black metal and acoustic elements together, with a noticeble increase in consistency as his songwriting matured. Not that I am saying there was too much wrong with his previous albums, but there was sometimes a jarring feeling that the two disparate elements were being forced together rather than the tracks evolving the relationship between the metal and the folk-led in a more organic way as they do here. Sometimes he takes a completely fresh approach to black metal and even plays the riff on acoustic rather than electric guitar, complete with accompanying blastbeats which works surprisingly well. Elsewhere he weaves some nice synth-led ambient threads into his musical tapestries, with an especially soothing section coming in the latter part of opening track, the 17-minute, "O Castigo Vem à Cavalo", giving the listener a moment or two of calm which lends an even greater impact to the final climactic blackened explosion.
When Caio let's the black metal side of things rip, then he sounds more savage and visceral than he had at any point up until this, with his ragged shrieks, frantic tremolo riffing and pummelling blastbeats providing an aggressive, red-blooded assault on the listener's ears with the opening minutes of second track "Toda mágoa do mundo" being the prime example. Yet, despite this, there is a rhythmic quality to the riffs on even the most vicious sections that prevents the tracks from sounding spiteful or hate-filled, but rather impart the notion of a more wholesome "nature red in tooth and claw" ethos instead. The latin rhythms of the folk-led parts are also one of the major distinctions between this and the vast majority of the atmospheric black metal pack. The euro-centric folk incorporated by most black metal acts oftentimes gives a menacing, ritualistic and even occult vibe to proceedings, but the dance-oriented latin rhythms deployed here make for a much more positive and celebratory atmosphere.
I don't think I can give this more praise than saying that, in certain respects, it reminds me of Austin Lunn's Panopticon. Similar to Panopticon it has taken the local folk music of the artist that sits outside the scope of black metal that we are used to and has incorporated it in such a way as to impart a different, more positive and human ethos into what can so often be a misanthropic and negative style of music, giving the listener an entirely different experience of black metal than they may have expected.
4.5/5
Gorefest - "Erase" (1994)
I've been a bit of a fan of Dutch death metallers Gorefest since very early on in their recording career which has seen them becoming an artist that I've followed with keen interest throughout most of their existence. They did lose me for a period during the late 1990's when their transition towards more of a death 'n' roll sound reached its ultimate culmination but their early days as a chunky death metal band were unanimously rewarding with 1990's "Horrors in a Retarded Mind" demo tape, 1991's "Mindloss" debut album & 1992's "False" sophomore record all being pretty interesting, if not particularly essential. "False" has always been my favourite of Gorefest's studio albums but I was recently left a little disappointed when my latest revisit only resulted in a 3.5-star rating which left me wondering whether I'd overrated Gorefest a touch over the years. At that point I committed to reexamining 1994's "Erase" third album which was a record that I spent a fair bit of time with at the time of release but haven't returned to since. My memories of it were largely positive but I've always considered it to be the point in which Gorefest started their death 'n' roll transition which culminated in 1998's disappointing "Chapter 13" fifth full-length & that would perhaps explain why I haven't been so keen to return to "Erase". Regardless, I held significant hope for it going into my first listen as I remembered it being pretty solid in its own right.
"Erase" would be Gorefest's second album for the illustrious Nuclear Blast label & would see them venturing outside of the Netherlands for the recording sessions for the first time, this time choosing to record in Germany at T & T Studio in Gelsenkirchen with English producer Pete Coleman who had made a name for himself working behind the mixing desk for bands like Cancer, Demon, Discharge, Disincarnate, Napalm Death & Paradise Lost. The result is another heavy-weight death metal record with a thick down-tuned guitar tune & a bottom-heavy rhythm section. I love the bass guitar tone & the depth that's afforded to the toms & kick drum with the snare drum being really punchy, all of which works really well in support of bassist Jan-Chris de Koeijer's ultra-deep death grunts. The band lineup had remained stable from the one that recorded "False" two years earlier which is a real positive that has seen Gorefest able to continue their musical development unhindered. The guitar solos of Boudewijn Bonebakker that were arguably the low point of "False" have improved significantly here, still being fairly basic from a technical point of view but this time having much more direction & structure than they did on "False". The drumming of Ed Warby (Demiurg/Elegy/Hail of Bullets/The 11th Hour) is rock-solid too & gives the rest of the instrumentalists a beautiful platform with which to work off. He never over-plays his hand here & clearly knew the true meaning of the term "rhythm section".
Gorefest's sound definitely wasn't as deathly on "Erase" as it was on their previous work & it's easy to see why some fans may have been a little put off by the overall direction. Unlike some critics, I wouldn't say that it was a death 'n' roll record as such though. It's still a death metal release for mine but it's certainly one that showcases a fair amount of groove in its controlled & unanimously mid-paced approach. I feel that Carcass' classic 1993 fourth album "Heartwork" has played a significant role in the riff structures on "Erase" actually, not in a melodic sense but in the way they've structured their riffs, always keeping things simple & open in order to maximize the impact of the song-writing. Entombed's "Wolverine Blues" is another record that I find myself calling upon as a point of reference while the more pure groove metal riffs have me reaching for comparisons to California's Machine Head. It all works very nicely although I will say that de Koeijer's vocals don't sit as comfortably over this sound as they did over the more intense death metal of their roots which does limit the appeal of the album a touch. The more intense sections (such as the beautifully executed blast beat riff on "Peace of Paper") definitely see me perking up a lot which is an indication of where my allegiances lie but the band use those parts well in order to create climaxes within their more controlled song structures.
The tracklisting is generally pretty consistent with only the slightly clunky "I Walk My Way" failing to capture my attention. The more hard-hitting & deathly tracks tend to be the ones that grab me more than the rest with the excellent title track, the previously mentioned "Peace of Paper" & the brooding downtempo atmosphere of "Goddess in Black" being the clear standouts. The rest of the material is all pretty entertaining but rarely sees me wanting to stand up & applaud & I think that's the thing that hinders the album's chances of becoming a genuine favourite. It's all professionally written & produced but it's also fairly easy-listening when it comes to extreme metal, instead seeming to target the same sort of crossover appeal that the Carcass & Entombed records I mentioned earlier managed to gain. It does a pretty reasonable job at it too as I've bought into what its selling & that's no easy feat when it comes to my fairly extreme taste profile. But I can't deny that the heights that it's possible to take me to with this sound are limited by the very same thing that gives "Erase" the potential to break through the boundaries of the death metal audience i.e. its accessibility.
"Erase" is another decent death metal record from Gorefest but, as with all of their previous material, I still find myself falling short of claiming it as an essential one. There's no doubt that they were a well-oiled machine who knew what they were doing but they simply can't crack into that second-tier consistently enough to see me wanting to return to them very often. In saying that, I do think that "Erase" is a touch underrated because it doesn't sit all that far behind Gorefest's more obviously deathly early works in terms of quality in my opinion. I'm actually surprised that it didn't make more of a fist of cracking into more commercial metal market to be honest but I think some of that is due to de Koeijer's vocals in all honesty as they're hardly Top of the Pops stuff now, are they?
For fans of Pungent Stench, Entombed & "Heartwork"-era Carcass.
3.5/5
Vicious Circle - "Still Born" compilation (1988)
A collection of some of this Melbourne hardcore punk outfit's early material including a few demos, alternate mixes & unreleased tracks. It's not bad either.
For fans of Depression, Condemned? & Permanent Damage.
3.5/5
Mesarthim - "Anthropic Bias/Departure"
Anthropic Bias (2022) explores themes of cosmic significance and existential philosophy, echoing the idea of humanity’s tendency to see the universe as centered around itself. The music itself is a fusion of icy, tremolo-picked guitar riffs, blast beats, and haunting, atmospheric synth layers. It carries an otherworldly mood, drifting between aggression and contemplation. The song also incorporates electronic elements and ambient interludes, which provide a vast, ethereal soundscape. This single is both relentless and meditative, capturing Mesarthim’s ability to craft immersive, spacey atmospheres while retaining black metal’s raw intensity.
Departure (2024) leans heavily into the band’s cosmic themes, evoking feelings of journeying through space or leaving behind something familiar. The track opens with a somber and almost melancholic tone, gradually building into a massive, swirling blend of distorted guitars and atmospheric keys. The song shifts through dynamic phases, from soaring melodies to intense, fast-paced sections. Like much of Mesarthim’s work, Departure utilizes synth layers to create a celestial, almost dreamlike atmosphere, suggesting both the awe and isolation of venturing into the unknown. The track serves as a contemplative journey, fitting with the title’s theme of departure and escape.
Lifeless Dark - "Forces of Nature's Transformation"
The debut album from this Boston stenchcore outfit whose 2018 "Who Will Be the Victims?" demo really impressed me. This one will probably be on my radar at some point.
Hobbs Angel of Death - "Hobbs Satan's Crusade" (2003)
Melbourne thrash metal legends Hobbs Angel of Death first came to my attention some time in 1989, shortly after I'd discovered that there was a local extreme metal scene through Sydney thrash establishment Mortal Sin. It was while perusing a Metal For Melbourne (a seminal Australian metal record store, promoter & label) end of year list that detailed all of the top releases from 1988 (likely in "Hot Metal" magazine that I bought religiously) that I noticed a record that I wasn't familiar with in Hobbs' self-titled debut album. It was a pretty amazing list to be fair & would lead to me seeking out a number of albums with "Hobbs Angel of Death" being one that I'd pick up from the older skater kids at my school. My positive experiences with that dubbed cassette copy of the record would lead to me also seeking out the two earlier demo tapes from the band in 1987's "Angel of Death" & 1988's "Virgin Metal Invasion from Down Under", both which really floated my boat. Slayer were basically my gods at the time (& arguably still are) so Hobbs' sound was always gonna appeal to me given the very close alignment with Slayer's aggressive thrash sound & Hobbs has stuck with me ever since. In 2003, Victorian extreme metal label Modern Invasion Music would go through the exercise of remastering & re-releasing the two Hobbs Angel of Death demos & I've had the absolute privilege of checking them out this week.
Both of the Hobbs demos were recorded at Doug Saunders Studio in Melbourne during the mid-to-late 1980's & the sound quality is excellent compared to other demo tapes of the time. Front man, guitarist & band leader Peter Hobbs had previously enjoyed some time studio time with his earlier thrash band Tyrus who are equally revered in my home country so it's perhaps understandable that the Hobbs cassettes sounded pretty decent. For the recording of "Angel of Death" he'd recruit Nothing Sacred guitarist Mark Woolley, Renegade bassist Steve Scott & relatively unknown drummer Darren McMaster-Smith. Hobbs Angel of Death was essentially a solo project for Peter though so that lineup changed fairly dramatically by the time "Virgin Metal Invasion from Down Under" was recorded with Nothing Sacred/Non Compos Mentis bassist Karl Lean (aka Karl Monara) & Nothing Sacred/Depression/Non Compos Mentis drummer Sham Littleman joining the fold temporarily before Woolley & McMaster-Smith returned for the recording of the self-titled full-length along with Bestial Warlust/Deströyer 666/Mass Confusion bassist Phil Gresik. Despite the consistent personnel changes though, "Hobbs Satan's Crusade" sounds really good with modern day ears. It harnesses the raw intensity of the underground thrash scene of the 1980's beautifully with the two tapes sounding a little different from each other but with neither really achieving any sort of ascendancy.
Hobbs Angel of Death's early sound was clearly built around their gratuitous worship of one classic thrash metal act & it won't be very hard for you to figure out which one that might be upon switching on this compilation. Peter was obviously quite enamored with Californian thrash gods Slayer because Hobbs' sound is so closely aligned with Slayer's 1984-1985 period that it's almost impossible to stop yourself from consistently drawing upon your memory for comparisons while listening to their recorded output. While Hobbs may not sound exactly like Slayer singer Tom Araya, the fact that he mimics Araya's phrasing so accurately makes him trick your mind into thinking that their tones are very similar. The lyrical content only amplifies those comparisons as it's also very well aligned along with the riffs & song-structures. I'll be honest, I miss classic Slayer virtually every day of my life so if anyone can pull off their sound with any sort of success then I'm well up for it & that's certainly the case here. Just listen to opening track "Lucifer's Domain" & try not to draw comparisons to Slayer's "Chemical Warfare" or dare to question the influence of the title track from "Hell Awaits" on "House of Death" or "Satan's Crusade", not to mention the searing blaze of Kerry King & Jeff Hannemann that runs right down the middle of highlight track "Chainsaw Massacre" which is one of my favourite Aussie thrash anthems of the 1980's.
Almost all of Hobbs' debut album appears on "Hobbs Satan's Crusade" with the only exception being "Brotherhood". It also includes rejigged versions of several old Tyrus tracks with "Bubonic Plague", "Crucifixion" & "Liar" all being live favourites from what was one of the original bands in the Australian thrash metal live scene. Both "Bubonic Plague" & "Liar" sound a lot better here though with the Venom-inspired latter being much thrashier & more aggressive than the original which was more of a speed metal number. This is a really consistent tracklisting actually with no duds included & plenty to get excited about. It simply feels so underground, despite the performances all being excellent. If pushed, I'd suggest that I slightly favour "Angel of Death" over "Virgin Metal Invasion from Down Under" but there's very little in it as they're both excellent thrash releases in their own right so I'd encourage all of our The Pit members to check them out through this excellent compilation CD.
For fans of Infernäl Mäjesty, Black Shepherd & 1984-85 period Slayer.
4/5
Orphaned Land - "Sahara" (1994)
I revisited the debut album from Israeli melodic/progressive death metal outfit Orphaned Land this week & found that my review from many years ago still represents my feelings perfectly. I will add that I was surprised at just how much of an Atheist influence I found across the first few tracks though:
I hadn't heard this one since the mid-90's & was interested to see how I felt about it these days. It features a fairly progressive & melodic death metal sound mixed with traditional Israeli folk music. That combination spawned some pretty interesting ideas as you can imagine but you can tell they were still developing their sound at this stage. Some of the more melodic death metal sections remind me quite a bit of early Amorphis & the death vocals sound similar to Aaron Stainthorpe's on the first couple of My Dying Bride releases. While it does tend to maintain my interest due to the unusual nature of the sound I still find "Sahara" to be a bit flat. I think it could do with a little more class in the production & musicianship departments to be honest. Orphaned Land certainly deserve credit for creating an album with a strong point of difference though.
3/5
Dying Fetus - "Infatuation with Malevolence" compilation (1995)
Much like my all-time favourite metal band Suffocation, Maryland brutal death metal outfit Dying Fetus represent one of those rare artists that I've followed since way back at their earliest demo tapes, a relationship that has now eclipsed three decades. The global tape trading community first brought them to my attention when I picked up a dubbed cassette copy of both of their early demo tapes (including 1993's "Bathe in Entrails" & 1994's "Infatuation With Malevolence") following some enquiries into what bands might give Suffocation a run for their money in terms of brutality. My source wasn't wrong either & Dying Fetus would go on to have an influence on the direction of my own death metal band Neuropath over the next couple of years. I remember those days fondly but I can't recall returning to either of the Dying Fetus demos until only recently when I gave "Bathe in Entrails" another look. It still offered me a fair bit of enjoyment too so I immediately positioned myself to complete this review of the compilation of the two demo cassettes.
The "Infatuation With Malevolence" CD originally contained just the ten proper death metal tracks from the two demo tapes, excluding the short instrumental "Visualize Permanent Damnation (In E Minor 440)" from the second cassette which is essentially just John Gallagher trying to show off his lead guitar skills & offers no real creative value. The sound quality is very good for this type of release which is largely down to the quality of the original recordings more than it is any post-production or mastering. The compilation was re-released in 2011 along with a slew of additional unreleased live, rehearsal & demo material as well as the inclusion of the previously mentioned instrumental piece. Both demos fall well inside the parameters of the brutal death metal sound with hints at the technicality Dying Fetus would employ later in their career already being quite evident. "Bathe in Entrails" certainly sounds more like demo tape than the second cassette does, particularly due to the poorly executed blast beats of Gallagher who was handling the drumming on top of his guitar duties in the absence of a capable skinsman. That would be improved on significantly for "Infatuation With Malevolence" with Rob Belton joining the band behind the kit. Original second guitarist Nick Speleos had also been replaced with Brian Latta joining Gallagher & bassist Jason Netherton (Misery Index) in a more polished & professional configuration of the band.
Both tapes are surprisingly brutal for the time with Suffocation obviously being the primary influence. The impact of the early Cannibal Corpse records can easily be detected in the first tape but it's less obvious on "Infatuation With Malevolence". Listening back now, it's easy to be critical of the terrible drumming of main man John Gallagher on "Bathe in Entrails" but his guitar work was very accomplished (particularly the James Murphy-ish solos which are surprisingly proficient for such a young dude) & the multiple-vocal attack is as gutteral as all fuck so it can't be all bad now, can it? It's interesting that Dying Fetus really haven't changed their sound all that much at all over the 31 years since their earliest demo recordings which says a lot about why I found it so appealing as a young fella. Dying Fetus would certainly get better though & I tend to dig their albums a bit more than this first up effort these days but I can't deny that I still get a fair bit of nostalgic enjoyment out of a good half of the six songs included. The others simply suffer a bit too much from Gallagher's inability to play double kick in time. I wouldn't say that "Infatuation With Malevolence" is exactly a step up but it is definitely better & I'd actually suggest that it's still my second favourite Dying Fetus release to this day. Their sound is generally tighter with the improved production job being pretty much in line with most proper releases to come out of the underground at the time. The dual vocal attack of Gallagher & Jason Netherton is pretty devastating but I would have appreciated a little more in the way of intelligibility from the ultra-deep delivery as it can sound like a parody it itself at times.
The tracklisting isn't without its blemishes, mainly during the "Bathe in Entrails" material which is fairly hit & miss. I can't say that "Wretched Flesh Consumption", "Vomiting the Fetal Embryo" & "Tearing Inside the Womb" do much for me these days but thankfully the other three songs are strong enough to carry that cassette. The four proper songs on "Infatuation With Malevolence" are more consistent in their quality with opener "Eviscerated Offspring" & the excellent "And the Weak Shall Be Crushed" being the clear highlights of the release in my opinion. The New York hardcore influence that would perpetuate Dying Fetus' later releases makes the odd appearance but I wouldn't say that it's as obvious as it would become in later years, even if the boys clearly already knew how to hit on a bad-assed groove riff at times. As with all Dying Fetus records, they do have a tendency to balance out the killer riffs with some fairly flat ones which has been a long-time gripe that I've held with the Fetus but boy they can be crushing when they get their slam on. In fact, their influence on the slam death metal scene is as plain as day, even on these demos.
If you're a big fan of Dying Fetus' albums then you probably need to check out "Infatuation With Malevolence" at some point, if only to satisfy your curiosity. Personally, I still quite enjoy it & would probably reach for it over some of the band's later releases like "Killing On Adrenaline" & "Wrong One To Fuck With" these days if I'm being honest. Despite always having been a great live band, it is worth noting though that Dying Fetus are very much the epitome of a 3.5-star band for me personally in that I invariably enjoy their releases but never find them to be essential listening, mainly due to the gratuitous use of technicality which adds very little of substance & sounds more like a practice exercise most of the time. That's less of an issue on "Infatuation With Malevolence" which sees it able to compare quite favourably with the band's wider discography when looking back over the more than three decades of Dying Fetus' existence.
For fans of Suffocation, Misery Index & Skinless.
3.5/5
Monolithe - Black Hole District (2024)
Black Hole District is french doomsters Monolithe's tenth album and marks yet another step in the band's musical and conceptual development. There is a narrative structure to the album, with the story taking influence from science fiction sources such as Blade Runner and Dark City. The story's protagonist, living on an Earth that faces annihilation due to the Moon having left it's orbit and falling inwards towards the planet, discovers, by a convoluted series of events, that he is in reality an android, not a human and this discovery looks set to cost him his life as the powers-that-be seek to terminate him for his knowledge.
The band have always made a "thing" of the track timings on their releases, which ties into their concepts, with Black Hole District's ten tracks alternating between one-minute instrumentals and exactly ten-minute long main tracks. Thankfully, as is always the case with the band, the specificity of the track timings doesn't feel forced and they never feel over-extended or truncated to accomodate these timings. I have a feeling that the band see themselves as storytellers every bit as much as musicians nowadays and, to this end, they have incorporated even more progressive elements into their music to the point where the progressive and the doomy are now held in perfect balance. This balance allows them the freedom to convincingly weave epic science-fiction tales without compromising on the inate heaviness of death doom metal, which is still, despite all the progressive flourishes, the heart and soul of Monolithe's sound.
A new element they have brought in, presumably specific to this story, is 80's style synths, in particular they have used the Yamaha CS-80 popularised by Vangelis, who is particularly influential here, especially (but not exclusvely) on the one-minute interludes which act as intros to the five main tracks, each one sounding like a snippet from the Greek's Blade Runner soundtrack. They have also brought in guest vocalist Frédéric Gervais of french progressive black metallers Orakle to provide clean vocals alongside new guitarist and vocalist Quentin Verdier's deathly growls, which gives the album a nice textural variation, vocally. Alongside the vocals a number of spoken word sections serve to advance the story and act as introductions to the events of the main tracks.
All this is the vision of the main man behind Monolithe, guitarist and keyboard player, Sylvain Bégot, who is the person solely responsible for all the band's songwriting and lyrics since their earliest days. I think that Sylvain's single-minded control of the artistic input imparts a cohesive consistency to Monolithe's output that may have become diluted by more diverse inputs. It has been obvious since the first album that, similarly to Ivar Bjørnson with Enslaved, Bégot's vision has always been beyond the boundaries of the genre conventions within which he works, even as he has no wish to completely set those conventions aside. He has now become exceedingly effective in how he weaves the doom and progressive aspects together and produces legitimately progressive doom metal as a result, with very few peers in the field. He is now able to convincingly produce a cinematic version of doom metal, that is able to impart the emotional and atmospheric highs and lows of great cinema. The poignancy of the closing track, "Those Moments Lost in Time", for example, is heart-wrenching, despite the heavy, looming main riff, as it references the Blade Runner death scene of Rutger Hauer's Roy Batty.
Black Hole District may not be unrelentingly heavy enough for some death doom acolytes, but for doomsters who love a cinematically conceptual tale, musically well-told with exemplary musicianship and songwriting then Monolithe are very much at the head of the pack. Although Blood Incantation will take all the plaudits for 2024 in this field for their new album, I don't think anyone should dismiss Black Hole District's claim to progressive extreme metal's science fiction concept album of the year.
4.5/5
Good epic morning for metalcore! All That Remains' long-awaited new album Antifragile has just been announced.
Meanwhile, vocalist Philip Labonte's former band Shadows Fall are back from the grey with a killer new single:
Tobias Sammet's Avantasia - "Here Be Dragons"
Here's what Blabbermouth says about it:
" EDGUY frontman Tobias Sammet's long-running AVANTASIA project will release its tenth studio album, "Here Be Dragons", on February 28, 2025 via Napalm Records. In addition to absolute AVANTASIA essentials such as spellbinding choirs and theatrical symphonic metal elements, Sammet surprises fans old and new with plenty of intriguing fresh soundscapes. "Here Be Dragons" gives the celebrated AVANTASIA sound that has been carefully crafted over a quarter of a century an exciting and powerful spin. The new album is the most consistent and concise piece of art that the band has ever crafted.
AVANTASIA's impressive success story has seen nine previous studio albums (including the 2019 offering "Moonglow" that charted at No. 1 in Germany),gold awards, hundreds of millions of streams as well as headline shows at all important metal festivals and worldwide sold-out arena tours with tens of thousands of devoted fans. AVANTASIA is not showing any signs of slowing down; soon after the release of "Here Be Dragons", the band will head out on an extensive arena tour across Europe, promising to deliver fans an immersive experience with their biggest and most epic production ever.
Sammet comments: "This new album carries the most adventurous and bold spirit my music has had in decades. And it's rather reckless, fearless, powerful, and uplifting and not introverted at all. While my previous albums allowed me to get a lot off my chest, this time I dove headfirst into the creative flood, crafting ten discrete, musical pictures, that miraculously merged into what I believe is the tightest chapter in AVANTASIA's history. I did everything exactly how I wanted it, approaching the album with unrelenting determination and a carefree attitude that was reminiscent of my early days way before the Metal Opera thing, when I felt unstoppable and let instinct just write songs. Right now I'm bursting with energy and can't wait to unleash 'Here Be Dragons' and then kick off the big tour with our new stage. We'll present the new material alongside our classics and some rarities in the most spectacular stage show AVANTASIA has ever delivered. An early Merry Christmas, everyone!"
In grand AVANTASIA tradition, the new full-length is rich in vivid storytelling and cinematic atmospheres, not to mention the highest level of musicianship. Opening track "Creepshow" is without a doubt one of the catchiest songs in their career. The energizing future hit truly welcomes the listener into the new era of AVANTASIA and will be an integral part of the band's spectacular live shows. In contrast, the incredible title track "Here Be Dragons" is a classic AVANTASIA song, and, at almost nine minutes, is by far the longest on the album. The cinematic dark soundscapes of "The Witch" captivate and support the song's storyline perfectly. Emotional, multifaceted vocal performances mesmerize on "Avalon", while the heavy metal number "Against The Wind" serves as further proof of the versatility of AVANTASIA's sound. Remaining well-balanced and cohesive, "Here Be Dragons" is undeniably AVANTASIA's most powerful album so far.
The 10-track offering was written and composed in its entirety by Tobias Sammet himself, produced and recorded by Tobias Sammet together with Sascha Paeth, mixed by Sascha Paeth and mastered by Michael Rodenberg. The stunning cover art was once again created by acclaimed British fantasy artist Rodney Matthews. "Here Be Dragons" marks another masterpiece in the AVANTASIA catalog, leaving both fans and critics speechless and proving the band's standing as a main force in the world of rock and metal!
"Here Be Dragons" is now available for pre-order in several exciting physical editions, with bonus albums included in select limited formats, like a 3CD hardcover artbook with 96 pages, over 160 pictures, drawings of Rodney Matthews and extensive stories to accompany the music and pictures. Make sure to secure yours and stay tuned for the first single that will be released very soon.
"Here Be Dragons" track listing:
01. Creepshow
02. Here Be Dragons
03. The Moorland At Twilight
04. The Witch
05. Phantasmagoria
06. Bring On The Night
07. Unleash The Kraken
08. Avalon
09. Against The Wind
10. Everybody's Here Until The End
AVANTASIA's ninth album, "A Paranormal Evening With The Moonflower Society", was released in October 2022 via Nuclear Blast. The disc was the follow-up to "Moonglow", which came out in 2019.
"A Paranormal Evening With The Moonflower Society" was produced by Sammet with AVANTASIA guitar player Sascha Paeth. The cover artwork was created by Swedish illustrator Alexander Jansson.
Since its beginnings in 1999, AVANTASIA's past releases have featured international stars such as Alice Cooper, Klaus Meine and Rudolf Schenker (SCORPIONS), Sharon Den Adel (WITHIN TEMPTATION), Bruce Kulick and Eric Singer (KISS), Eric Martin (MR. BIG), SAXON's Biff Byford, TWISTED SISTER frontman Dee Snider and many more."
Nospūn - "Ozai" E.P.
Here's what the band have to say about it:
"As some of you may know, before we became Nospūn we were operating under a different name. This year marks the 10th anniversary of the release of the “Ozai EP”. We still absolutely love these songs and want to give them the attention we think they deserve, so we are re-releasing it later this year! Everything will be re-recorded, remixed, remastered, and we’re including a bonus track that wasn’t originally on the EP!"
CAN SOMEONE PLEASE GO TO PAGE FIVE OF THIS THREAD & TELL ME WHETHER OR NOT IT TAKES EONS FOR IT TO LOAD??
Bandcamp:
"GODFLESH - A WORLD LIT ONLY BY FIRE 10 year Anniversary.
Unbelievably, in 2024, this album is now 10 yrs old, and to celebrate, here is A WORLD LIT ONLY BY DUB ; 5 extended dubs /alternate versions of songs taken from A WORLD LIT ONLY BY FIRE.
These versions were completed by JKB only recently, after some of these dubs had sat unfinished in a skeletal form for a number of years.
These are extended mutated versions; exploring and pushing the inherently experimental nature of Godflesh, now finalised and somewhat re-contextualised 10 years later.
Dub as transformation…"
Pungent Stench - "Club Mondo Bizarre - For Members Only" (1994)
Hilariously titled Austrian death metallers Pungent Stench & I have always shared a positive relationship. I got onboard with them fairly early on in their recording career with both of their first two albums receiving a tonne of plays from me as a young fella while I also quite liked their split record with countrymen Disharmonic Orchestra. They'd started to dick with their sound a bit on 1993's "Dirty Rhymes & Psychotronic Beats" E.P. though with their filthy take on the classic death metal model having been infiltrated by the death 'n' roll sound that bands like Entombed & Carcass were pushing at the time, along with some further experimentation with electronics. Many fans couldn't get into their new direction but I still found enough to keep me interested. It did put my guard up a little when it came to the Stench's next release in 1994's "Club Mondo Bizarre - For Members Only" though. Still... while it may not have been the Pungent Stench I'd developed such a strong affiliation with during their early days, I can't deny that it still offered me a reasonable level of appeal & remember the experience quite fondly, despite not having returned to the album since the mid-1990's. I wouldn't say that I've been absolutely busting to return to the album this week but I was a little intrigued to see if I'd still find it a positive experience in my more mature years.
As with all of Pungent Stench's previous material, "Club Mondo Bizarre - For Members Only" features some seriously sick themes & cover art which is perhaps the main reason that they had even become known to me in the first place. I picked up my copy of the album on CD from the local metal record store upon release & had no idea of what visual delights I was in for based on first impressions with the cover's true identity only being fully unveiled upon removing it from the jewel case & unfolding it to reveal an image that my mother would no doubt have been horrified to know her teenage some was casually perusing. The band had maintained the same three-piece lineup that they'd traversed their entire back catalogue with to the time & had recorded the album at Sing Sang Studios in Vienna, Austria during the middle of 1993 with front man Martin Schirenc (Hollenthon/Kreuzweg Ost) sharing the production duties with Gregore Schwarzenegger who had worked with the Stench on all of their previous records. The resulting sound is a little less disgusting & metallic than we may have come to expect from the band but isn't all that different to that we heard on "Dirty Rhymes & Psychotronic Beats" with the guitar tone having as much in common with grunge/alternative rock as it does with metal. This suits the style of the riffs quite well & gives the album some additional swing which was an important component of Pungent Stench's mid-90's sound. In fact, this element alone is almost enough to tell the casual listener that they shouldn't take things too seriously when it comes to this band.
From a stylistic point of view, "Club Mondo Bizarre - For Members Only" sees Pungent Stench completely dropping the sickly death metal sound of their roots in order to fully indulge themselves in the death 'n' roll sound that they'd begun exploring on the E.P. from the previous year. Schirenc's death grunts have been maintained but the instrumentation has taken a more groove-oriented approach that sees the rhythm section of Pitbull Jack & Rector Stench combining to give the Austrians a healthy swagger while Shirenc does his best to repulse the listener with his humorous yet still unashamedly disgusting lyrics. Martin clearly had a real knack for this sort of shit & I can't help but find the appeal in his clever way with words, even if they were often used to describe scenes where people were consuming each other's waste amongst other things. I don't generally go for a more satirical or comical brand of metal but there's just something about the way that Pungent Stench have angled their approach that seems to overcome any hesitation I might normally maintain for this sort of thing.
In saying that though, the tracklisting is fairly inconsistent with all of the material hovering either side of my enjoyment threshold. Thankfully, the wins slightly outweigh the losses here to see me affording the album a respectable score but it was a fairly close call to be honest. A good half of these tracks aren't really all that enjoyable to someone that takes their extreme metal as seriously as I do but the other half offer just enough messy fun to make the whole experience palatable. It's really pretty hard not the smile while listening to the stronger inclusions here, even if they'll hardly change your life. "I'm a Family Man", "True Life" & "Fuck Bizarre" are probably my pick of the bunch but "Treatments of Pain" & "Rape - Pagar Con La Misma Moneda" are also pretty decent. There's nothing too horrible amongst the material that sits on the other side of the line though so the lack of any genuine classics hasn't had the impact that it might have in the event of anything truly awful having been included.
Look... death 'n' roll isn't really my thing but I'll be damned if Pungent Stench don't know who to do it right. While "Club Mondo Bizarre - For Members Only" may well have been the weakest Stench offering to the time, it still manages to put a smile on my dial & that's really the intent of this sort of outfit, isn't it? In saying that though, I do think a large chunk of our The Horde members might struggle with it a bit so if you don't have much time for the artists I've listed below as points of reference then you may wanna steer clear of this one.
For fans of Xysma, mid-to-late 90's Gorefest & "Swansong"-era Carcass.
3.5/5