Daniel's Reviews

Another early Japanese metal release. This one a one-off album from an obscure band from Okinawa that were never heard of again. I haven't had much time for the other early Japanese releases I've heard (Bow Wow, Nokemono, Lazy, Loudness, etc.) & this one isn't much better but I'd hazard to suggest that it was probably the best metal-related release to come out of the country to the time. Heavy Metal Army's sound sits somewhere between heavy metal & hard rock & the vocals flip-flop between English & Japanese. The guitar solos of Shinki Sugama are excellent & are a real strength but the most noteworthy component of the Heavy Metal Army sound is the strong use of keyboards which draws comparisons with Deep Purple & Rainbow when it's done well but when it's not it tends to date the material pretty badly.

The tracklisting is quite varied, as is the quality level as this is a highly inconsistent record. It's strange though that they've elected to start the album with the three weakest tracks which got me offside from the get-go. For this reason it took me a couple of listens to get myself into a headspace to appreciate the rest of the album but once I did I found some pretty interesting stuff with the stripped-back progressive rock closer "Bird of Destiny" being the clear highlight. Unfortunately it wasn't enough to save "Heavy Metal Army 1" from obscurity & I can't see myself returning to it even though it definitely has its moments.

For fans of Deep Purple, Scorpions & Rainbow.

I have to admit that New York heavy/power metal legends Virgin Steele’s first couple of albums (1982’s self-titled & 1983’s “Guardians of the Flame”) did very little for me. It wasn’t until I investigated their highly regarded 1995 seventh full-length “The Marriage of Heaven & Hell Part Two” that I uncovered the true qualities that Virgin Steele have to offer but there was still a fair amount of cheese in their sound to offset the chunky power metal riffage & anthemic choruses with the symphonic elements of their sound taking me a little outside my musical comfort zone. The experience was positive overall though so I thought I’d give 1994’s “The Marriage of Heaven & Hell Part One” a crack to see how it compares.

I feel very similarly about this record in my ways as it sports most of the same character traits. The powerful metal riffage is further highlighted by a stellar production job for this style of metal with the music seemingly jumping out of the speakers & forcing your head to bang up & down. This is a very metal album in that regard it has to be said. Edward Pursino’s lead guitar work is brilliantly composed & executed & just listen to how memorable some of these choruses are! They’re tailor-made for raising your metal claws to the sky & singing along with your drunken mates thanks to some highly memorable hooks. David DeFeis’ voice is simply wonderful as he sports an enormous amount of power & emotion, not to mention the fact that he challenges Manowar’s Eric Adams in the epic stakes.

But in saying all that, the album also contains some of the same hindrances as it’s younger sibling. Despite four or five tracks hinting at classic status, none manage to pull it off in their entirety in my opinion with most containing a cheesy bridge or guitar solo section to pull things back to just a very solid level rather than allowing the song-writing to scale the heights of a genuinely transcendent one. The tracklisting is also noticeably top heavy with all of the best material residing on the A side. When Virgin Steele decide to explore their more melodic side with some more commercially accessible ballads & symphonic interludes we find them overstepping the cheese line in no uncertain terms & those tracks are inevitably the weaker moments on the record. They remind me very much of Savatage’s more self-indulgent efforts in that regard.

Overall I see “The Marriage of Heaven & Hell Part One” as another missed opportunity for Virgin Steele. All of the components are in place to make this a pinnacle of heavy metal but they somehow manage to squander that potential through their own indulgences. With a run time that exceeds 70 minutes, I have to suggest that a bit of culling could have added another half star to my rating but as it stands I’d still say that this is my new favourite Virgin Steele release as it possesses more highlight tracks & a touch less cheese than its more widely praised successor.

For fans of Jag Panzer, Omen & Manowar.

The debut album from this Madrid-based outfit is one of the earlier metal releases to come out of Spain. Zarpa's 1978 debut album "Los cuatro jinetes del Apocalipsis" is the earliest that I'm aware of but I'd argue that "Prepárate" may have come in second (at least of the reasonably noteworthy releases out there) as I don't regard Barón Rojo's "Larga vida al rock and roll" album from earlier in 1981 to be anything more than hard rock whereas "Prepárate" has a foot in both the hard rock & heavy metal camps. Unfortunately it suffers from the same affliction as Barón Rojo's first couple of records though as I struggle with clean Spanish language vocals in my metal for some reason, especially when there's not a lot of talent behind them as we see here. The instrumentation is reasonably well done throughout & there are a few tracks that I quite enjoy (i.e. when the choruses don't kill off their chances) but none of them will see me rushing back for return visits. It's interesting that we may even have an early speed metal track on our hands here in "Pesadilla nuclear" although it's not a very good one it has to be said. At the end of the day "Prepárate" is another decent Spanish rock/metal record with solid (if uninspired) instrumental performances & fairly amateurish vocals. I'd take it over the first two Barón Rojo albums though if pushed.

For fans of Barón Rojo, Ángeles del Infierno & Saxon.

I saw this record pop up quite often while researching the early metal scene during my Metal Academy podcast preparations back in the mid-2010’s & it seems to be quite highly regarded but I can’t say that I’ve ever gotten around to checking out Luxembourg four-piece Cool Feet before now. This 1976 debut album goes for ridiculous money on the second-hand vinyl market these days but if my experience tells me anything it’s that value doesn’t necessarily equate to quality. I couldn’t imagine that “Burning Desire” was likely to break any records in regard to intensity so a long drive with the kids over the weekend seemed like the perfect opportunity to see what this obscure proto-metal outfit had to offer before heading off in a much poppier direction in the early 1990’s.

I think it’s fair to say that the poor production & mastering jobs are a definite weakness for “Burning Desire” as the guitars aren’t prominent enough & the levels of the individual tracks differ from each other. This doesn’t prevent the stronger material from making the desired impact though & I find the heavier tracks to all be very enjoyable, particularly the metallic “The Man From Marakesh” & closing hard rocker “Alone In Your Cage” which are both very solid tracks in their own right. There are really only two tracks of the eight included that I regard as fitting the criteria for metal classification though (i.e. "The Man From Marakesh" & opening title track) &, as with so many 70’s proto-metal releases, I find it to be a significant stretch to claim this album as an early metal record.

It sounds to me like Cool Feet were still trying to find their sound with “Burning Desire” as it jumps around sporadically in regard to feel & accessibility. A couple of the more traditional bluesy hard rock numbers sound pretty uneventful when placed around the more melodically expansive metal tunes but the real failing of this record comes with the two awful attempts at commercialism that reside on the B side. Cool Feet are often claimed to be Scorpions disciples & “The Fool” provides a clear indication of that & had me instantly reaching for my plagiarism card given just how close it is to the German hard rock legends' seminal “He’s A Woman – She’s A Man”. Strangely it took a day or so before I realized that “Burning Desire” was actually released a full two years before Scorpions’ “Taken By Force” album which had me wondering whether I had it completely ass about. “The Fool” is a terrible track so I find it hard to believe that Scorpions would have wanted to copy it. Perhaps "Shes A Woman - He's A Man" was an old Scorpions song that didn’t hit an album until later on? I’m not sure but one of the two bands is guilty.  The other major failure is even worse though with “Now I Know I’m Free” seeing the entire tracklisting falling on its ass. Thankfully Cool Feet were able to turn things around with a very strong ending to the album.

There are some high quality moments to be found on “Burning Desire” & I found a good half of the tracklisting to be very enjoyable. Front man Don Cardwell has a great hard rock voice & leads the band with confidence during the heavier material but unfortunately the band’s attempts at pop stardom & the generic nature of a couple of the bluesier rock tunes combine with a thin production job to derail Cool Feet’s chances of rock immortality. This is very much the sort of album where you’d be best served by adding the highlight tracks to your Spotify playlist & turfing the remainder.

For fans of Sir Lord Baltimore, Admiral Sir Cloudesley Shovell & Scorpions.

I wasn’t familiar with Brooklyn-based retro four-piece Tanith prior to investigating this month’s The Guardians feature release but they’re hardly a household name in metal circles. A quick look at the band photos left me wondering what I was in store for as they look a little more seasoned than most bands releasing their debut albums these days while the presence on Satan guitarist Russ Tippins intrigued me as I’ve always admired his work on an album like 1983’s “Court In The Act”. Could I expect another metal-as-fuck shred-fest like that one? Well, the reality is anything but.

Tanith place their cards down on the table right from the offset with a warm & organic production job that’s much more in line with 70’s rock than it is with the modern metal model. I really like the way they’ve left plenty of room for the guitars & bass to interact with each other. It’s light-years from the dense metal production we’ve come to expect in more recent times. The dual vocal approach of Tippins & bassist Cindy Maynard is interesting too with both opting for a clean & fairly light-weight delivery that never heads into overly aggressive territory, instead sticking to melodic tones that draw to mind the greats of 1970’s progressive rock. The lead guitar work amplifies that feel further through the consistent execution of simple yet emotive guitar harmonies that showcase a strong Thin Lizzy influence. It’s not the heaviest sound you’ll find but there’s a certain magic about it nonetheless.

It’s interesting that “In Another Time” has been embraced by the metal audience as I’m not really sure it should qualify as metal to be honest. Opening track “Citadel (Galantia Pt. 1)” & “Dionysus” are close enough to metal as they certainly draw upon familiar tools but the rest of the album sits predominantly in hard rock & progressive rock territory. In fact, I’m baffled as to why most metal websites have this record tagged as a hard rock/heavy metal hybrid because the predominant subgenre is comfortably prog rock in my opinion with bands like Yes & Rush being the source of inspiration for much of the content. There’s a magical atmosphere to some of this material that’s seeped in fantasy & wonder & I can see this being a major drawcard for some metalheads. As the album title indicates, this is music from another time only it’s presented with a modern professionalism that showcases the skills of some experienced campaigners who possess a deep understanding of tone & texture.

The thing with “In Another Time” though is that I’m not sure I’m ever completely comfortable with its unintimidating & whispy nature. Apart from the clear album highlight in the gorgeous “Book Of Changes”, I’m not sure I ever find myself engaging with the album on a deeply emotional level. Despite being very well executed, the song-writing is more pleasant than it is enthralling. I very much enjoy those lovely guitar harmonies but the vocals are a little too clean-cut for my taste while the basslines conduct themselves predominantly in fairly unintimidating spaces too. The folky acoustic sections sound sweet enough but I’m not sure that I can say that they pull on my heart-strings. It probably doesn’t help that the album loses its way through the middle of the tracklisting either with both “Cassini's Deadly Plunge” & “Under The Stars” being a bit flat. I’m glad that Tanith could recover for the remainder of the album but I don’t think I ever found myself in a space where I could say that I loved most of the material.

“In Another Time” certainly sounds pretty fresh & there’s a lot to like about the guitar tone but it’s just missing a bit of danger for mine. I appreciate the sentiment but I crave a little more in the way of intensity as the musicians seem to stay very much within themselves for the most part. Give it some more dynamic vocals & this could have been another story. Perhaps even go a little further with the psychedelia. As it is though I find this to be an entertaining little record that should bring Tanith quite a bit of crossover appeal, perhaps not always from the metal market though.

For fans of Wytch Hazel, Thin Lizzy & Night.

For someone that’s built such a long & passionate history with the death metal genre, I have to say that my relationship with Swedish melodic death metal outfit Edge of Sanity has never been anywhere near as strong as that of most of my extreme metal loving peers. I first became aware of them very early on in their recording career through their 1991 debut album “Nothing But Death Remains” & continued to be kept up to date as they continued on their musical journey via an Aussie tape trading colleague of mine who was utterly obsessed with the Swedish death metal phenomenon. Edge of Sanity’s 1996 fifth full-length “Crimson” (a forty minute single track progressive affair) would obviously become their pièce de resistance & I do have some time for that particular release but I still can’t say that I regard it as anything particularly special so I think it’s fair to say that Edge of Sanity’s true value has always managed to elude me, even though I’m across pretty much their entire back-catalogue to some extent. I was reminded of this fact a couple of weeks ago while contributing to a conversation with a couple of very enthusiastic fans on Twitter & that encounter got me wondering if it might be time to take another crack at Edge of Sanity’s highly regarded 1994 fourth album “Purgatory Afterglow” as it certainly seems to have grown in stature over the years & I can’t say that I’ve listened to much from the band in the last decade or so outside of “Crimson”. This month’s The Horde feature release seemed like a good way to open up some healthy discussion with listeners who will inevitably have differing opinions too so here we are.

The production job on “Purgatory Afterglow” is full & bright which gives the album every chance to impress the listener right from the offset. It’s interesting that Bathory mastermind Quorthon’s father Börje Forsberg is credited as the executive producer & it begs the question as to whether band leader Dan Swanö took any significant learnings away from his time with Börje given the long & illustrious production career that Dan's created for himself since. The sound of the album is quintessentially Swedish as it straddles the two major strands of death metal the country is known for with the melodic death metal sound of At The Gates & Hypocrisy being offset by glimpses of the classic Dismember/Entombed crunch. The use of clean vocals seems to draw influence from gothic rock legends Sisters of Mercy in their phrasing (although admittedly nowhere near as deep) while there are several rockier beats employed across the tracklisting. We even see the band tackling an alternative metalcore sound on closer “Song of Sirens”. Despite the attempts at creative variation, I’m not sure I hear too many signs of the progressive direction that Edge of Sanity would employ in the near future although I've admittedly been known to question how progressive a record like "Crimson" really is at times.

As with so many melodic death metal records, I unfortunately find myself struggling with the more melodically inclined & accessible material included here. I’m kinda used to this with the melodeath subgenre after all these years & it’s no surprise at all that I find the most popular tracks like “Twilight” & “Black Tears” to offer the least appeal while the songs that steer closer to the conventional death metal model (see “Of Darksome Origin” or album highlight “The Sinner & the Sadness”) got my ears pricking up the most. The better melodic moments offer hints at the quality of a record like Amorphis' classic "Tales From The Thousand Lakes" album from the same year but these glimmers of hope are sadly nowhere near as consistent as the Fins were able to achieve. The length of the album seems appropriate at 44 minutes & there’s definitely enough variety on offer to see the individual songs owning their own unique character but the whole thing just seems to feel a little bit short of the final product due to a lack of focus & perhaps the subsequent existence of “Crimson” has proven that statement to be true. It doesn’t explain the significant following that “Purgatory Afterglow” seems to enjoy these days though & I have to wonder whether that would be the case if “Crimson” had never eventuated. I suspect not but then this album was always going to see me being dragged from my musical comfort zone kicking & screaming so what would I know.

For fans of Hypocrisy, At The Gates & “Tales From The Thousand Lakes”-era Amorphis.

I must admit that I’ve experienced relatively little of Atlanta alternative metal legends Sevendust for such a significant band. My only targeted effort to explore what they’re all about came at the end of 2010 when I gave their eighth full-length “Cold Day Memory” (3.5/5) a few spins & found it to be a reasonably enjoyable yet largely forgettable experience. I’ve since heard many of the band’s individual tracks due to their inclusion in the monthly The Gateway playlists but have never ventured any further so I’ve gone into this month’s feature release with an open mind & a hopeful attitude.

The first thing I noticed about Sevendust’s highly successful third album is that it contains a stronger nu metal component than I remember from “Cold Day Memory”. In fact, the record kicks off with a song that sounds noticeably similar to Korn while album highlight “Dead Set” also leans very heavily in that direction too. A large percentage of the other tracks contain nu-metal riffs or sections even though the highly melodic chorus hooks & vocals in general see “Animosity” still tending to leave the overarching impression of being an alternative metal album at its core. At the end of the day I think we have a bit of a hybrid here though with a few tracks steering away from metal altogether via some more commercially accessible alternative rock or post-grunge sounds.

As seems to be the norm for Sevendust, “Animosity” relies very heavily on the chorus hooks of front man Lejon Witherspoon & the listener’s final impressions will no doubt hang on their ability to connect with his performance. He’s a class act for the most part & can really sing but I find those hooks to be a little hit & miss. There aren’t any absolute bombs here, despite songs like “Crucified”, “Dead Set”, “Beautiful” & “Angel’s Son” all being high quality examples of their type. There are a couple of pretty flat tracks though with hit single “Praise” & album weak point “Live Again” failing to connect with me. The rest of the album is just kinda middling to be honest. It’s definitely a pleasant listen but I just don’t find it to have the hooks to offer the sort of memorability that will have me singing along to them in my head for the rest of the day. The gruffer backing vocals of guitarist Clint Lowery do offer a nice juxtaposition to Lajon's more clean cut sound though, it must be said.

Sevendust are certainly very good at what they do & I don’t think “Animosity” will disappoint too many alternative/nu metal fans but it doesn’t surprise me that they’ve never reached the same levels of popularity as the elite bands in their field. The band is very tight & everything's executed in a highly professional manner but I rarely find the song-writing to command the same level of excitement as Tool or Deftones seem to muster up quite regularly. Perhaps Sevendust are simply a little closer to the dreaded accessibility line than I'd like. In saying that, I’d probably take "Animosity" over “Cold Day Memory” (from what I can remember of that record anyway) & are glad to have conducted the exercise as there’s really very little to regret here. It’s a more than decent example of its chosen subgenre set, nothing more, nothing less.

For fans of Taproot, Staind & Adema.

I hadn’t had the pleasure of being introduced to Californian five-piece Dvvell before Sonny selected their brand new debut full-length “Quiescent” as the November feature release for our The Fallen clan but you can mark me down as being emphatically converted in a short space of time because this four-track album fits my taste profile to a tee. What we have here is a crushingly heavy & unapologetically dark piece of work that is relentless in its commitment to undiluted doom & it sounds just as good as that description sounds. That’s not to say that it’s a perfect record as there are some small challenges to overcome if you're to fully uncover the album's charms but there’s certainly enough quality here to satisfy the vast majority of the extreme doom audience.

“Quiescent” is benefitted from a thick & super-heavy production job which highlights the superbly tight rhythm section through a big bass guitar sound. The riffs invariably sit in the slow to medium-slow range & if the album has a weakness it’s definitely in its lack of variety because Dvvell define their sound very early on & stick to their guns throughout the entire hour’s duration. The Dvvell sound is really very simple to describe in all honesty. Slow riffs based entirely on open power-chords, ethereal tremolo-picked higher-register melodies that draw influence from post-rock & anguished female black metal screams… yep, that about sums it up really. So why is it so effective? I think it’s because of the execution which is absolutely top notch, particularly that of drummer Brett Weiser who is the clear highlight with his powerful metronomic performance giving the material the extra clout & precision it requires to consistently pummel the listener into submission. Brett’s kick drum hits in exact unity with every dinosauric power chord & his fills maintain my interest during the sections where the music is completely devoid of hooks. The melodies I mentioned don’t always hit exactly on the sweet spot they’re aiming for but when they do (as in the first half of closing track & album highlight “Daughter”) they can be seriously effective & I find myself hanging out for those moments while sitting through the album as a whole.

It's interesting that most websites seem to label “Quiescent” (& most albums like it) as sludge metal, often with the doom component being tagged as funeral doom metal. I struggle to find the sludge metal in this release to be honest as there’s not a lot of abrasive hardcore anger going on. Personally, I’d suggest that this release represents a strong case for the “blackened doom metal” tag as the music is clearly doom metal & the vocals just as obviously come from black metal realms rather than sludge metal aggression. The consistently slow tempos do hint at funeral doom metal at times & I find myself being reminded of England’s Moss in that regard but I don’t think the atmosphere is ever in line with the mournful slumbers that we generally expect from that particular subgenre. Instead I'd suggest that it shares more similarities with that of artists like fellow Californians Chrch or Oregon’s Hell although those bands admittedly change things up a bit more than Dvvell do.

Despite the saminess that “Quiescent” is undeniably guilty of, I simply can’t deny the appeal of an unapologetically dark & doomy release like this one, particularly when the execution is as powerful as it is here. “Quiescent” commands the listener to play it super-loud so as to become engulfed by the sheer weight of sound with the blackened vocals of Kristy Senko-Hall beckoning you to embrace the darkness.

For fans of Chrch, Hell & Moss.

It’s been fifteen months since I boldly opted to select New Jersey industrial metallers O.L.D.’s 1991 “Lo Flux Tube” sophomore album for feature release status here at the Metal Academy. I was familiar with their 1988 debut album “Old Lady Drivers” from my early tape trading days & it was essentially a fairly uneventful novelty grindcore release but their second effort saw the trio taking a succession of bold creative risks whose combined merits amounted to a unique & much more challenging avant-garde industrial metal record. It wasn’t without its faults of course but I generally enjoyed the experience & became interested to see where O.L.D. might take things from there given their undeniable passion for the obscure & unusual.

1993’s “The Musical Dimensions of Sleastak” album definitely takes things to the next logical level with the psychedelic cover artwork giving the listener a pretty accurate impression of what lies beneath. The production job is greatly improved from “Lo Flux Tube” which is a definite plus given that record’s obvious flaws in that department. This time most of the tracks are given a lot more scope to create layers of mind-bending noise with your cerebellum being tweaked by high-pitched electronic wails & bizarre dissonance with great regularity. The influence of Godflesh in the beats & bass guitar work is still plain to see but I can’t say that “The Musical Dimensions of Sleastak” is as obviously industrial as its predecessor. Some tracks definitely push that sound harder than others but to my ears there’s more in the way of avant-garde metal & experimental rock included here with the rock-to-metal ratio finishing in fairly even proportions. Voivod is also still a huge player in the O.L.D. sound & it’s hard to imagine a record like this one being created without records like “Dimension Hatross” having first existed.

Front man & former Khanate vocalist Alan Dubin’s blackened scream is consistent with his approach on “Lo Flux Tube” but don’t expect to hear much in the way of traditional metal guitar work on this album because Phantomsmasher/Khanate axeman James Plotkin uses his instrument in ways that it was never originally intended & in the process makes one hell of a feedback-drenched racket. He also goes to town on the electronics which play the role of the protagonist on most occasions. The vast majority of the album absolutely oozes of space rock style psychedelia with the use of noise being a strong feature. It’s interesting that I pick up a Kraftwerk influence in some parts too which wasn’t something I was expecting at all. Does it work? Well yeah it does if being honest but I’m not too sure I want it to if I'm being honest.

The first fifteen minutes of the record are really interesting & I found myself immediately engaged but things don’t really reach their full potential until the amazing fourth track “Peri Cynthion” & the cerebral drone of “Creyap’nilla”, both of which are genuine classics of whatever bizarre amalgamation of subgenres this fucking record might be pushing. It’s really unfortunate though that the tracklisting finishes on such a weak note with the eleven minute “Backwards Through The Greedo Compressor” being not only the longest track but also a real stinker. I can’t help but think that O.L.D. could easily have left that track out given the lengthy 66 minute duration of the album & we would all have been happier campers for it. As it is though, “The Musical Dimensions of Sleastak” seems to tamely peter out after promising so much for an audience that’s actively looking for drug-fuelled shenanigans. Thankfully I was able to see past that error in judgement because the rest of the album sees O.L.D. producing sounds that are as much art as they are music.

Once again O.L.D. have produced an intriguing & highly original record that certainly won’t be for everyone. I fully appreciate the effort the band members have gone to to come up with such a whacked-out sound & when they get all of their ducks in a row it can be pretty fucking mind-blowing. It’s too bad that they can’t hit that mark consistently enough to see me wanting to come back for return visits in the future & some of that can be put down to the terrible way they’ve elected to close the album out. If pushed I’d probably suggest that “Lo Flux Tube” is still my O.L.D. record of choice but there’s very little in it so if you liked that release then you shouldn’t hesitate to check this one out too.

For fans of Voivod, Godflesh & Disharmonic Orchestra.

New Zealand death metal trio Ulcerate have been somewhat of a mainstay at the top of my musical ladder since first discovering them through their classic sophomore album “Everything Is Fire” back in 2009. It may have taken me some time to fully come to grips with the dissonant arm of the death metal scene at the time as it still sounded fairly foreign to my old-school ears but once I’d become accustomed to the more textural sonic palate with which these artists draw from I quickly became engulfed in a journey of discovery that found me ultimately placing the niche subgenre up on one of my higher musical pedestals. Ulcerate haven’t released anything that wasn’t of a sublime quality since those initial impressions either which certainly hasn’t hurt. The more traditional brutal tech death of their 2004 “The Coming of Genocide” E.P. may not have been anything terribly flash & their 2007 debut album “Of Fracture & Failure” might well have been more of an interesting transitional release than a record to be particularly revered but ever since that time the band have been in devastating form & have destroyed a great many fragile minds in the process.

Dissonant death metal bands like Ulcerate will inevitably always be at a higher risk of sounding “samey” than bands from other genres. When you make extreme music that doesn’t conform to traditional theoretical structures or melodic sensibilities then it can often be hard to give the song-writing the unique elements required to differentiate themselves from one another. I have to admit that I’ve kinda been waiting for Ulcerate to fall over in that regard but they just never seem to even stumble. With their 2020 sixth full-length “Stare Into Death & Be Still” we find Ulcerate sticking to their tried-&-tested dissonant model but infusing it with enough melody to make it appear to be a complete contradiction of terms. The use of open strings & dissonant chords is undeniably still the root of the band’s evil however they’ve managed to make it sound almost beautiful at the same time which is really pretty remarkable. There’s plenty of variation in tempo with a number of exploratory & introspective post-sludge sections adding layers to the glorious atmosphere. In fact, the slower & more stripped back post-metal sections are inevitably my favourite parts of the album & are responsible for giving each inclusion in the tracklisting its own identity. 

The production job on “Stare Into Death & Be Still” is nothing short of splendid with the layers of dissonant guitars sounding full & lush & the drums offering plenty of clarity, power & brightness. If I had to be critical, I’d suggest that the bass guitar could have been louder in the mix but I don’t think it detracts from the overall product. The composition & execution are simply stunning with the three musicians being given the freedom to take expansive & quite intricate excursions through some of the band’s most ambitious yet strangely accessible material.

The vocals of Paul Kelland are aggressive & powerful, perhaps more so than I remember them being which is a nice contrast to some of the more stripped back material. Sole guitarist Michael Hoggard must have some major challenges on his hands when it comes to live performance as I’m honestly not sure how he could pull off the many layers of dense guitar work that are presented here. I really love the interplay between the different guitar tracks actually & find them to possess an artistic flair that’s pretty rare in extreme metal. While it may be Hoggard who ensures that Ulcerate always maintain some level of accessibility while never losing an ounce of integrity, it’s drummer Jamie Saint Merat that steals the show in no uncertain terms as he’s quite simply unparalleled in skill & creativity. Sure, he can blast 99% of the opposition away with relative ease but it’s the more subdued moments which offer him the most room to move & his cymbal work during these more atmospheric sections is nothing short of astounding. What a drummer this guy is! I’m not sure we’ve seen better in metal music to tell you the truth.

“Stare Into Death & Be Still” is yet another wonderful example of modern death from one of the absolute elite exponents of the craft. It's undoubtedly Ulcerate’s most melodic album to date but its also their most creatively advanced too. I count myself as being a big fan of the dissonant death metal sound these days but I’m not sure I’ve hear a better example of it than this one right here & that includes Ulcerate's most highly celebrated releases like "Everything Is Fire".

For fans of Gorguts, Portal & Baring Teeth.

The 1990 self-titled debut album from notorious Florida death metallers Deicide came into my life at a time when I had only recently become infatuated with the genre so it enjoyed the perfect conditions to maximize its impact on my life & I think it’s fair to say that it couldn’t have been more influential on this young metalhead. I’d certainly never heard anything so evil before but despite the utter blasphemy & devastating brutality of the music, the song-writing was some of the catchiest you’ll find in death metal which gave “Deicide” the endurance to still reside in my top ten for the genre today. So by the time the follow-up album was released in 1992 I was absolutely chomping at the bit to throw myself into it. “Legion” certainly had a hard act to follow but I was very confident that it would deliver & there's no doubt that it did to an extent.

It’s probably been over a decade since I last revisited “Legion” but I listened to it enough in my teenage years to know very well what to expect. I’ve traditionally always regarded it as a classic death metal record but have never placed it alongside the debut at the very pinnacle of the genre. This revisit was something I’d planned for some time with the intention of being able to more accurately place “Legion” within the myriad of early 90’s classics & I had a little inkling that it might not be as good as I’d once thought. I knew it’d be full-on & confronting but would it be complete enough to play with the Morbid Angels of the world? Let’s see, shall we?

The first thing I noticed upon digging my teeth into “Legion” was the messy production which is a little surprising given the involvement of Scott Burns behind the mixing desk. The rhythm guitar tone is pretty noisy which makes the whole album seem a little more chaotic than it might otherwise have appeared & this is amplified by the exhilarating opening track “Satan Spawn, The Caco-Daemon” which is completely off the hook from a structural point of view. Each song possesses a number of drastic tempo-changes with chuggy mid-paced riffage giving way to blast-beat driven annihilation & returning again quite often. The riff structures are much more technical than the debut which seems to have been a conscious decision but I’m not sure that Deicide were quite up to the task just yet as there are number of sections across the tracklisting that find the song structures falling apart. Drummer Steve Asheim is the main culprit here & (despite the fact the Steve was held up on a pedestal by most of the extreme metal scene at the time) he struggles a bit for control across the whole duration of the album. He’s certainly not helped by the production but I tend to think that he’d pushed himself a little farther than his capabilities could support at the time with some of this material.

On the positive side though, the enraged vocals of head Satanist Glen Benton sound positively demonic on “Legion” as he leads his band to Hell & back multiple times during the short 29 minute run time. The screamed backing vocals aren’t as effective but are helped by the intelligent use of delay for some cool effects at key moments. The rhythm guitar work is actually very solid & there are some ripper death metal riffs on offer with Deicide's real strength being in the mid-paced chuggers which sound genuinely evil. The highlight of the album for me though is the controlled chaos that is the lead guitar work. I’ve always loved the lead tone these boys achieved on the early Deicide albums & you won’t find a better example than the searing mid-range of these ultra-shredding efforts. In fact, I’d suggest that the solos represent the climax of many of the eight tracks included & I’m often reminded of Slayer & Morbid Angel in the way both brothers maintain their focus on face-ripping insanity rather than complementary melody.

Despite the flaws I mentioned above, there can be no denying that “Legion” slips very easily into my musical comfort zone & I don’t have to try very hard to get my jollies out of it. However the reason that it doesn’t compare all that favourably alongside the debut can be found in its consistency. None of the tracks are weak as such but I can’t deny that there are some lighter-weight sections in “Behead The Prophet (No Lord Shall Live)” & “In Hell I Burn” that see me dropping my score from the lofty heights of a good half of the album. The shorter & more focused tracks are the strongest with the unwavering brutality of “Trifixion” & “Revocate The Agitator” being the most successful in their unholy mission. There's no time for mucking around on those tracks which makes it clearer that Deicide's weaknesses generally appear when they have more time on their hands & become guilty of trying too hard to sound evil (see the unintelligent chorus from "In Hell I Burn" for example).

So, ultimately I think my suspicions that I may have overrated “Legion” were pretty accurate even though I still very much enjoyed revisiting this high quality death metal release from my youth. It’s not the classic I tried so hard to make it into back in 1992 (& I do remember really wanting it to be just quietly). It’s an over-the-top & relentless experience that will satisfy the vast majority of its audience though & shouldn’t be scoffed at by any means. It’s funny how sloppy it sounds when I listen to it today but that element also gives it an endearing quality that reminds me of a simpler time in my life when such concerns weren’t worth bothering about.

For fans of Vital Remains, Cannibal Corpse & Amon.

I have to admit that, despite the steady stream of unanimous praise that seems to be heaped on them, London supergroup Rainbow have never been my cup of tea, at least not when looking at their back catalogue holistically. Sure, their classic 1976 sophomore record “Rising” is certainly a very solid effort & I’m not denying that I get a lot of enjoyment out of it but the only other one of the band’s eight studio albums that I find much appeal in is 1982’s “Straight Between The Eyes” which is arguably Rainbow’s least popular release. This is a pretty good sign that Rainbow simply don’t play in the same playgrounds as I frequent & I’ve kinda found myself subconsciously accepting that I may never achieve the same sort of adoration that many of my metalhead peers do over the years. Recently though, I found myself in need of something to listen to while looking after my two young kids for the day & Rainbow’s 1977 “On Stage” live album popped up in my Spotify feed. For some reason I thought to myself “You know what? Everyone else seems to gush about this record. What can it hurt giving it a few spins, eh?”. So here I am…. full of high hopes & the promise to at least fill an obvious gap in my knowledge of rock/metal music history.

“On Stage” is made up of live tracks that were recorded between September & December 1976 when Rainbow were on tour in Germany & Japan so it’s not a showcase for a single performance but the best of several. Interestingly though given the timing of the shows, the tracklisting includes virtually nothing from the “Rising” album that the band were touring for at the time with only a short snippet of “Starstruck” (clearly the weakest track on “Rising” in my opinion) being represented. The majority of the record is made up of material from 1975’s “Ritchie Blackmore’s Rainbow” debut album with the addition of a cover version of Deep Purple’s “Mistreated” (which Ritchie obviously wrote) & a sneak peak at a future classic in “Kill The King” that wouldn’t see a proper album release until 1978’ “Long Live Rock ‘n’ Roll” record. Most of the tracks are extended & include lengthy improvised jam sections which see the six tracks stretching out to a 64 minute run time.

The clear & organic production job is very good for a live album from that period & it does exactly what any good live production should do by giving the listener the feeling of actually being there in the audience. I could have done without the silly “Over The Rainbow” intro from the “Wizard Of Oz” but once the band kicks into gear you’ll be treated to some of the finest rock performances you’re ever likely to hear, highlighted of course by the legendary talents of Ritchie Blackmore & Ronnie James Dio. Now, let me get something else off my chest. Despite being a guitarist myself, I’ve never actually had a lot of time for Blackmore from a technical point of view. I’ve always appreciated his creativity but he seemed a little sloppy to me in comparison to some of my more favoured axemen. But here we see Ritchie confidently pulling the wool from over my eyes so that I can finally see what I’ve been missing & by George he pulls off quite the triumphant victory over my stubbornness in the process. I can very easily hear where people like Yngwie Malmsteen have cloned certain parts of his technique here & it’s hard to argue that Ritchie was ahead of his time after experiencing this record. RJD’s contribution is simply perfect as always. I don’t think there’s a musician alive that could have taken the limelight away from Ronnie as he’s a star among stars & you’re unlikely to find a better example of that than you do here.

Now a warning for all you diehard metalheads that are stuck in your ways, despite containing arguably the earliest example on power metal in opening track “Kill The King”,“On Stage” is NOT a metal record overall &, to be fair, it rarely tries to be. Contrary to popular opinion, Rainbow were never a metal band (at least not for a complete album). They were a hard rock group that contained unique elements that heavily influenced the more obviously metallic groups that followed them. Hell, a lot of the jam sections of “On Stage” aren’t even rock with Rtichie & co taking their audience into a wide array of different territories from blues right through to classical & it’s worth noting that his ambitions have ultimately produced the definitive versions of many of these songs in the process. The 15 minute version of “Catch The Rainbow” is really quite stunning & has taken one of the couple of tracks that I found enjoyment in from the debut & transformed it into an epic centrepiece that rewrites the book on melody & atmosphere. I’ve never liked “Sixteen Century Greensleeves” but this version comes a little closer to being interesting while the new packaging of closer “Still I’m Sad” has seen me paying attention for the very first time.

Perhaps a release like this one is tailor made for an old musician like myself. I'm more than open to the idea of extended improvisation, I live to hear musicians pushing themselves & succeeding & I love to see an artist take their art & give it a fresh coat of paint. Rainbow may still not quite fit into my taste profile from a stylistic point of view but boy have they pulled off an entertaining release here. It’s really pretty surprising how successful “On Stage” is when you consider that I don’t have any time for the “Ritchie Blackmore’s Rainbow” album that most of the material is drawn from. How is it possible that they’ve not only managed to pull off an acceptable live album without drawing on any of the best material from clearly their best album in “Rising” but have actually gone one step further by forcing me to consider whether “On Stage” may just have pipped “Rising” out of the top spot for my favourite Rainbow release. Well done gents. This is a very fine performance indeed.

For fans of Deep Purple, Scorpions & Thin Lizzy.

In previous reviews I’ve been very open about the fact that, despite the brutal death metal subgenre being arguably my favourite sound in all of metal, I’ve never rated Canadian legends Cryptopsy’s supposedly classic first couple of albums as highly as almost everyone else on Earth seems to with a large portion of my issues lying with the two major drawcards in front man Lord Worm & influential drum virtuoso Flo Mounier. To be honest I just don’t think either are half as good at their craft as they’re made out to be. Hell, I didn’t even like the band’s highly regarded debut album “Blasphemy Made Flesh”. But 1998’s “Whisper Supremacy” brought with it a new & more traditional vocalist in Mike DiSalvo & also saw the band heading in a flashier & more technical direction which appealed to my taste significantly more than their supposedly genre-defining sophomore album “None So Vile”. “Whisper Supremacy” finally saw me getting onboard the Cryptopsy train with some level of confidence & I was hopeful that this revisit to Cryptopsy’s 2005 fifth album “Once Was Not” would provide further emphasis to my preference for slightly later Cryptopsy than most people are willing to admit to. Did it deliver in that regard? Well… kinda. Let’s take a look at one of the Canadian’s more underappreciated albums.

“Once Was Not” saw the return of Lord Worm to the fold after two albums with DiSalvo & I have to admit that I’ve probably taken longer than I might otherwise have to plan a revisit for that very fact alone as I’ve never been terribly enamoured with the Lord's over the top & often unintelligible death growls. He doesn’t waste any time at all in reminding as to why I’ve struggled with him over the years here either as his ranting, rabid-dog style delivery sounds pretty thin & unconvincing to my ears. In fact, he’s easily the weakest element of the album & I don’t doubt that DiSalvo’s more conventional approach to death growls played a strong role in my preference for an album like “Whisper Supremacy” over Cryptopsy’s classic releases.

Instrumentally though, we have a very well-produced, creative & artistic record on our hands here & one that I’d suggest no longer fits comfortably under the brutal death metal banner. “Once Was Not” is a highly technical effort sporting an impressively broad scope. It doesn’t always make sense mind you & can sound a little like a collection of good ideas that have been pasted together at times rather than a cohesive & fluent piece of artistic expression. I do really enjoy the jazzier moments, particularly those that feature ride cymbal work that sounds like it’s been borrowed from progressive rock or the early progressive death metal bands like Atheist or Cynic.

Extreme metal drummer extraordinaire Mounier puts in another blinding performance but he still can’t convince me that he’s the real deal here. His endurance seems to have improved over the years & his sheer velocity is no less impressive than the first time I heard him back in the early 1990's but unfortunately he’s still pretty messy with his timing as far as his ability to perfectly synchronize his kick drums & snare during the hyper-speed blast-beat sections go. He often sounds more like a possessed typewriter than a tight & clinical tech death time-keeper & it baffles me to see the consistent adoration he seems to draw at times when there are so many extreme drumming gods about these days. Perhaps it's all about his influence as he was certainly one of the first to be attempting the sort of speeds he's made his calling card throughout his career.

In saying that, it’s pretty hard to be too critical of “Once Was Not” as the tracklisting is extremely consistent with no weak tracks included among the eleven on offer. Unfortunately there aren’t any genuine standouts though & I find myself wondering if Cryptopsy have simply tried to be too clever with this record as the best parts usually come when they go in a more classic death metal direction rather than trying to be as wacky as they possibly can without breaking the death metal mold. The musicianship of Flo & Worm's counterparts is of a very high standard & it’s rare that I find myself getting bored across the relatively lengthy (for a record this extreme) 50 minute duration. The band don’t seem to be short of ideas & it’s hard to imagine that they’d fall from grace in such a dramatic fashion with their very next album when listening to this one so I’d suggest that most fans of the more brutal end of the technical death metal subgenre will find a fair bit to enjoy here. "Once Was Not" isn't as strong as "Whisper Supremacy" was by any means but I'd probably still take it over Cryptopsy's first two records nonetheless (yep I said it alright).

For fans of Lykathea Aflame, Origin & Wormed.

I’d heard quite a bit of Californian metalcore outfit Bleeding Through while preparing the monthly The Revolution playlists but had never felt the need to investigate them further upon until this point. Perhaps I’ve been put off by their associations with the more melodic side of the genre or it may be because they simply don’t seem all that likely to appeal to my taste. I’m not too sure but my commitment to the Hall of Judgement & a site with the highest level of accuracy in regard to our genre-tagging has finally brought me face to face with my very first Bleeding Through album & I’m gonna do my best to keep an open mind.

As is very much the norm with the more well-known metalcore acts, “Love Will Kill All” is a really well-produced & executed record with polished & shiny performances from all of the band members. It’s a big, in-your-face collection of short & catchy metal tunes that’s made to appeal to a particular audience. You see, while Bleeding Through certainly integrate various external influences into their sound to good effect, they also showcase all of the signature traits of the metalcore genre at the same time so fans will never find themselves feeling the slightest bit alienated. I wouldn’t describe Bleeding Through as sticking to the conventional metalcore model here but neither would I say that the album is a melodic metalcore release either. It kinda sits in the middle with the band jumping from a straight down the line aggressive tune to a more melodic one with a clean-sung chorus hook quite consistently. If anything I’d probably suggest that the melodic side wins out in the end but a dual tagging is probably the most appropriate result.

The points of difference for “Love Will Kill All” are twofold. On the one hand you have a clear melodic death metal influence with At The Gates seeming to be the obvious point of reference through the driving, up-tempo yet melodic tremolo-picked riffage. Then we also see a clear melodic black metal influence in the use of gothic symphonics & well-executed blast-beats. Cradle of Filth is undoubtedly the source of those sounds. Having never been the biggest Cradle of Filth fan, I have to admit to struggling a bit with the overly melodramatic gothicisms on offer even though they do make for something a little different which is certainly required with a record like this one. The clean choruses on the more melodic tracks remind me quite a bit of Fear Factory so I wouldn’t be at all surprised to find that they were somewhat of an inspiration too.

One of the problems here though is the more generic elements of Bleeding Through’s sound as they kinda overshadow their more creative ones. The breakdowns are very much the standard model for metalcore & whenever they pop up I find myself snoozing a bit. The vocals of front man Brandan Schieppati are also terribly common. I mean he sounds EXACTLY like every other metalcore vocalist in America & that’s a big detractor for me personally. There are a couple of really enjoyable tracks here though & they generally occur when Bleeding Through simply release the shackles & go for broke like they do on album highlight “Buried” or the pretty decent “Cold World”. The rest of the album seems to drift into areas of insignificance though I’m afraid, even though there’s nothing particularly terrible here either.

At the end of the day I just don’t think I’m the target audience for a record like “Love Will Kill All”. I'd imagine that it’s exactly what the band were trying to achieve & that it’s disappointed very few of their rabid fanbase but it’s simply not something that would generally appeal to me. In fact, the only reason I’ve even found myself listening to it is to assist Andi with his Hall of Judgement entry to have it removed from The Horde & in that undertaking Andi will be receiving a resounding YES vote from me as (despite the At the Gates influence) there’s absolutely no way that this is a death metal record.

For fans of Unearth, The Agonist & early Shadows Fall.

I quite enjoyed my initial experience with Portland trio Bewitcher last week. Their 2019 sophomore album “Under The Witching Cross” proved to be an infectiously fun collection of well-produced & executed speed metal with a noticeably blackened edge so I’ve come into their follow-up album (2021’s “Cursed Be Thy Kingdom”) with hope for similar rewards. Unfortunately though, despite some strong similarities with its older sibling, there are some stylistic differences between the two that leave me unable to muster the same level of enthusiasm for Bewitcher’s latest effort.

Tracks like “In The Sign Of The Goat” from “Under The Witching Cross” hinted at a black ‘n’ roll sound that never quite transpired but on “Cursed Be Thy Kingdom” we see Bewitcher fully indulging in that side of their creative ambition & that element plays the role of the protagonist across the ten tracks included. A good half of the tracklisting also utilizes the speed metal of Bewitcher’s roots but there’s more space & openness to some of these songs which sees them leaning harder towards the traditional heavy metal sound of Judas Priest than it does any velocity-addicted speed metal outfit. The vocals of front man Unholy Weaver of Shadows & Incantations (his parents might have needed TWO birth certificates to fit that one in) may not be the nastiest you’ll find but his blackened snarl is enough to push me over the edge into black ‘n’ roll territory this time whereas I felt that subgenre was more of an influence on the previous Bewitcher album. Perhaps that’s because I found much less up-tempo Motorhead worship on this one with heavy metal tracks like album highlight “Valley Of The Ravens” tending to rock as much as they roll. I’d suggest that this is likely why I find less appeal in “Cursed Be Thy Kingdom” too actually as I can’t say that I’ve ever really enjoyed that sort of thing. The inadequate cover version of Pentagram’s “Sign Of The Wolf” that closes the album out doesn’t help much either.

“Cursed Be Thy Kingdom” isn’t a bad record for what it is & I’m sure it’ll have its audience but that doesn't include me I'm afraid. I look for more adventure & danger in my music & Bewitcher's latest effort comes across as being a little unimposing & lacking in genuine depth when compared with the more substantial acts in the modern metal scene.

For fans of Midnight, Venom & Hellripper.

I’ve long regarded Los Angeles five-piece Agent Steel’s 1985 debut album “Skeptics Apocalypse” as one of the top few speed metal records I’ve ever experienced so it’s fair to say that I didn’t hesitate in considering the band’s next couple of releases for inclusion while putting together an outline of the records I’d investigate as a part of this month’s speed metal deep dive. Agent Steel’s debut kinda fell into the speed metal tag due to it being made up of tracks that belonged in either the thrash metal or heavy metal camps so speed metal seemed like a happy medium, particularly given the extra melody in the vocals & guitar lines that wouldn’t normally be associated with genuine thrash. My review of 1987’s “Unstoppable Force” sophomore album last week found that the band hadn’t diluted their commitment to velocity in the slightest & I’d describe it as a relentless assault on the senses although the production & vocal performances left a fair bit to be desired & a lot of the more aggressive material is more speed metal focused than it is thrash. Having now closed that chapter in my understanding of Agent Steel’s essential releases I’m left only to fill the gap between the two albums with 1986’s “Mad Locust Rising” E.P., a twelve-minute affair that makes full use of it’s short run time.

“Mad Locust Rising” is made up of just the four tracks with the first being an insignificant 17 second intro piece that might as well have been a part of the first proper song as it serves no purpose on its own. The opening title track however is an absolute rip-snorter & takes a super aggressive thrash metal approach that’s far more similar to Slayer & Kreator than it is to Exciter or Helstar. Even polarizing front man John Cyriis’ whiny performance seems to fit the music beautifully & I’m not sure that Agent Steel could have come up with a better opener to be honest. Why the hell this track wasn’t deemed worthy of inclusion on a proper album is anyone’s guess. Next up we get a very solid & well executed cover version of Judas Priest’s “The Ripper” which is pretty faithful to the original but adds some modern-day oomph with a delivery that’s more in line with the US power metal sound. And finally, the E.P. is closed out with another thrasher in “Let It Be Done/The Day At Guyana” which is the more complex of the three proper songs & offers some fantastic riffs, particularly the Slayer-esque outro section from “The Day At Guyana” which would become a highly praised instrumental track on the “Unstoppable Force” album.

The production job is nice & raw but possesses a wonderful energy that beautifully highlights the strengths of the consistently high quality tracklisting. The performances are all excellent too with the over the top shredding of Juan Garcia & Kurt Colfelt being a definite highlight, particularly their Kerry King/Jeff Hannemann style effort on the title track which takes an already superb track to another level altogether. It’s really very hard to fault this little E.P. & I have to say that I’m surprised that it hasn’t gained more notoriety over the years. I can only suggest that the short run time is the main reason behind that but the other may be that fans weren’t quite prepared for the onslaught of aggressive thrash as there’s not really any speed metal on offer here with thrash metal & US power metal being far more appropriate genre tags.

I have to say that “Mad Locust Rising” has torn off my face & handed it back to me in pieces in many respects. I wasn’t in any way prepared to enjoy it as much as I have & now regard it as my favourite Agent Steel record by a clear margin. Is that due to the fact that it takes a direction that’s much more in line with my personal taste profile? Well… yes it certainly is but isn’t that how we all judge the merits of our music? It certainly is for me & I’m very glad to have discovered this short but very sweet little E.P. from a very important band in the US power metal movement.

For fans of Metal Church, Lååz Rockit & Destructor.

I wasn’t acquainted with Norway’s Black Viper prior to approaching their sole full-length album as a part of this month's speed metal deep dive. I’d certainly seen their name around the traps but had never seriously considered investigating them further & had no real understanding of what they might offer me. So I guess that’s seen me go into “Hellions of Fire” with no preconceived notions on what I was likely to be presented with & it was a bit of a surprise to discover that they own quite an impressive pedigree in Norwegian metal. Bassist Christoffer Brathan played with thrash metal outfit Condor, drummer Cato Stormoen is the current skinsman for another Norwegian thrash metal staple in Deathhammer while guitarist Arild Myren Torp is a current member of wonderfully talented thrashers Nekromantheon as well as highly regarded death metallers Obliteration so given that they’ve only released the one demo & a single album in their decade-long existence thus far it would seem that Black Viper are a bit of a supergroup side project for several important figures in the local Norwegian scene. Well, if that is in fact the case then they’ve made a pretty good fist of it here as “Hellions of Fire” is a more than respectable effort.

The 48 minute album is made up of seven lengthy tracks that rarely deviate from the relentless pursuit of high velocity metal. For this reason it can appear to be a fairly imposing prospect after the first listen or two & I’d suggest that it could certainly have been shortened a bit in the interest of making for a more palatable package for the average consumer. I mean I’m not sure fun speed metal anthems really need to be over three minutes in length but here we have seven that range from four & a half minutes to an epic ten & a half minutes in duration. That’s not to say that you’ll ever get bored per se as there’s always something exciting transpiring but it can seem like a constant flurry of activity at times with the song-writing seeming to be in an awful hurry for much of the album’s run time.

The modern clarity of the production job gives these tunes added life that the band’s forefathers may not have been blessed with & it’s nice to be able to so easily identify the basslines in the mix. It has to be said that the performances of the three instrumentalists are outstanding too which shouldn’t be any surprise given their credentials. The Destruction influence that is so obvious in Arild Myren Trop’s other band Nekromantheon is just as visible here through the regular inclusion of melodic lead runs within the riffs & that element tends to keep me clear of any genuine tendency to want to reach for comparisons with thrash despite the consistently high tempos. There’s no doubt that this is the style of speed metal that the European power metal movement borrows from so regularly but there’s only really the occasional hint at that genre, particularly on the old demo track “Freedom’s Reign” which I unsurprisingly find to be one of the weaker inclusions on the album. “Quest For Power/The Fountain Of Might” sees Black Viper taking a swing at your more traditional heavy metal sound amidst all the chaos but it’s never long before you find the tremolo-picked speed metal riffage returning to the fold to have you thrashing your limbs around the bedroom again & I’d suggest that “Hellions of Fire” is one of the more pure examples of the genre you’ll find.

There’s a genuine passion to the way Black Viper go about their business as they clearly live for this shit. I’d suggest that I might not have enjoyed their 2016 “Storming With Vengeance” demo though as two of its three tracks are the ones that I don’t get as much enjoyment from here. The band’s real weakness though is in the higher register vocals of Salvador Almijo whose voice isn’t really up to the job in my opinion. He certainly has some pipes on him but he often wanders out of key & his overly flamboyant delivery definitely places a cap on how far the appeal of a record like this one can extend for me personally. Perhaps that’s more of an indicator of my musical preferences than anything else but I don’t tend to think so because I find the rest of Black Viper’s offering to be quite appealing.

I suspect that very few speed metal fans will find Black Viper’s debut album to be a disappointment. It’s a well written, produced & executed example of the genre with a more modern edge to it & it begs the question of why the band haven’t gotten around to following it up. Perhaps it really was just a side-project intended to tick an item off their bucket lists & if that was the case then I'd suggest that it’s been very successful in fulfilling that requirement. I’m just not sure that it’s enough to draw me back for regular revisits though.

For fans of Mystik, Chevalier & Agent Steel.

Tokyo-based trio Boris have been a major player in my musical world since I first discovered them upon my return to metal in the very late 2000’s. Their classic 2003 sixth album “Boris At Last -Feedbacker-“ proved to be quite the initiation & this earlier release (their third full-length) would be the next in a long line of wonderful records I’d experiment with over the many years since. It didn’t hit me quite as hard as “Feedbacker” did at the time but it’s fair to say that I’ve always regarded it as a high quality piece of work & a testament to Boris’ artistic ambition.

Unlike most of Boris’ releases from this period, “flood” generally isn’t claimed as a metal record as such. It usually slips into the drone & post-rock brackets but in truth it’s a collection of widely disparate ideas (none of them conventional drone in my opinion interestingly enough) with each of the four lengthy tracks taking a very different direction & possessing its own unique personality. Strangely the band elected to open with a highly unusual choice that categorically proves that the band have very few fucks to give about commercial success because the first of these four untitled tracks is pretty tough going, even for the more patient & educated musical connoisseur. It reminds me a lot of the minimalism of an artist like Steve Reich & is essentially made up of one short guitar loop that’s manipulated in a call-&-response fashion with constantly changing delay intervals seeing it trying very hard to sound & feel psychedelic however I’m sorry to say that it fails dismally in this endeavour & ultimately represents a rare failure for Boris. But fear not dear academics because this artist is an elite exponent of their craft so music of the most premium quality was inevitably just around the corner. The remaining 55 minutes of the album's run time is nothing short of spectacular with the deep psychedelic post-rock of the second piece being not only my album highlight but one of Boris’ best efforts overall. The third track is a twenty-one minute, slow-building excursion through post-rock, post-sludge metal & crushingly cerebral drone metal that easily maintains the top tier standard while the equally long final track sees things winding down for a deep, drawn-out ambient soother that has me curling myself up in the sound & letting all of the troubles in my life fade away.

As an overall package I'd suggest that the post-rock tag is as close as you're gonna get to a genre tag for an album like this one but even that broad term seems to short-change a release with such a vast scope. There are very few artists that can create something as special as Boris have achieved across tracks two through four here. Their knowledge & understanding of texture & nuance & their incredible attention to detail in relation to tone are rarely matched in the modern music scene. They almost seem like they belong in another era, perhaps the late 60’s or early 70’s. “flood” is mostly instrumental with Takeshi’s vocals being more of an accompaniment than they are any sort of protagonist. The use of repetition to put the listener into a calm, trancelike state is next level as usual which is why I find it so hard to accept the inclusion of the opening track which I’m afraid to say fails by such a margin that I’d even suggest that it's pretty pointless & even boring. Thankfully the rest of the tracklisting is strong enough to see me just about forgetting that early blip, even if it is a full fourteen minutes in duration & more than enough to test most listener’s patience.

The fact that I don’t place “flood” in my top five Boris records is hardly a major criticism. I simply hold this band up on such a high pedestal that there’s quite a traffic jam at the top of my list. Outside of the opener this is a genuinely remarkable collection of music that covers enormous ground but flows fluently from track to track with clinical professionalism. The warmth & depth in Boris’ guitar tones is always an attraction & I simply can’t get enough of the amplifier reverberation, the mature use of space & the sheer patience at times. All of these things make “flood” another rewarding release from a band like no other.

For fans of Earth, Godspeed You! Black Emperor & This Will Destroy You.

Canada’s Exciter may not have invented the speed metal sound as it was already evident in parts of earlier releases from the likes of Venom however there can be very little doubt that they were the first ones to place the majority of their focus on that style of metal along with Belgium’s Acid. Exciter’s first three albums (released between 1983-85) are still widely regarded as pivotal records in the history of the speed metal genre today & rightly so too. If you’re an old-school thrasher like myself then it’s very unlikely that you’ve managed to steer completely clear of the influence of seminal releases like 1983's “Heavy Metal Maniac” over the several decades since. People with more than a passing knowledge of the band’s later material seem to be a little less common though so perhaps it's not all that surprising that someone like myself has never heard any of Exciter’s material after 1985’s very solid “Long Live The Loud” album (which just happens to be my favourite speed metal release of all time). I have to admit that I went into 1986’s fourth album “Unveiling The Wicked” with a fair amount of trepidation though as the band’s post-1985 material isn’t exactly raved about.

Your first challenge with a record like “Unveiling The Wicked” comes in the form of the horrendous cover artwork as it’s honestly about as woeful as it gets, even by the notoriously low standards of mid-80’s speed metal. It’s so clear that the woman on the cover is really peeling some fake green rubber OFF her face rather than the other way around which leaves you wondering if SHE is really “the wicked” as opposed to the gremlin that’s intended. It all seems so low-grade that it has the effect of significantly diminishing your expectations of the songs contained within before you’ve even pressed play. Then once you do build up the courage to check out the actual music you’re immediately confronted with an empty, muted production job that sounds like the band is playing in the distance. This flawed packaging is certainly not an ideal platform for the band to wet people’s appetites with but the music doesn’t exactly set the world on fire either it has to be said.

Exciter have always had a significant heavy metal component in their sound with bands like Black Sabbath & Judas Priest playing just as strong a role in the creation of their style as Motorhead or Venom but “Unveiling The Wicked” sees that classic heavy metal influence taking the ascendency & I no longer think it’s accurate to call this record a speed metal release. It sounds far too lethargic for that but definitely isn’t helped by the flat production. We also see pockets of commercial hard rock popping up across the tracklisting & it’s hard not to suggest that there’s a been a bit of a cash-grab attempt going on here. New guitar shredder Brian McPhee shows himself to be quite talented through some quite accomplished solos & the band tries to milk that through an ill-timed shot at creating their own version of Eddie Van Halen’s “Eruption” in the one & a half minute “Brainstorm” interlude. It unfortunately comes across as an obvious example of plagiarism & placing it as the second track on the album was clearly a bad call as the energy just kinda dies even though the track itself is one of the more interesting inclusions. Following it up with two commercially focused shockers in the dumb “Die In The Night” & the immature cheese of “(I Hate) School Rules” is even more baffling, as is the fact that the former seems to be the most highly regarded track on the album (do people not have ears any more?). Thankfully Exciter give us some reasonable quality at the end of the record with the final two tracks being clearly the best of the tracklisting (my personal favourite being the most speed metal oriented inclusion on the album in “Live Fast, Die Young”) but this does leave you asking why they’d left it all so late because the damage was already done by that point. 

I know some people will disagree with me here but I find the other major weakness to be drummer Dan Behler’s vocals. His shrieking banshee-like delivery is so repetitive & showcases a very limited range & ability which leaves me wondering why it hasn’t been so noticeable on previous records. Perhaps it’s the slower tempos & less aggressive feel of these tracks that sees Dan’s limitations being more obvious in a noticeably less violent soundscape? That does sound pretty logical but let’s be honest… Dan was never an amazing vocalist to begin with.

“Unveiling The Wicked” is easily a couple of steps down from Exciter’s first three albums & I’d suggest that it’s a far from essential release in the speed metal story, especially given that it’s actually a heavy metal record parading around in speed metal attire. It reminds me very much of fellow Canadians Anvil in its various mediocrities & I have to wonder if there's some sort of relation there given the timing & locality of the two bands. It's also hard to imagine that Exciter has a full seven albums to come after this one & that none of them are even regarded as highly as this one. I can’t say I’ll be rushing out to investigate those just quietly.

For fans of Raven, Acid & Anvil.

I first discovered Denver-based speed metal four-piece Speedwolf while selecting tracks for the monthly The Pit Spotify playlist in mid-2021 & quite enjoyed what I heard. The opening title track from their sole 2011 full-length album “Ride With Death” opened in very similar fashion to the highly influential opener from Metallica’s seminal 1983 debut album “Kill ‘Em All before burning off at high speed & it was hard not to buy into the band’s ability to simply not give a fuck. I casually pencilled Speedwolf in as a band to check out at some point & received further encouragement when their more traditional heavy metal number “Up All Night” popped up in a subsequent playlist later on that year. Would the rest of “Ride With Death” live up that potential though? Let’s take a look & find out.

Well, I was always confident that “Ride With Death” would open well with the two tracks I was already familiar with leading off in quick succession but the first thing that any reasonably well educated metalhead will discover is the blatantly obvious Motörhead worship going on as Speedwolf have clearly been guilty of placing the godfathers of filthy speed metal on a lofty pedestal. Frontman Reed Bruemmer does a stellar job at replicating Lemmy’s signature grunt but gives it his own twist which leaves him sounding a little more sinister in my opinion while (much like their idols) some of the punky open-string riffs have a little more to do with hardcore & hard rock than they do with metal. Richie Tice’s wonderful machine-gun style double kick work does an excellent job at erasing any tendency to look outside of the metal space when tagging “Ride With Death” however & his performance is one of the highlights of the Speedwolf sound as he goes about ensuring that the band sound as tight as a motherfucker throughout this 41 minute effort with workman-like efficiency.

The production job on “Ride With Death” is spot on for this style of music by effectively highlighting Speedwolf’s unbridled energy through the relentless barrage of up-tempo thrashers. There’s a consistent clarity to the album that doesn’t ever detract from the authenticity of the band’s 80’s focused sound with Tice's powerful kick-drum sound remaining the centrepiece with which the rest of the music is built around. The album is also helped by some high quality performances from the other band members who show a lot more technique & attention to detail than most of their speed metal peers which is probably the main differentiator with a band like Speedwolf. They’re very much a modern take on an old concept.

If speed metal is essentially the mid-point between thrash metal & traditional heavy metal then Speedwolf sit right bang on the line between the two & are arguably the one of the purest bands in the speed metal crowd. Their speed-freak mentality is rarely diluted too much, despite the inclusion of a few tracks that I regard as being closer to heavy metal than to genuine speed metal (see “Up All Night”, “Time To Annihilate” & “Hell & Back”). Speedwolf's  tempos are much more in line with thrash than they are with heavy metal but the use of open-string (rather than palm-muted) riffs definitely has a different timbre to thrash metal & the regular inclusion of melodic lead guitar lines also sees things being pulled back by the heavy metal crowd. Never fear thrashers, you still get your fair share of palm-muted tremolo-picking when the band decide to drop the shackles but they've adopted a mixture of both approaches here which makes it hard to pick a winner. The only obvious change-up track comes in the form of "Death Ripper" which sees Speedwolf heading into black 'n' roll territory temporarily with Bruemmer pivoting towards a blackened snarl to good effect which is a welcome addition.

This is punky & quite repetitive metal music for a working class audience & makes for the perfect soundtrack for drunken bar fights between scary looking biker types. It’s relatively simple in its conception & execution but possesses a class & professionalism that boosts it above a lot of the competition. Even though the album isn’t all that lengthy, the twelve song tracklisting does feel a bit long, mainly due to the lack of variety on offer. It’s also a bit unfortunate that Speedwolf chose to end things with the weakest track on the album in the unintelligent “Denver 666” which isn't done any favours by being positioned right after the excellent title track (the clear standout track on the album for mine). Still… I can’t deny that I had a lot of fun with “Ride With Death”. Is it enough to see me wanting to return to it regularly though? I doubt it as it just doesn’t offer enough depth for that but I can’t see it disappointing too many people either.

For fans of Motörhead, Midnight & Venom.

Los Angeles speed metallers Abattoir are one of those bands that most old-school metalheads are probably aware of but few have actually heard & I fitted into that category pretty comfortably until this week when I decided to investigate their 1985 debut album “Vicious Attack” as a part of my speed metal deep dive. I’d suggest that the cover art likely hasn’t helped that situation as it displays a particularly dodgy image that comes across as kinda creepy by today’s standards but it wasn’t anything all that unusual at the time with bands like Scorpions doing their level best to push the threshold of what was considered to be acceptable by the morality police.

Abattoir had surprisingly been around for a full seven years by the time this record was released & I’d imagine that their style had changed significantly in that time as the sound “Vicious Attack” is pushing is heavily influenced by releases that came a little after the late 1970’s. If speed metal is essentially the mid-point between heavy metal & thrash metal then Abattoir have done a very good job at nailing down the concept with seven of the eight tracks included fitting the bill nicely. The slower “The Living & The Dead” is probably the only inclusion in the tracklisting that sees them veering towards the more controlled tempos of your traditional heavy metal model but it’s positioning right in the middle of the album sees it serving to break things up a bit by giving the listener a moment of respite from the relentless energy the rest of the material unceremoniously shoves down your throat.

In many regards “Vicious Attack” is the sum of three major influences. For starters you have the early 80’s Motorhead sound being replicated as accurately as I’ve ever heard it with Abattoir even opting for a very decent cover version of the title track from “Ace Of Spades” which may just be the album highlight. Then you have a clear Dianno-period Iron Maiden influence with front man Steve Gaines’ voice showcasing a distinct similarity to Paul's & the use of guitar harmonies & galloping rhythms providing further homage to the greatest NWOBHM band of all. And finally (& to a slightly lesser extent) you'll likely pick up on the impact of Metallica’s 1983 debut album “Kill ‘Em All” with particular reference being made to the more speed metal focused numbers like “Hit The Lights”, “Motorbreath” & “Phantom Lord”. Gaines also touches on James Hetfield’s early vocal approach in his angrier moments too. Now those are some pretty big names, aren’t they? And to their credit Abattoir do a pretty good job of presenting those influences in a way that summarizes the various elements without crossing the line into pure plagiarism all that often (well… I do have to admit that some of the Motorhead worship is pretty damn obvious).

The production job is particularly rough & ready, even for a mid-80’s speed metal record. I’d be very surprised if this wasn’t intentional & a play at creating a similar vibe to Lemmy & his cohorts. It works for the most part too & I find myself losing myself in the reckless abandon of a band that sounds like they’re in the prime of their youth & without a care in the world. The limiter here is really that there’s not a lot of substance beneath the surface. There's no doubt that Abattoir create some outrageously fun metal music that will inevitably get any drunken teenage party rocking but I wouldn’t say that there’s a lot of depth to their music which is not something you could about some of their influences (like Iron Maiden for example). The short 28 minute run time certainly helps as “Vicious Attack” doesn’t come close to overstaying its welcome but when all is said & done I can’t say that feel like I want to return to the album all that much even though it's unquestionably an enjoyable experience. Perhaps that’s a problem for speed metal in general as the fundamental premise of the music certainly leaves itself open to those sort of feelings but I do tend to think there’s scope for a more significant creative statement within the genre.

At the end of the day though, I’d suggest that its best not to over-think things when it comes to a more than decent underground speed metal record like Abattoir have produced here. Instead, I’d recommend chugging a beer, ripping your shirt off & banging your head till your brain feels like mush because the overall winner will almost always be metal. Abattoir know that well & so does your mum which is why she tried to encourage you to stay away from inherently naughty music like Abattoir have produced here. It’s the work of Satan, you see.

For fans of Exciter, Agent Steel & Warrant (GER).

The reputation of Cleveland-based solo artist Midnight certainly precedes him. He’s developed somewhat of a cult following in underground metal circles over the years with a level of mystery surrounding him at all times. A part of his appeal certainly lies within his attachment of a Satanic image to a more accessible speed/heavy metal sound but if anything that idea has probably seen me shying away from his releases to be honest. Now I find myself presented with the challenge of reviewing his latest opus in the brand new “Let There Be Witchery” album though & I have to say that I feel up to the task.

I can’t say that I was all that surprised by what I heard upon first listen to tell you the truth because the Venom & Motörhead comparisons are right on the money from a stylistic point of view. There’s a truckload of punk & hard rock about Midnight’s sound & (as with Motörhead) much of this material teeters on the edge of not being metal at all if you wanna get technical about it. I mean the guitar solos are bluesy as fuck & the strummy open-string chords that make up many of the songs don’t have much of a relation to Black Sabbath or Iron Maiden but there’s something about the atmosphere that Midnight creates that ties it all back to our beloved metal with Athenar’s gruff vocals almost commanding it in a similar way to Cronos’ or Lemmy’s. They’re not blackened by any means but they do seem to come from the same sort of heritage, only in a third generation capacity if you know what I mean.

The appeal in Midnight’s sound really comes in the song-writing & execution though with all of these songs possessing plenty of space & some very solid hooks that dig their teeth in nicely without requiring too much effort. The song-structures are very simple & traditional which gives them a level of familiarity but the bright, crystal clear production job sees them growing another limb. “WTF!?” I hear you say? “That’s hardly in line with Venom or Motorhead’s model now, is it?” Damn right it’s not but it really seems to work for Midnight here & I struggle not tap my foot along to track after track of this infectiously fun little speed/heavy metal record.

Midnight may not sit anywhere near my musical comfort zone but perhaps that’s part of their appeal because they do make for a very enjoyable holiday from the seriousness of modern metal. There’s a freshness to their sound that sees them carving out their own niche even though they certainly harness the bands I’ve already mentioned & this sees Midnight commanding a positive response from an audience that will do very well not to comply.

For fans of Motörhead, Speedwolf & Venom.

It’s hard to believe that German stalwarts Rage have released 25 full-length albums in their recording career to date & that many of them have been quite popular yet a diehard metalhead like myself who likes to pride himself on his overarching knowledge of the scene has still yet to experience even a single one of these albums in full after something like 38 years of obsessive metal indulgence but that appears to be the situation here. I was certainly aware of what Rage sound like as I was exposed to bits & pieces of albums like 1990’s “Reflections Of A Shadow” on underground metal radio programs back in my formative years but I have to admit that they never quite seemed like something that’d interest me & it would seem that my suspicions may have been on the money based on the evidence at hand after visitng their 1986 debut album “Reign of Fear” over the last couple of days.

“Reign Of Fear” sees Rage beginning life as a more than decent metal band with a couple of different strings to their bow. In one corner you have the clear influence of the thrash metal which was obviously achieving world domination at the time, most of which would present itself in the form of a simpler meat-&-potatoes brand of speed metal with the crudely performed vocals of front man Peter “Peavy” Wagner giving Rage a distinctly German sound. Then you have the Judas Priest worshipping heavy metal that was so pivotal in molding the local scene through bands like Grave Digger, Running Wild & Avenger. The tracklisting tends to hop between the two styles with consistent regularity but I wouldn’t say that it causes the experience to come across as random or unfocused. It seems kinda natural for Rage to be honest & the band performs their jobs admirably for the most part, proving themselves to have a decent understanding of the tools required to make an enjoyable metal record. Unfortunately no one told poor Peavy though as his performance behind the microphone leaves much to be desired. Staying in key was a big problem for Wagner at the time & he ends up making a real meal of things but is probably not helped by some dodgy song-writing at times too.

In fairness “Reign of Fear” starts off really well with the first couple of tracks leaving me feeling very positive about its prospects. I found the second song “Deceiver” to be particularly appealing & regard it as the album highlight but things descend very quickly after that & I’m not sure that any of the remaining seven tracks offer much of interest with the awful “Chaste Flesh” being a clear low point for the album. I’m not sure if it’s just a taste thing but I definitely enjoyed the slower & more traditional heavy metal tracks a lot less than most of the thrashier material. Speed metal anthem “Hand of Glory” even hints at the early German power metal sound which isn’t really my bag either it has to be said but look… I don’t think it’s a genre thing. It’s definitely a quality issue as the speed metal material enjoys a stronger allocation of the run time & I’m always open to well written, executed & produced heavy metal. This stuff just sounds a bit second-rate, kinda like the first couple of Running Wild albums.

1986 was a huge year for the thrashier end of metal & Rage had a big opportunity to capitalize on that buzz if they could get it right, especially given the timing of this release. Sadly, I feel that they missed the bus a bit & that’s perhaps why I’ve not ended up giving them a crack before now.

For fans of early Running Wild/Helloween & 80’s Blind Guardian.

I hadn’t heard much of Portland-based trio Bewitcher before checking this 2019 sophomore album out as a part of my speed metal deep dive but they’ve got a little bit to offer to tell you the truth. Their sound isn’t anything new by any means as Venom, Motorhead & Bathory’s debut album pretty much summed this style up in the early 1980’s but the production & execution are excellent which gives the song-writing every opportunity to dig its teeth in.

There’s an obvious blackened component to front man Matteo Von Bewitcher’s grim vocal delivery that might never challenge the likes of Quorthon for raw evil but certainly gives Bewitcher an extra layer of street credibility. In fact, tracks like opening blackened speed metal anthem “Savage Lands of Satan” & black ‘n’ roll banger “In The Sign Of The Goat” even push out into extreme metal territory but Bewitcher’s music isn’t to be taken too seriously. It’s purely made up of fun-loving, beer-drinking party-time tunes for long-haired scallywags who are looking for a good time with the mates their parents told them not to associate with. It’s certainly a speed metal release but it’s one that keeps one foot in the rock ‘n’ roll camp while doubling down on the Satanism at the same time. Although it was never intended to change anyone’s lives, you can’t help but buy into the energy that Bewitcher possess in their composition & performances.

For fans of Hellripper, Bat & Bütcher.

I’ve always loved Los Angeles’ speed metal outfit Agent Steel’s 1985 debut album “Skeptics Apocalypse” & it’s been firmly entrenched as one of my favourite speed metal records for many years now so it’s high time I investigated some of the band’s later material, isn’t it? Their 1987 sophomore effort “Unstoppable Force” seemed to be the logical place to start as it’s almost as highly regarded by their fan base & would apparently maintain the speed metal sound of the debut. Let’s see how it fairs in comparison then, shall we?

The production job on “Unstoppable Force” leaves a fair bit to be desired as it’s very raw & quite tinny. This isn’t anything all that unusual for the time however I’m not sure it’s an ideal fit for Agent Steel whose sound is a little more polished than that. The music is certainly very thrashy however & I maintain my position that Agent Steel offer just as much legitimate thrash metal as they do speed metal. It’s just that they also include a few tracks that sit firmly in the classic heavy metal camp so the speed metal tag makes for a happy medium.

There’s a lovely energy to most of the nine tracks on offer with the A side being packed with most of the more aggressive material. The B side is where you’ll see the band slowing things down & adding a bit more melody on a few tracks but I do have to say that I prefer the more up-tempo Agent Steel material over the more traditional heavy metal numbers like “Still Searchin” & “Nothin’ Left” which I find to be a little flat in comparison. In saying that though, closing ballad “Traveler” ends up being one of the album highlights for me along with the thrash-tastic opening title track.

The most notable element of the album though is clearly the vocal contribution of front man John Cyriis whose performance was always going to be polarizing. He displays an over the top theatricality that certainly won’t be for everyone & has bitten off a bit more than he can chew here in my opinion. It's a bit of a shame that John often comes across like a late-night cat fight in the back alley with his pitchy high-pitched squeals & air-raid siren style dive bombs. Thankfully though the instrumental component of the album is excellent with loads of quality riffs & some wonderfully shredding lead solos.

Overall, “Unstoppable Force” makes for an acceptable follow-up to “Skeptics Apocalypse”, if not one that offers the same level of appeal. The production job probably doesn’t help but it’s not really a deterrent either as I’m pretty used to that sort of thing after all these years of indulging in underground metal. If only the producer & his fellow band mates would just have pulled Cyriis into line a bit & told him to tone down the theatrics then we might have had a much stronger product on our hands. As it is though we get a reasonably enjoyable speed metal record that’s unlikely to hit too many best-of lists.

For fans of Helstar, Exciter & Ranger.

Belgian trio Arkangel seem to have built up a fairly strong reputation in the underground metalcore scene over the years with all of their releases being held in quite high regard by those in the know. I recently realised that I hadn’t actually checked them out before & found the links to thrash & death metal to be quite the drawcard. Their most critically acclaimed debut E.P. seemed to be a good starting point given its short run time so I thought I’d start there with this month’s The Revolution feature release seeming like the perfect opportunity for us all to explore 1998’s “Prayers Upon Deaf Ears” together.

My first impressions of Arkangel weren’t great it has to be said. The production job on “Prayers Upon Deaf Ears” is subpar at best with the levels being all over the place, a fairly ordinary snare sound & the vocals blaring over the top at obscene volumes. The level of musicianship isn’t real flash either to be honest & this leaves the band sounding a bit unprofessional to tell you the truth. Some of the six tracks simply don’t gel with the vocals sounding like they could be screaming over a completely different song to the one their band mates are trying to produce. I think the production probably accentuates that effect further too. The vocals are admittedly quite aggressive & are one of Arkangel’s strengths but I can’t find seem to find myself getting all that excited about them which tells me that they’re being done an injustice by their accompaniments.

Arkangel’s sound is pretty vicious for the late 90’s & is strongly influenced by extreme metal. The guitar tone is very much in line with US thrash/groove metal outfit Exhorder & some of the riffs remind me of them too actually. You can also expect some pretty blatant Slayer worship going on at times while some of the tremolo-picked single notes riffs seem to have been plucked straight out of the early Entombed playbook. That all sounds great on paper & I would have thought it would have amounted to an enjoyable release for me but it wasn’t to be with the last few tracks seeing my hopes being further dashed & leading into one of those awfully meaningless hidden tracks after a pause of about a minute.

I imagine that releases like “Prayers Upon Deaf Ears” build their reputations on pure vitriol but I need a bit more quality to keep me interested so I can’t help but feel that it’s an overrated record. The technical deficiencies are too blaringly obvious & the overall package seems more like a demo than a proper release.

For fans All Out War, Day Of Suffering & xRepentancex.

I hadn’t encountered Denver-based progressive metal outfit Dreadnought before but I’m very glad I’ve rectified that omission now because their brand new fifth album “The Endless” is one of the best releases I’ve heard in 2022. Dreadnought’s sound sees them combine a progressive take on metal with the tribal drumming & atmospherics of post-metal to wonderful effect & is further highlighted by the angelic female vocals of band leader Kelly Schilling. You can expect to see the band occasionally heading into black metal & some more avant-garde territory at times but Dreadnought are definitely at their best when their attention is focused purely on creating emotionally-charged & deeply moving atmospheres that bring to mind some of Anathema’s mid-to-latter period releases. The 3rd & the Mortal also springs to mind quite often, particularly given the vocal approach & progressive leanings.

On the negative, I have to admit that the first two of the six tracks included here are comfortably the weakest even if they’re still pretty engaging. But my goodness I was in for a surprise after that with three of the remaining four pieces being nothing short of mind-blowing. There’s a transcendental elegance to Dreadnought’s music that appeals to me on the deepest emotional level when they get it right & I can’t imagine how this release isn’t being held in much higher regard. I suspect it’s due to the lack of patience from the modern audience as you really do have to give this album a chance to open up, particularly given the unfortunate way they’ve programmed the tracklisting which I presume was to include some of the more extreme black metal stuff at the start of the album to get people’s attention.

Dreadnought are the perfect example of what the modern metal scene has to offer. They’re fresh & ambitious & have a rare talent for connecting with their audience on an emotional level that allows them to be transported to wonderfully lush & drastically foreign places. They’ve been a real find for me this month & I want to commend Saxy on his feature release nomination because this is what Metal Academy is all about i.e. identifying high quality & interesting releases that offer great appeal but that you’d likely never encounter otherwise.

For fans of Obsidian Kingdom, Kontinuum & Solstafir.

It’s interesting that I’ve never heard a full Liege Lord record before now. I’ve certainly been aware of their highly regarded trio of 80’s albums for many years but they were hardly a household name back in my formative years & I’ve not found myself being tempted previously. I did however quite like the title track from their classic 1988 “Master Control” album when I investigated it for inclusion in the monthly The Guardians playlist a couple of years ago & have subsequently intended on giving it a decent chance ever since. What better time than now I guess!

“Master Control” kicks off in fairly hectic fashion by placing its cards down on the table right from the get-go. Although there’s a significant amount of speed metal included throughout the tracklisting & I agree with that genre being awarded a dual role, the US power metal tag is the most accurate label for this record given the chunky guitar tone, the up-tempo feel of a lot of the material & the operatic higher-register vocal performance of Joe Comeau. You can expect to identify hints at heavy metal & genuine thrash popping up here & there but neither are consistent enough to command further representation.

Comeau is a dead-ringer for Iron Maiden/Samson front man Bruce Dickinson. In fact, his likeness is really pretty uncanny & it’s very clear that he’s worshipped at the Maiden altar for many a year. He does sound a touch like Overkill front man Bobby Ellsworth’s more Maiden-inspired mid-80’s moments sometimes too though, particularly in his phrasing when the music gets a little more thrashy. The production is a touch inconsistent from track to track but the performances are very precise & the execution is pure class with the fantastic guitar solos being an obvious highlight.

The A side is very consistent indeed with no weaker tracks but the B side is a little more hit & miss. Both of my album highlights come in the second half of the album though in the Judas Priest inspired heavy metal anthem “Feel The Blade” & the thrashier US power metal of “Rapture”. Unfortunately these strengths are offset by a couple of duds in “Broken Wasteland” & “Suspicion” which tend to even out my feelings a bit after cancelling out the good impression left by those two highlight tracks. The lack of a couple of truly elite level pieces definitely places a cap on the appeal that “Master Control” has the power to muster but this isn’t a bad US power metal record. It’s just not really the classic that it’s so often made out to be these days in my opinion.

For fans of Helstar, Savage Grace & Agent Steel.

I didn’t become aware of Dutch black metallers Cirith Gorgor until they’d already released four full-length albums & they’d surprisingly been learning their craft for a good sixteen years by that point. My initial experience came at the hands of this debut album “Onwards To The Spectral Defile” which I remember quite enjoying but apparently not enough to warrant return visits or focused analysis. I’d also touch on Cirith Gorgor’s “Unveiling The Essence” sophomore record from a couple of years later with a similar outcome if my memory serves me correctly however I can’t recall hearing anything the band have done since 2001 & I'm a little hazy on the band in general so it’s probably a good time to refresh things by unpacking this month’s The North clan feature release.

“Onward To The Spectral Defile” is very much a meat-&-potatoes style of black metal record. It doesn’t ever attempt to reinvent the wheel, instead looking to harness some fairly basic & traditional black metal building blocks in as savage a fashion as they can produce. The clear focus of the Cirith Gorgor sound is in the blast-beat driven brutality of bands like Marduk, Dark Funeral & Immortal however they try their best to hide the fact that they’re a bit of a one-trick pony by tossing in some melodic content over the top. In fact, all of the eight black metal tracks included veer off the path of abrasive blasting at some stage with the occasional thrash metal or folk/Viking metal influence popping up here or there along the way. Being a life-long devotee of the more brutal end of extreme metal, I do find significant attraction to the more relentless & abrasive part of the Cirith Gorgor package but I also see the need to break things up by providing a little bit of variety as they’re not as talented at creating atmosphere as the bigger names in that field so they’re always at risk of suffering from a lack of substance even though they can certainly play as fast & brutal as the competition Unfortunately though, the more melodic & thrashy content is vastly inferior to their aggressive stuff & the band even sound a bit messy when they slow things down with their timing not always hitting the mark when they’ve got a little more room to work with. So I guess I find myself at a bit of a contradiction in that “Onwards To the Spectral Defile” clearly needs it’s melodic component but at the same time I also wish it wasn’t there a lot of the time.

The album is very well produced for this style of black metal as you can hear everything very clearly. Nimroth’s shrieking black metal vocals are suitably snarly & sinister & are one of the highlights of the record, even if he doesn’t offer much in the way of variety. I have to say that the guitar solos fall well short of the mark though & add nothing at all to the overall package. They’re simply far too basic & lacking in polish, ambition & accomplishment. Thankfully I can always rely on Cirith Gorgor to return with a light-speed blast-beat session to batter those negative thoughts right out of my brain & that thought pretty much sums up this album for me really. It’s not perfect as it has a few obvious flaws but I can’t resist the relentless savagery that permeates much of the tracklisting & that component alone is able to compensate for the poorer material like the ill-fated thrash metal section in “Sons of the New Dawn” or the flat closing piano interlude “Thorns of Oblivion”. “Onwards To The Spectral Defile” won’t change too many lives but it will certainly give some a bit of casual entertainment when they’re in the mood for a brutal (yet still somewhat melodic) battering.

For fans of Enthroned, Gorgoroth & Sargeist.

Denmark’s favourite Satanic falsetto master King Diamond & his legendary band Mercyful Fate were somewhat of an acquired taste for me over the years. Initially I really struggled with his over the top vocal theatrics however time & attention would see me slowly being converted & these days I quite enjoy the King’s bombastic pomp. Interestingly though, I tend to lean towards his solo work over the more highly praised Mercyful Fate work with albums like 1987’s “Abigail” & 1989’s “Conspiracy” sitting at the top of his back catalogue for me personally, largely contributed to by the wonderful guitar work of Swedish virtuoso & future-Death axeman Andy LaRocque. It’s a little unusual then that I don’t recall ever properly investigating anything the King has done since the 1980’s which leaves a couple of blaringly obvious gaps in my metal armory. 1990’s fifth solo album “The Eye” is probably the most significant of those releases so let’s see what it’s all about.

You certainly won’t be terribly surprised by what you hear on “The Eye” if you’ve got any sort of experience with the King’s earlier solo work as it possesses all of his famous calling cards. It’s yet another concept album that's unapologetically metal & pulls out all the stops to create that spooky horror movie atmosphere that he's so obviously obsessed with. The neoclassical element is still there although it’s probably not used quite as often as on some of the King’s work while there’s plenty of church organ included to enhance the gothic feel. The only real point of difference with “The Eye” over his earlier works is the increased progressive component as there's been a stronger focus placed on artistic creativity here in my opinion. In fact, I’d argue that “The Eye” is easily as much of a progressive metal record as it is a heavy metal one. I mean it’s comfortably as progressive as the more popular Queensryche records for example, perhaps more so.

So all of the pieces are in place for another exceedingly fun trip round a moonlit graveyard but there’s something missing versus the King’s best work in my opinion. There’s no questioning the ambition on display & the performances of the instrumentalists are all of a very high quality but I think the song-writing suffers a little bit at the hands of the storyline which is not an uncommon feeling for me when it comes to concept albums. I guess I just don’t think there are as many vocal hooks of that elite level here & it certainly doesn’t help that I find the closing track “The Curse” to be pretty flat & the weakest inclusion in the tracklisting. I’d also hazard to suggest that LaRocque’s contribution is a little less of a drawcard than usual as he seems to have gone for a more melodic approach rather than the ridiculously shredding style he’d championed in the late 1980’s. In saying that though, future Memento Mori, Mercyful Fate & Denner/Shermann drummer Snowy Shaw puts in a classy display that gives the more ambitious material a rock-solid basis to build off.

After giving “The Eye” a few good listens over the last couple of days I’m left with the impression that it’s a pretty decent King Diamond record that’s benefited greatly from the added interest associated with the more progressive approach. It’s brought me a reasonable amount of enjoyment but I can’t say that I regard it as essential listening for your average heavy metal junkie. It’s certainly worth a few listens but I don’t think it’s on the same level as records like “Abigail” or “Conspiracy”, or the first couple of Mercyful Fate releases for that matter. Perhaps I’m just not a big enough KD junkie as I actually don’t consider it to be all that far behind “Don’t Break The Oath” or “Them” in all honesty & would probably take it over the highly regarded Mercyful Fate comeback album “In The Shadows”.

For fans of Mercyful Fate, Attic & Portrait.

My knowledge of Japanese five-piece Coldrain was fairly restricted prior to giving their brand new seventh album “Nonnegative” its first spin. I’d seen the name around the traps since the mid-2010’s but had never taken the plunge to explore what they had to offer which is mainly due to the circles that they seem to reside in. The idea of the alt-metalcore sound is often more of a deterrent than it is an attraction for me but there are certainly examples that have surprised me over the years. In saying that, I wasn’t even aware that Coldrain had a new album out until Andi put it forward for the monthly The Gateway feature release but I like to keep an open mind no matter what style or subgenre I’m listening to so I went in with my ears open & keen to be surprised. It's fair to say that surprised I was from the first few seconds of “Nonnegative” too.

You see, the sound that Coldrain are pushing here is amongst the most pop driven I’ve experienced in metal music to date. The characteristics of metal music are all there & I never found myself questioning the band’s credentials for inclusion at Metal Academy but if I'm being honest I have to admit that my first couple of listens were spent battling with my own internal prejudices. We get bubblegum pop hooks galore here & literally every song could be a single or a stadium anthem. Honestly, I wouldn’t even blink if I saw Kelly Clarkson singing one of these song on a Sunday morning talk-show. I particularly struggled with the gang-style backing vocals early on but the production is suitably big & glossy & there could be no denying the quality of the vocal harmonies employed by front man Masato whose delivery reminds me very much of Chester Bennington from Linkin Park.

It’s interesting that “Nonnegative” seems to be tagged as both Alternative Metal & Metalcore because the latter of the two tags is inaccurate in my opinion. There are certainly metalcore influences across a lot of the tracklisting but the majority of the material sits miles further over to the Alternative Metal side of the equation. There is a clear punk component but the thing is that it’s a gross injustice to say that an album like this one has anything to do with hardcore punk as it honestly couldn’t get further away from that scene. The punk influence is much more focused on pop punk bands like Blink 182 & there’s absolutely no connection to the likes of Converge or Knocked Loose. I think the fairest outcome is to say that it’s an Alternative Metal release with Melodic Metalcore influences as the sporadic use of metalcore vocals & breakdowns needs to be highlighted somewhere, just not in the primary genre-tagging.

In saying all that though, it’s interesting that I actually find the more metalcore focused moments to be the album’s weakest points. They simply sound so generic & immature. Although the pop hooks are particularly cheesy, there can be no doubt that they’re well done & that repeat listens see them digging their teeth in on the stronger material. For example, my first couple of listens saw me labelling the ballad “Boys & Girls” as the clear low point of the album but by listen four I’d turned that opinion all the way around to it now being the highlight of the album. The guitar solos are really well executed too but at the end of the day I find myself thinking that “Nonnegative” is a pop metal release that’s not really intended for a metal audience. It’s got much stronger ties with commercial radio & a teenage market that craves the simple vocal hooks of the pop charts. I mean there's even a No Doubt cover version included here for fuck's sake & it's not half bad to tell you the truth. Time will tell whether Coldrain ever achieve the commercial success that they are so clearly targeting but in the meantime I think my time with them might be done because, even though there are no complete abortions on offer, I only really enjoyed about 40% of this album with the rest taking me a little too far outside of my musical comfort zone.

For fans of Linkin Park, I Prevail & Wovenwar.

P.S. What the fuck is with the ridiculously cheap cover "art"?? If you're gonna create something this commercially marketable then surely it would be better served by a glossy & attractive cover to draw people in, wouldn't it?

I first discovered Massachusetts-based stoner metal trio Elder while programming the monthly The Fallen playlists a couple of years ago & was invariably impressed by what I heard. They sounded like a very capable & professional outfit that knew their way around their instruments & had a very well-defined sound. I subsequently investigated their 2012 “Spires Burn/Release” E.P. in order to get a better idea of what they’re all about & found it to be a very solid release indeed. 2017’s “Reflections of a Floating World” would follow shortly afterwards & would leave a similar impression so I quickly found myself claiming myself as a fan of the band. And this leads me to this month’s The Fallen feature release in Elder’s 2011 sophomore album “Dead Roots Stirring” which I selfishly selected in order to further expand my knowledge of Elder’s back catalogue.

“Dead Roots Stirring” is a 51 minute excursion across five lengthy tracks that all offer something a little different from each other while always maintain a clear direction & focus. Unlike “Spires Burn/Release” which sat roughly at the mid-point between stoner metal & stoner rock, this record sees Elder staying firmly on the stoner rock side of the equation &, despite what you may read elsewhere, there’s really very little metal to be found here. There’s simply far too much blues in both the tone & structure of the five songs included & I’d suggest that the band’s influences come mainly from late 60’s/early 70’s blues rock bands like Cream more than they do metal bands like Black Sabbath. Don’t take that as any sort of negative though because this music still has plenty in the tank in the way of classy rock music. The production job is well-executed & gives Elder an authentic 60’s/70’s vibe that also plays a major part in steering the album away from metal. It’s got that lovely fuzzy sound with a dirty distortion on the guitars that feeds very nicely into the more psychedelic moments which are a real highlight of the record. The bass tone is full & powerful which does a great job at selling the doomier moments where the band finally click into overdrive. You won’t find much in the way of the more ambitious progressive rock sounds that can be found on “Reflections of a Floating World” here as yet but that’s not to say that this is simple music with the song structures still being quite expansive & building over time with twelve minute closer “Knot” being a prime example given that it doesn’t really show you its full hand until the last third of the song.

The best material tends to come at the start of the tracklisting with opener “Gemini” (my album highlight) & the lengthy title track being my personal favourites but there isn’t a lot of variation in quality between the various songs with only fourth track “The End” seeing things dipping just a touch. In saying that though, I’m not sure this style of music will ever command my higher scores unless it heads into psychedelic territory more often than Elder do here. Front man Nick DiSalvo has a great voice for this style of music & he does hint at some really great vocal hooks that may have the potential to take things higher up into the stratosphere but it never quite eventuates & the album is much more focused on lengthy instrumental passages anyway. This isn’t intended as a major criticism though as I’ve found it hard to fault Elder on ANY of the three releases I’ve checked out to date. They’re a class act who understand their craft really well & are very unlikely to dish up something subpar.

If you’re a fan of stoner rock then you’ll definitely want to check out “Dead Roots Stirring”. I’d suggest that it’s probably the weaker of the three Elder releases mentioned above with the progressive stoner rock sounds of “Reflections of a Floating World” remaining my personal favourite but don't take that as a negative comment because it’s still a great record that’s provided me with further encouragement to continue investigating this talented artist’s back catalogue.

For fans of Om, Stoned Jesus & Acid King.

My brother Ben can always be relied upon for quality feature releases & this brand new third album from Chilean death metallers Inanna is no exception as the band clearly possess a strong pedigree in all forms of deathly delights. “Void of Unending Depths” sees them tackling a number of different extreme metal subgenres & proving themselves to be proficient in all of them in the process. It’s quite a lengthy record for this style of music at nearly an hour in duration & I feel that it does overstay its welcome a touch but you can’t deny the quality that’s on offer.

The album begins in a very different way to what it finishes & opens with the strongest track on the tracklisting in dissonant death metal monster “Evolutionary Inversion” before “Among Subaqueous Spectres” sees them dipping their feet into more of a death/thrash sound which reminds me of US death metallers Serpens Aeon’s thrashier moments. The dissonant take on the classic death metal sound returns for “Far Away In Other Spheres” before the record starts to take a turn into increasingly more progressive territory for the remaining four tracks, the B side taking very much a progressive death metal direction in its entirety. I have to admit that the thrashier drumming doesn’t appeal to me as much as the darker death metal stuff & I think Inanna are probably at their best when they get their dissonant pants on.

The production job is very well suited to this style of music & does a good job at highlighting the dark atmosphere while the performances of the four instrumentalists are all high class. I particularly enjoy the use of blast beats but the highlights of the album tend to come through the sporadic incorporation of ethereal lead guitar melodies that remind me very much of Paradise Lost. It’s easy to pick up the influence of classic death metal bands like Immolation & Morbid Angel in the first half of the album while the commitment to progressive song structures & stylistic diversity is similar to that taken by South American counterparts The Chasm. Interestingly, I find the atmospheric interludes included in a few of the tracks to be inspired by Iron Maiden as much as anyone else (particularly the eerie mid-section of their classic “Rime of the Ancient Mariner”) but the last few tracks see the instrumentalists casting their creative inhibitions aside & tackling some highly technical riff structures. Front man Max Neira is an absolute beast with his super-deep yet still easily decipherable death growls providing another highlight for Inanna but unfortunately I find the higher pitched screams to sound a little immature in comparison.

“Void of Unending Depths” is a splendid example of the modern death metal sound & is very hard to fault. If anything, I’d suggest that Inanna may just be lacking a bit of focus as the record jumps around quite a bit & I tend to think that perhaps their next album might be the true culmination of their creative development once they firm up exactly what it is they’re trying to achieve. Regardless, there aren’t a lot of releases that can match Inanna for death metal integrity these days & I doubt there will be too many extreme metal fans out there that can’t get onboard with it.

For fans of The Chasm, Serpens Aeon & Morbid Angel.

I came into Birmingham industrial metal godfathers Godflesh’s 2001 sixth album “Hymns” very late when you consider that I’d been a huge fan of the band since around 1989/90. My decade-long hiatus from metal during the 2000’s saw me completely avoiding it until a good year after my return which meant that it had already been out & about for a good nine years by the time I reviewed it in 2010. I have to say that I wasn’t blown away by it either it has to be said. That’s not to say that I thought it was a bad record or anything but I had such high expectations of Justin Broadrick’s projects by that stage & I just found “Hymns” to be a little bit lacking by comparison. It’s been a full twelve years since that review now though so I’ll be coming in with fresh ears & it’ll be interesting to see if my feelings have changed over time.

Godflesh has always possessed a very unique sound that had stayed with them throughout their career even though they’d usually experiment with it in different ways on each release & that trend continues with “Hymns”. 1999’s hip hop inspired “Us & Them” album was probably the record where they’d taken the most risks across their back-catalogue to the time so I was kind of expecting them to expand on that further but “Hymns” sees them bringing things back to a more organic & stripped back sound that relies more heavily on the guitars than the beats which are kept a little further back in the mix. Despite the guitars & bass being so far forward, I feel that this lack of power in the drums makes “Hymns” sound a touch less heavy & places a stronger reliance on the riffs which may or may not be a good thing depending on your taste. You’ll also find that Justin & co. have incorporated alternative & nu metal influences into their sound to an extent which is obvious enough to give the album its own identity but not significant enough to overshadow the industrial metal platform that the band had built their careers on. I mean this fucker still sounds like it could be made up of sounds from a factory but the workers are probably playing alternative radio in the workshop if you know what I mean. Those of you that are familiar with the alternative scene will likely pick up on moments that sound distinctly like Korn, Primus, Soundgarden & Smashing Pumpkins across the lengthy 73 minute tracklisting with the emphasis on groove-driven riffs reminding me quite a lot of a band like Nottingham sludge metallers Fudge Tunnel. Some of the more staccato-based riffage can also draw comparisons with Helmet & Prong but the interesting thing is that at the end of the album I’m still left feeling that “Hymns” sits most comfortably alongside industrial metal counterparts like Killing Joke.

It's interesting that a lot of people seem to want to link Godflesh with the Sludge Metal genre. I can definitely see why given the dissonant riff structures & thick & oppressive guitar tone but there’s a noticeable lack of the anger & aggression required for sludge qualification in my opinion. Godflesh’s music is much more trance-inducing with its repetition being a key component in its appeal so I can't agree with that sentiment. With the possible exception of the very poor hidden track, I also struggle to see how “Hymns” has anything to do with Post-Metal as it’s reliance on riffs is far too extreme for that. As far as I can see this album is still very firmly rooted in the Industrial Metal genre with the alternative elements adding a point of differentiation for a record that has essentially seen Godflesh regressing a bit towards past glories from their recent releases. The jumpy nu metal rhythms that pop up here & there aren’t particularly to my taste if I’m being honest & at times I’m left wondering if the band were clutching at straws in the hope of finding relevance in a quickly changing heavy music scene. I mean let’s be honest, the weaker moments like the nu metal track “Deaf, Dumb & Blind” sound pretty uninspired but then the album highlights like the catchy alternative metal number “Anthem” & the sublime atmospheric closer “Jesu” are some of Godflesh’s very best work so the album can be a little bit up & down. It certainly takes a few tracks to get going which can impact initial impressions but the back end of the record is the stronger of the two sides which sees it redeeming itself over time. In saying that though, there’s very little question that the run time is too long & the requirement for the hidden track is more than a little questionable.

As a Godflesh album, I would have to say that “Hymns” is certainly worth a few listens but I’d suggest that is was the band’s weakest full-length to the time. Despite the respectable rating I’ve given it, I do end up feeling a little disappointed given their star-studded back catalogue. Perhaps my taste profile isn’t really in line with the alternative feel to a lot of the material? Yeah sure, that definitely plays it’s part here but I’m not sure that can explain a few of the flatter tracks here which sound like a band in auto-pilot. It's probably telling that I find the tracks with Justin's gruffer vocal delivery to be more appealing than those that see him struggling with his more melodic side too. I can't help but think that this is a sign of my own affiliations with Godflesh's early works but you have to admire the way the band consistently reach for something a little different without completely severing the ties with their past.

For fans of Pitchshifter, Fall Of Because & HALO.

Every now & then I find a major gap in my knowledge of a fairly significant player in the global metal scene & that was certainly the case with New Orleans sludge metallers Eyehategod when I realised that I’d never actually heard one of their releases in full the other day. I did actually have a ticket to see them play live at one point but they ended up cancelling the show so it never actually eventuated. Anyway, I went about filling this glaring hole in my understanding of the more significant metal releases over the last couple of days & I’ve gotta say that I really enjoyed the experience.

The term “Sludge Metal” is often misused in my opinion. Some people seem to think that it’s required whenever a band opts for a particularly dirty (read: “sludgy”) guitar tone which was never the intent of the label. What it’s really referring to are bands that use the aesthetics of doom metal & stoner metal yet give the music the vocal delivery, aggression & general abrasiveness of hardcore punk & you’ll rarely find a better example of that than Eyehategod. Much like California’s Dystopia, this band have taken the crushingly heavy stoner doom model & combined it with a never-ending stream of drug-addicted depression & depravity to create what can only be described as one of the most hopeless & discouraging atmospheres you’re likely to find. Front man Mike IX Williams sounds like a man possessed with so much spite & resentment that he’s about to tear his own limbs off & start attacking people with them as he spits his words out with an enormous amount of malicious intent.

Musically, Eyehategod’s sound tends to drift between slow & crushingly heavy doom riffs & groovier Black Sabbath style stoner metal riffs with the occasional up-tempo hardcore section tossed in for a bit of variety every now & then but never over-staying its welcome. I personally love the doomier parts but find the stoner sections to be noticeably less appealing which is very much a reflection of my taste profile more than it is anything to do with the quality of the music on offer. There’s not a single track of the twelve included that doesn’t offer some level of enjoyment but I don’t think there’s anything here that I’d claim to be a genuine classic. Even the best material includes some element that brings it back down from the upper heights of my affection with album highlight & closing track “Anxiety Hangover” being a prime example of that as it taints its wonderfully doomy first half with one of those groovy stoner riffs right in the middle of the song. It’s also worth noting that the production doesn’t offer any sort of brightness or light which is likely intentional but it does make for a record that sounds pretty samey. Thankfully I enjoy the depressive atmosphere enough to make the whole experience a very enjoyable one though.

There’s no doubt that “Dopesick” is a quality example of the sludge metal genre as it ticks all of the critical boxes. Is it the classic release that many make it out to be though? I’m not so sure about that. Perhaps if I had of come across it 25 years ago I might think so but right now it would seem more like a record that you’d cherry-pick for those occasions when you’ve simply had a gut-full & want to fuck shit up to the soundtrack for your own self-destruction.

For fans of Acid Bath, Iron Monkey & Grief.

I think it’s fair to say that Brazilian thrash metallers Sepultura were more of an obsession than a passion for me from the time I first discovered their classic third full-length album “Beneath The Remains” in late 1989 right up until the release of this divisive fifth full-length. The timing of their infamous breakout from the underground was perfectly aligned with my own period of extreme metal discovery so they represented somewhat of a cult figure in my formative years & if it would have been up to me then the world would have waited until their arrival as a premier thrash act before deriving any sort of Big Four of thrash metal. But………. this brings me to the “Chaos AD” album from 1993, a record that would see the band dramatically altering the course of their careers via a fresh & innovative new sound.

I can still remember excitedly rocking up at Sandy’s Records in the Northern Beaches of Sydney on the day of release, racing home to experience “Chaos AD” for the very first time & the feelings of confusion I battled with as a result. It wasn’t that I found the music I was hearing to be unpleasant in any way. It was that it was so clearly very different from what I was expecting after the thrash metal icon that was 1991’s “Arise” album. The production job on "Chaos AD" is very solid with the rhythm guitars offering a chunky, heavy-weight platform that enables the fairly simple & uncluttered song-writing to do its work in workman-like fashion. Igor’s drums possess an organic depth, particularly the toms which were clearly meant to be a highlight of the record thanks to the continued focus on tribal rhythms that had been experimented with on “Arise”. There isn’t the brightness & energy to the guitars that I was expecting to hear though which is in large part due to the band having experimented with down-tuning their instruments for the first time. That’s not to say that the experiment didn’t work though as these more rhythmic & groovy riffs certainly benefited from the approach. It’s just that they sounded a little foreign to my fanatical thrash-trained ears at the time. You see, unlike the Sepultura of old, this Sepultura was in no hurry whatsoever with the songs given plenty of space & sticking predominantly to mid-paced tempos, the result of which was a more accessible product that was capable of seeing Sepultura crossing over into an as yet untapped market. Despite my initial hesitation though, I couldn’t deny that they'd managed to achieve this without losing much of their creative street credibility because “Chaos AD” is a long way from a sell-out.

Pantera had changed the face of the global metal scene in the very early 1990’s with their groove metal sound seeing a trillion bands adopting a more rhythmic approach to metal guitar playing & we can definitely see that influence on “Chaos AD” as there’s really very little that you can call legitimate thrash metal on this album. There’s an obvious hardcore punk edge to a lot of the material with Andreas Kisser having now turned all of his attention to creating dissonant, textured interludes rather than flashy, melodic guitar solos. The lyrics are predominantly politically focused which suits the material very well too. Igor is certainly the star of the show as far as the performances go as the groove metal platform afforded him additional room to move given the more rhythmic nature of the riffs around him. I saw Sepultura play live on the tour in support of the album back in 1994 actually & it was no surprise to find that the new material came across brilliantly in a live environment. I’d been lucky enough to see them two years earlier on the tour for the “Arise” album & they were just as impressive the second time around to be honest.

It didn’t take me all that long to find a level of acceptance for “Chaos AD”. My major challenge was accepting that the Sepultura I’d loved & adored was now a thing of the past & to treat the new Sepultura as almost an entirely different band. Once I was able to do that I found that it’s actually a very consistent, well written & professionally produced metal record that achieved a feat that so many have failed at. It had created something fresh & different that could draw the attention of a wider audience but still appeal to a large percentage of their existing fans (at least those with an open mind). I have to say that the New Model Army cover version of “The Hunt” was a poor choice as it stands out very clearly in an otherwise quite cohesive artistic statement & there aren’t many genuine classics here either but the majority of the album is very strong nonetheless with “We Who Are Not As Others” (the least popular metal track on the album unsurprisingly) being my clear standout. There’s no doubt that “Chaos AD” was a step down from the two classics that preceded it but I actually think it sits very comfortably next to the Sepultura’s earlier material these days. In fact, I’d probably take it over “Bestial Devastation” & Morbid Visions” & don't place it too far behind “Schizophrenia” either. Fans of the band’s earlier work really should give “Chaos AD” a chance as you may just find yourself buying what it’s selling.

For fans of Soulfly, Cavalera Conspiracy & Machine Head.

Tokyo’s Boris are an interesting artist in a creative sense as they’ve never felt confined to any one sound or scene &, as a result, people really struggle to pigeon-hole them under an easily understood subgenre tag. I’m not sure whether that’s been an advantage or a hindrance for them over the years in all honesty as they seem to have developed a huge cult following & always seem to draw positive acclaim from critics but have probably never managed to truly break into the sort of fanatical support that they so clearly deserve. Us metalheads seem to want to make sure they stay tightly wrapped within the banner of the underground metal scene however they’ve never really sat all that comfortably there & Boris' seminal 2002 fourth full-length album “Heavy Rocks” is a prime example of that.

The first three Boris albums were heavily directed towards a drone inspired sound & saw the band really building a niche for themselves through highly regarded records like 1998’s “Amplifier Worship” & 2000’s “Flood” but with “Heavy Rocks” we see Boris moving into new territory with a fresh sound that’s much more focused on traditional rock music than their previous records were. In doing so though, Boris lost none of their street appeal as they very quickly proved themselves to have a deep understanding of what it is that makes heavy rock music so exciting. There’s a danger in these sounds that we find so rarely in modern rock music & it takes me back to a time when rock represented an exciting escape for me as a youngster with the experience of the live performance taking on an almost transcendent stature in an artist’s creative image. You see, as with most of Boris’ lengthy back catalogue, “Heavy Rocks” really does sound like a recording of a live band with very few of the rough edges having been buffed out. You can feel the amplifier’s buzzing & almost see the kids leaping from the stage & thrashing themselves about in glee & that’s what makes a band like Boris so appealing.

Musically speaking, I have to admit that “Heavy Rocks” doesn’t sit as close to my musical comfort zone as Boris’ drone metal works though. Most people seem to want to lump it in with Stoner Metal which isn’t entirely accurate. There’s far too much of a late 60's blues rock influence in this material for it to sit primarily in the metal space. In fact, I really struggle to see why "Heavy Rocks is not unanimously tagged as Stoner Rock because it fits the description of that genre to a tee in my opinion. The loose vocal delivery is miles away from anything a metal front man might attempt while the overall feel of the instrumentation generally possesses a much noisier & bluesier outlook too. The psychedelic guitar excursions are brilliantly executed & are a real highlight for me personally, particularly album high point “Soft Edge” which is nothing short of spectacular (&, as is so often the case with me, is also the least popular track on the album). Boris simply seem to “get it” if you know what I mean & the fact that front man Takeshi doesn’t even try to stay in tune is completely overlooked in the interest of the elusive quest for heavy rock supremacy. There’s a deep-seated authenticity to this material that makes it inherently relatable but gives it some added x-factor as well. To put it bluntly, it's simply a way cooler record than the vast majority of the competition could ever hope to muster up.

In saying that, I do think that “Heavy Rocks” is a fairly top-heavy release. Despite not possessing anything that comes close to being a weak track, I have to admit that all of the best material sits on the A side with the flip side seeming to be a little bit lacking in comparison. Perhaps it’s simply a matter of taste as I would suggest that I was always going to be more drawn to the crushingly heavy stoner metal of opener “Heavy Friends”, the stripped-back psychedelia of “Soft Edge” & the more aggressive & dangerous rock outings like “Korosu” & “Dyna-Soar”. Boris would perhaps execute this stoner rock sound with slightly more consistency on 2003’s “Akuma no uta” album too but one can’t be too critical of a rock record with this level of potency. It’s all too rare that you encounter music that encapsulates what it means to be “rock” in such a clear & concise fashion these days so “Heavy Rocks” should be celebrated for what it represents as much as what it’s achieved.

For fans of Melvins, King Gizzard & the Lizard Wizard & Church of Misery.

I've really enjoyed this week's revisit to one of the more popular black metal releases of the 2010's. "Litourgiya" is essentially made up of some fairly traditional & simply structured but very well executed Polish black metal with the ground-breaking addition of some church-style chanted male vocals as a clear point of differentiation. This certainly making for an interesting combination but if I'm honest I'd have to suggest that it's not that component of Batushka's sound that I find most appealing. In fact, the weakest moments on the album generally match up with the less inspired chant sections. The best elements at play here are the searing black metal screams & the incredibly precise blast beats. For the record, I actually had to check I wasn't listening to programmed drums when I first encountered this album, such was the sheer confidence & control on display. The riffs aren't anything all that different to what you would usually expect however the guitars appear to be down-tuned which gives Batushka a slightly different tone to most of the competition. Closer "Ектения • VIII • Спасение" is the only track that I find to be a genuine classic but there are no weak tracks included which makes "Litourgiya" a very professional & high quality release with enough accessibility to appeal to broad cross-section of extreme metal fans.

For fans of Cult of Fire, Mgła & early Uada.

I first came across Mexican one-man black metal artist Trhä shortly after the release of this debut album & generally liked what I heard so I always intended on returning to it for a more comprehensive analysis at some point. However I must admit that my poor experiences while reviewing Trhä’s follow-up release (the “Novej kalhnjënno” E.P. from later the same year) saw me delaying things a bit longer while I built up the courage. Thankfully “Nvenlanëg” is a much more enticing prospect than it’s younger sibling though & has left me feeling generally positive about its merits.

“Nvenlanëg” is comprised of three lengthy tracks that amount to a total duration of 55 minutes with the main component being a lo-fi atmospheric black metal sound similar to Swiss act Paysage d’Hiver. Despite a strong focus on frost-bitten winters though, this record isn’t half as cold as Paysage d’Hiver’s classic releases. There’s a dreamy positivity to a lot of the melodies with the synthesizers being the protagonists more often than not. At times you’ll actually find a similar atmosphere to a blackgaze artist like Sadness only Trhä never veers too far from the path of blasphemy, his vocals opting for the trademark tortured route of so many of his atmospheric black metal counterparts. The regular use of winter synth style ambience breaks the album up nicely & is quite effective in its enhancement of the themes.

I can’t say that “Nvenlanëg” hits my black metal comfort zone particularly. It’s a little too light-weight for that but I do find more than enough depth in its atmospherics to keep me interested. The epic 23 minute opener “Lhelhën Majlan” summarizes the album’s content well while 18 minute closer “Alandlhan ëlh Nítak” is probably the most fully realised example of the Trhä sound. The track in the middle “Nëlhlica” doesn’t appeal to me much though to be honest. It’s simply too melodic for my taste & seems like a step down from the other two tracks.

I can’t say that I feel the fanfare around “Nvenlanëg” is warranted but it’s not a bad record nonetheless. It’s certainly a good three levels up from the awful “Novej kalhnjënno” E.P. & hits the wintery atmosphere it was aiming for pretty well, despite not gathering the darkness & evil around it in the process.

For fans of Paysage d’Hiver, Bekëth Nexëhmü & Evilfeast.

I have to say that after revisiting all three of Californian grindcore legends Nails’ full-length albums over the last few months I’ve come to the conclusion that they’re really out there on their own as far as the leading grindcore exponents go. No one can touch them in this space as they simply possess another gear to even the most highly regarded of opposition & this sophomore album may just be the high point of the entire movement. Once again we have an extremely short run time at just over seventeen minutes in duration but one that’s dominated by the inclusion of two lengthier sludge metal pieces that take up just under half the run time. Both of these tracks are utterly superb & you get the feeling that Nails might have been one of the greats of the sludge scene if they’d chosen their niche a little differently as they have serious talent in the elusive & highly desirable art of riff creation. The rest of the album is made up of the most extreme grindcore violence you’ve ever heard in your life, only with ultra-clinical performances & a wonderfully powerful production job from Converge guitarist Kurt Ballou. The drum sound & guitar & bass tones are all spectacular & go about tearing your face off in the most efficient manner imaginable. The performance of drummer Taylor Young should be highlighted in particular as the guy is an absolute beast. His blast beats are as pummeling as any in extreme metal & he’s a major contributor to making “Abandon All Life” sound so fucking tight. The only negative I can find here is that I’m not sure I dig the slight change in vocal delivery from front man Todd Jones as much as his other efforts but that’s a small price to pay for what has essentially now become my favourite grindcore release of all time from my favourite grindcore band of all time.

For fans of Full Of Hell, Dead In The Dirt & Trap Them.