SilentScream213's Reviews

The first Alternative Metal of all time comes from a band who started out doing Reggae infused Hardcore Punk. Shades of their past are present here, and this is still a very punky record. Nevertheless, making the jump to metal really improved their sound in my opinion, as this album is more melodic and much more focused than their previous Punk efforts. Whereas before they sometimes played Punk and sometimes played Reggae, here they do a much better job of fusing their punky Metal with a ton of other influences, and it mostly works.

The album is a genre in its infancy, and occasionally a bit rough around the edges, but it’s certainly never boring.

Yngwie’s sophomore solo album is much more traditionally structured like a regular album, with almost every song featuring vocals (strong vocals at that) and the improvised noodling is kept to a minimum. Depending on your taste, that can be a plus or a minus, but for me it’s a huge plus. Yngwie works best as support – he writes fantastic riffs, and his solos are excellent in small doses, rather than dedicating entire songs to him improvising. Although far from pop songs, the vocals feature some fantastically catchy choruses, and though the songs delve into anthemic arena rock territory, Yngwie keeps it interesting by ensuring the backing riffs are as technical and engaging as ever.

Definitely an improvement over the debut in my opinion, which was impressive but occasionally boring.

The first true Progressive Metal band of all time

Manic technical insanity. There was nothing even remotely close to the progressive technicality going on in metal (or anywhere else aside from Jazz) at the time of this release. So far ahead of it's time that it can still be called an impressive anomaly of musical prowess today.

The music on display here is 5 star material. There are just a few unfortunate problems that really drag it down; first of all, the vocalist isn't great. Especially where every other member is an absolute virtuoso at their instrument, the weak vocalist really stands out. To his credit, he does write some interesting lyrics, especially for the time. The guitar and drum tones are also pretty bad, although the bass sounds great (it's audible).

Regardless, it's probably this album that spawned hyper technical metal, and pushed the genre to even further extremes without simply playing heavier. Groundbreaking and influential, but more importantly still an amazingly entertaining record to this day.

Not incredibly impressed by Trouble’s debut album, their sophomore effort The Skull completely blew me away. I will say that this is the first Doom Metal album that makes the transition from Trad Doom to the more modern, melancholic Doom that I personally favor.

Musically, the lead guitar focuses on simple albeit effective melodies that add an extra layer of mood to the basic riffs that litter Trad Doom. The song structures are much more progressive – not that the music is incredibly complex, but there is a lot of variation, changes in speed, and many, many riffs in each of the rather long tracks. The solos have a fantastic balance of going for purposeful melodies that work perfectly with the rhythm work, or outright breaking into distorted, droning chaotic buzz. The drumming is another thing I love; I’d say this is also the first case of what I’d call “intelligent Doom Metal drumming.” Instead of simply playing slow, plodding beats, the drummer adds some progressive beats, and adds a great amount of double bass drumming in as well. Occasionally, all the musicians break out into speedy sections and just have at it, which I love in Doom. One song even has synthesized strings – a staple to modern Doom!

The lyrics and mood are the biggest separators from Trad Doom. No, I’m not talking about the Christian lyrics, I mean the references to depression, suicide, loss and death. The rich symbolism and more poetic style of songwriting is something that would be heavily expanded upon by Death Doomers of the 90’s, but it started right here. The music is also much more set to reflect the mood here, and there’s a clear difference to previously Satanic or drug and party influenced Doom of before.

Another aspect I haven’t seen in Trad Doom displayed here is passion. There is true passion in the lyrics and vocal delivery, even if those vocals are pretty rough. It’s clear the vocalist is not only 100% struggling with loss of hope and other issues, but also completely has faith in his God to help him, and to help others, and he’s truly thankful for it. This is music written for purpose; not just to sound good, but to deliver an important message. I myself am not a religious person of any kind, but I can still appreciate the passion and meaning to the music here, and the groundbreaking achievement that it was for my favorite music genre, Doom Metal.

When Slayer’s debut album rose from Hell in 1983, there was really nothing like it, and it sat comfortably atop the heaviest, fastest, most evil records in the world. Times had changed, and for metal, that meant pushing boundaries. Many bands heard Slayer and those who didn’t try to do exactly what they did, tried to up the ante.

So when Slayer went to record their sophomore album, they didn’t create Show No Mercy vol. 2. They had been listening to Mercyful Fate, and were inspired to create more complex song structures, longer and more varied compositions. However, they would sacrifice none of their brutality in doing this. The complex song structures allowed them to capitalize on their ability to create a truly evil, infernal mood; this is captured best on the opener “Hell Awaits,” with its backwards chanting and plentiful mid-tempo sections between the assaults of speed. Dave employs double bass drumming on every track, rather than occasional bursts. Tom’s bark, while definitely solid on the debut, was perfected here. He rattled off vicious lines at a speed unheard of, and despite pushing his vocal chords to their aggressive limits, remained intelligible the whole time. For me, this is the Slayer album that actually took the longest to love, but that’s a testament to the depth and timelessness of the album itself.

Slayer didn’t exactly invent a new genre with this album, but despite the Thrash label, it was more important to the development of Death Metal than anything. Slayer abandoned most of their punk roots here (Though they’d bring them back for the next album) and the sound is unmistakably darker. Possessed’s Seven Churches is awarded the title of first Death Metal album, but it’s a short step from Hell Awaits, and had death growls been employed here, the music would sound right at home on a pure Death Metal record.

By name dropping the genre in the album’s closing track, Possessed invented Death Metal just as Venom invented Black Metal. The only difference was Possessed actually were Death Metal, through and through.

Naturally, this album is a bit messy, and the production isn’t the best. There are quite a few mistakes from the musicians you can pretty easily pick up on, and many instances where Becerra can’t get the words out in time and just screams nonsense. They were armatures. But their vision and their passion was incredible, and yes, they created a full-fledged Death Metal album on their first try.

Those buzzsaw guitars were shredding out some seriously deranged, dissonant riffs, and the drums were just smashing everything as hard and fast as they could. It wasn’t that fast, and one might even say mid-tempo compared to today’s metal, but certainly Becerra’s screaming growl drove all that home and shook any doubts that this was indeed the heaviest music on Earth at the time. Lyrics focused exclusively on Satan, and though they weren’t well written or often intelligible, they never surrendered an inch to worshipping the great evil so necessary to Metal.

Pentagram didn’t quite come bursting into the scene in 1985, but neither were they plodding – it was a sort of mid-tempo shuffle between classic Heavy Metal and Trad Doom. Another thing; their riffs weren’t really evil sounding, nor were they somber. The lyrics were Satanic, sure, but the band sounded more like a casual metal band playing slowly rather than anything doomy or evil. The music, and especially the vocals, are far too cheerful for the generic evil lyrics to carry any weight at all. There are some good riffs, but there’s no atmosphere, no mood, and to top it off, the audio quality is really poor. Not a bad release by any means, as all the songs are at least decent, but Pentagram brought absolutely nothing to the table even in 1985, and it certainly doesn’t hold up today.

Helloween really laid down the blueprints for true Power Metal with their debut, as opposed to the USPM bands like Omen and Jag Panzer were already playing. Helloween took the most melodic aspects of twin guitar bands like Iron Maiden and the speed of bands like Exciter and Metallica and turned them all way up. The result is a very up-tempo (for metal) style that remains incredibly melodic despite playing as fast and hard as some of the most extreme bands at the time. The birth of Power Metal.

The music really shines here, and it has to; vocalist/guitarist Kai Hansen is passable at best as he strains to hit the notes he really wants to here. Despite that, the musicianship is top tier and almost all songs are great.

Fates Warning did something incredible on their sophomore album; they took two metal subgeneres that hadn’t even begun evolving yet and combined them to create an even more unique sound that would be mimicked forever. Of course I’m talking about Progressive Power metal.

Now, this album isn’t true Progressive Power Metal, but it’s absolutely clear this is where it started, and some moments in their songs actually delve completely into this territory. The songs are speedy, complex, long and changing, and feature some nearly operatic vocals about space and stuff. There are no weaknesses whatsoever to this album. Of course things could be improved, as hundreds of bands have done since, but at the time it was released, absolutely nothing could have touched this in this realm of metal.

Keep in mind, their debut album was a very, very generic Heavy Metal album with absolutely nothing substantial about it at all.

Bathory is back at it again with more of the same for their sophomore album. The differences between this and the debut are minimal; same terrible production quality, same evil riffs and lyrics, same snarling screams. Which is good, because the first album succeeded in all these aspects. The songs stay almost exclusively fast tempo, and the drumming definitely sounds more controlled. The good stuff isn’t really better than their debut, but it definitely sounds like the album is more consistent, with almost no weak moments throughout. Bathory would later go on to pioneer new genres of metal, but here they stick to their original style, and there’s not much else to say about it.

This album has 3 weaknesses. The playing is a bit sloppy at times, the production is bad, and the vocalist can be rather grating.

Those things aside, the album is one of the greatest of it's era. The music itself sounds similar to (and is on par with) Maiden in terms of melody and riffs, and is actually heavier and faster than anything they had done at the time. This is one of the only albums before Thrash broke out in '83 to have moments of nonstop, pounding double bass drumming on more than one song, and I think only Venom had them matched in terms of how frequently they employed this technique.

If this band was from England and took advantage of the NWOBHM boom at the time, I have no doubt they would have sealed a record deal quite easily with this material and gone on to be revered as one of the founding fathers of Speed metal. Unfortunately, they broke up after this release went nowhere in their home of France, and have been forgotten by all but underground enthusiasts. While their weaknesses can't be ignored, they definitely deserve credit for what seemed like unmatched potential that was unfortunately never realized.

Canonically among the greatest Metal albums of all time, Ride the Lightning took the Thrash from Kill Em All and, at the expense of some speed and energy, added superb songwriting, lyricism, and a wide range of emotions and moods. In fact, one of the things that makes Ride the Lightning so good is that anyone can enjoy it – you don’t have to be a Thrash fan or even a metalhead to appreciate the fantastic musicianship of the title track, or the emotional weight of “Fade to Black.” Still my favorite Metallica album, Ride the Lightning has stood the test of time for music fans of all kinds.

The greatest pure Heavy Metal record of it's time. While Thrash, Speed, Doom and Black Metal were taking the genre into more extreme - and dare I say interesting - directions, Iron Maiden were sticking with the tried and true and perfecting it. Here, Maiden mix the fantastic guitar work and hooks they’ve always had with a slightly speedier and more progressive sound, and it works magically. Every song on here is great, but the bookends and title track are truly special. Bruce’s voice has always been fantastic, but he sounds better than ever here, and that’s not just his range – the notes he hits to harmonize with the music are really unique here, and he’s pulling off magnificent vocal lines while still changing things up every so often to keep your brain entertained. It really is a Heavy Metal masterpiece.

Venom planted the seeds of Black Metal with their simple, Satanic, and raw style that aimed to be as fast and abrasive as possible. Bathory was the plant that grew from those seeds. Although not an astounding effort on it’s own, Bathory was an album that was indisputably Black Metal, and – whether purposefully or due to lack of money – set the standard for the use of terrible production as a tool to create atmosphere. Indeed, the album sounds like you’re listening to some cultists play in the middle of the woods from inside your bedroom. However, it works – the album sounds very dark, and very evil, and it’s convincing in that darkness, unlike Venom which were rather humorous in the end. Imperfect, but a brilliant first child for the genre of Black Metal.

Dio seems to excel everywhere he appears. He lead Rainbow to the top in the 70’s, reinvigorated Black Sabbath for their (in my opinion) best albums ever, and then quit at the top of his game to do his own thing. And yeah, it was another success; Holy Diver is a monster of an album.

Dio took the energy and flash of Rainbow and married it to the dark moodiness of Sabbath, and dropped something that triumphed almost anything either band had produced. His vocals are top notch as always, and now he’s free to do what he wants with them rather than bend to the wishes of another band. However, saying they steal the show is far from the truth. Guitarist Vivian Campbell is a master riff writer, and his guitar melodies play off of Dio’s hooks flawlessly.

As far as classic Heavy Metal goes, this is near the top.

Kill ‘Em All is a mixed bag for me. On one end, it’s got some amazing music that was revolutionary at the time. On the other end, it doesn’t hold up all that well. For a Thrash Metal album, it’s incredibly lighthearted. They’ve got…(2?) songs on here that are just about playing music, they’ve got one about going to hell but it’s carried by an incredibly uptempo riff, and... basically, real generic stuff you might find on a Nickleback album. The introspective and literature-influenced lyrics of Ride the Lightning are nowhere to be found here, and it really matches the all-around mood, which is not serious at all. As I said, it’s lighthearted, and if I’m listening to Thrash… that’s the last thing I want.

Aside from those weaknesses though, it still was one of the heaviest albums of its time, and it really had no tracks that were bad by any means. The B side is where they really shine, I think. Phantom Lord has great riffs and solos, and stays fast-paced throughout. No Remorse is one of my favorite Metallica tracks, and trudges through slower, darker riffs until breaking out in their fastest finale ever. No one would question the fantastic guitar fest of Seek & Destroy and closer Metal Militia. James’ vocals here are also more savage than ever. I can’t say I prefer them because his voice always sounds fantastic, but this side of them is certainly a treat.

Overrated, but still a great record.

An absolute tragedy of an album. So much potential, almost all of it wasted.

Here we have all the ingredients for a great album. While most of these songs are pretty unconventional for Sabbath, they end up being some of the most unique and interesting they have ever written. The music here is great - the riffs, the atmosphere. Easily up there with Sabbath's best. Unfortunately, the production is awful. That isn't enough to completely ruin the songs, but it is not raw in an endearing way; there was a mistake in the studio apparently, and it shows. This was a mess.

Then, we have Ian Gillan. A fantastic vocalist, sure. But he just doesn't fit Sabbath. Ozzy isn't a great singer by any means, but he definitely has an ear for music, and his wails really fit Sabbath's style. Dio, there's really nothing that needs to be said; he can do just about anything. Both those vocalists wrote lyrics a little differently; Dio's lyrics were occasionally out of place in Sabbath, but his delivery was always on point, so it's forgivable. Ian has none of that. His lyrics are terrible; mostly about sex, getting drunk, rocking out, etc. On top of that, his delivery does not fit Sabbath at all. In Disturbing the Priest and Born Again, he does manage to sound somewhat menacing, but the rest of the time, he just sounds too damn happy. It doesn't fit at all.

Let it be said that there are no bad songs here, and one great one even in the title track. But the album could have been a masterpiece if handled better, and instead it's a mess full of unrealized potential.

Some people think this is the worst metal album, if not THE worst album of all time. It's bad, but not that bad.

I'll Be Alright has some nice riffs, and Biggest Part of Me is catchy and cheesy in the best way. Other than that, there's absolutely nothing to praise.

The vocals are pretty bad, the production is rough, and the lyrics are atrocious. Some of the music is listenable, though. While no songs other than the earlier two I mentioned provide anything of quality, they aren't abhorrent or overly offensive. The reputation this thing gets would have a listener anticipating aural hell, as it's presented in a way that it's not only bad, but absolutely unlistenable and possibly painful.

In actuality, it's a bad album, nothing I'd ever spin for pleasure. But it's no worse than that; just a bad glam album with every bad glam trope you can think of. Nothing that makes you want to tear your hair out or throw up. Most likely, the biggest reason this album is painted this way is because it's compared to Pantera's later works, which many consider groove metal masterpieces and core foundations of 90's metal. Of course this album and their other pre 90's material pales in comparison, so much so that they appear offensive; a hideous blemish in a legendary band's career.

If someone was playing this in their car and I had never heard it before, I'd just think "Damn, that's some bad glam." However, I might also find myself headbanging to a track or two. And then I would never think of it again. It's poor and forgettable, but not nearly as bad as it's made out to be.

The album cover is so bad it's funny, and because this album has become a joke in itself, it really works. A definite positive.

Finally breaking the mold. Though most disagree, this album trumps everything else Priest did in the 70’s and 80’s in my opinion. The first traces of speed and power metal show up in pummeling tracks like Starbreaker and Let Us Prey. The meanest, heaviest riffs ever put to record are shown off in closer Dissident Aggressor. And that cover of Diamonds and Rust is absolutely flawless, it remains my favorite Priest song.

Rob’s vocals are more aggressive than they have ever been and ever would be until the landmark Painkiller release, and they are indicative of the raw power of this record. Underrated and never given the credit it deserves as a game changing release for the band as well as the entire genre of Metal.

What a mixed bag. I had already heard, and now agree, that Sabotage contains some of Sabbaths absolute best material, and some of their most lackluster. It starts very strong, with an A-side that is unyielding save for a weak acoustic instrumental track. Some of Toni’s best riffs accompany Ozzy’s most impassioned vocal performance yet.

The B-side isn’t bad, not at all. It’s just so completely inferior to the A-side. Mostly hard rock tracks lacking either memorable hooks or riffs carry the listener through the second half in minor disappointment. However, nothing can be said to overstate the comeback that is the final track, “The Writ.”

“The Writ” blew my mind when I first heard it. Unmistakably, I recognized that track as the birth of true Doom; in contrast to the Traditional Doom sound Sabbath coined, this track was very moody, very slow, very heavy. It was melancholic, and passionate. Somewhat progressive and eclectic. This track, I believe, is what birthed melancholic Doom Metal as a separate style to the slow but epic style of Trad Doom, and consequently, led to Death Doom and Funeral Doom.