Ded Bolt's Reviews

Give this a chance...really

I get that sometimes it's difficult to endorse something an established band does after a significant lineup change. Much less when that change also signals a new musical direction. For me, I've always tried to judge the outcome on its own merits, rather than expecting more of the same. 

In the case of The Waste Lands, this was the sound of a band evolving and growing. While I'm a huge fan of the classic lineup, words like evolving and growing aren't exactly synonymous with those earlier albums. Calm Before The Storm showed some significant changes but many fans felt that album lacked the aggression that was a constant presence in the Venom sound. 

Enter Tony Dolan. Not only did the man have his own noteworthy pedigree, he also brought a vocal snarl that complemented the material perfectly. Prime Evil was a fantastic introduction to the new Venom and The Waste Lands, took that direction leaps and bounds further.  This album is loaded with crunchy guitars, tight drumming (Abaddon's finest recorded work) and some wicked songwriting. There's really nothing to not love about these songs. Great production and energetic performances abound here and I challenge any Venom head to listen without prejudice and judge this for what it was intended to be. A bona fide thrash feast for the ears.   

With the recent regrouping of the core Dolan-era lineup, now sporting the Venom Inc moniker, the band is on the road converting metalheads across the globe once again!

Classic lineup purists may argue with me on this one, but this album is so full of intense manic weirdness that it's hard to ignore. I still consider this Destruction's most daring album. Rosenmerkel's voice is at times monotone and shrill, but musically this is the most varied collection of songs the band ever put together. While it may not be everyone's cup of tea, there is plenty to offer for fans with an open mind.

Now, I'm digging this. This seems to be a solid balance of the prog elements found on the earlier records and the more melodic elements found on Angel Rat and Outer Limits. I hope this signals a similar focus on future recordings. Well done, boys.

In my opinion, the band's magnum opus. I remember when this album dropped, fans went off the deep end about how the band had gone soft and "sold out". Many of those same people today still feel that way. I find it ironic that a band whose entire existence has been dependent upon growth and experimentation end up catching flack for growing and experimenting.

Angel Rat is an amazing listening experience from start to finish. There's a melancholy that I've never heard in any other Voivod album. A lot of the sci-fi tendencies have taken backseat to a more psychedelic approach and for me, that's what makes this album fantastic. The title track, in particular, is just stunning. 

I can't recommend this enough and while you're at it, grab the great follow-up Outer Limits for more of the same. 

The repetitive chug and groove metal tendencies of "Hell" have returned. That album was so faceless that the entire thing sounded like one REALLY long song. This album is much in the same vein. Where the Venom offshoot, Venom Inc, dropped an inspired and powerful album last year, this version of Venom seems to be dragging their feet through the paces.

Approach with caution... 

Well, this is certainly an improvement over "Hell", which was terribly weak and sloppy. The new drummer seems to have made a huge difference and the overall performance is much more compact and tight as a result. Some of the songwriting here comes off a little underdeveloped and the usual Venom lyrics are as silly as ever but this is a more solid effort no doubt. I will say that the flat production comes as a shock given that this is a major label release, but some may find this to be the very thing that gives "Fallen Angels" its home brewed feel like the earliest Venom albums.

Take it from a huge Venom fan, this is NOT a very good starting point for newbies. In fact, you might want to make this one of your final Venom purchases if possible. As if Abaddon's drumming wasn't bad enough back in the day, Antton (Cronos' brother) is even worse on this effort. Unsteady, sloppy and metre-challenged, Antton is at the core of what's wrong with this album. Couple that with Rage's unimaginative riffing and Hell is what you get. I'm truly disappointed in this lackluster release.

Musically speaking, GREAT. Unfortunately, the vocals just don't cut it. Kyle's singing voice sounds almost amateurish at times, like an average singer attempting in vain to sing out of his league. Nice try, but without Eric, this just isn't Trouble.

Wow, 12yrs has done nothing to derail this band. Trouble sound as fresh and vibrant as they did during their peak! This fabulous "comeback" album picks up right where "Plastic Green Head" ended, albeit with tighter production and a cleaner sound. Considering that Trouble's sludgy sound is one of the key factors that brought them legions of fans over the years, the sonics of this album may not please the diehards. If we're talking about performances and songwriting, well, then most fans will be VERY pleased with this exceptional release.

Despite earlier concerns, Eric Wagner's vocal chops are DEAD ON. "Mind Bender" gets my vote for album standout with an opening riff that beckons "Hair of the Dog". The track just oozes creepy cool. "After the Rain" is another solid cut, much in the vein of "The Misery Shows". In fact, the lyrical content of the track sounds clearly like a continuation of "Misery". 

"Simple Mind Condition" is a brilliant addition to Trouble's repertoire of doom laden genius. Bottom line...I LOVE this album.

I appreciate that the vocals and arrangements aren't too over the top. Those early Toxik albums are great but it's nice to hear a greater emphasis on musicality instead of sheer guitar wankery and shrieking. This bodes well for future albums from this lineup.

Finally, the band have found balance between groove, speed, aggression and melody. No more blast beat death metal, no more plodding groove metal. Here we find the band essentially picking up where Souls Of Black left off. While that album was a rush job, this one took years to complete and thankfully, the material benefits from that. While the making of this album may have been a pain (according to Chuck Billy) in the ass, one listen to this fantastic return to form and one could never tell. The best thing this band has done in decades. A compulsory purchase.

A welcome return to form....FINALLY. After a series of average efforts, this brings Sodom back to familiar territory of old. Harkening back to albums like Better Off Dead & Tapping The Vein, the band also explore more melodic themes which is actually REALLY cool. In no way does this betray the Sodom sound. Longtime fans will be pleasantly surprised.

I've been a long time Sodom fan...precisely since 1987. Though it's endearing for Tom to reconnect with his old mates for a one shot deal at the fans behest, the result is absolute crap. I don't care for the pre-Blackfire era, so I guess I'm biased, but this is even worse than the original recordings. Witchhunter was CLEARLY incapable of a coherent performance here and unfortunately instead of getting a tight update of the vintage sound, we get a poorly produced rehash. I give props to Grave Violator for at least holding his parts together on this effort.

Another one that gets unfairly slagged by fans. I dig this just as much as its predecessor. Strahli brings a whole new vibe to the sound and "Gathering of Minds" might just be one of the best Sodom tracks ever.

I don't care what the majority says. I love this album. It's manic, violent, reckless and on the verge of implosion. Just how I like it.

Looking back, I'm still amazed at the complete 180° turn this band made in just a single year's time. Obviously, Frank Godzik gets much of the credit but it must be noted just how focused and capable Tom and Chris are here as well. This was my introduction to this gritty teutonic band and though it's not their best work, it's still overall pretty solid. "Nuclear Winter" and "Conjuration" are personal highlights.

Not too shabby, though the album lacks the power of "Master Of Disguise". Logue does an admirable job handling vocals and guitar duties. Though there's more variation in the arrangements here, there's also a less distinct sound that leans more towards vanilla speed metal than anything else. There were dozens of bands doing this exact thing in 1986, thus rendering "After The Fall From Grace" nothing more than just a decent mid-80's metal record.

This is a powerful sophomore release that features the band's best vocalist, Mike Smith. Smith's charismatic bulldozer vocals propel this album along quite nicely. "Bound To Be Free" might be the band's absolute finest moment on record. Fast, melodic, powerful and in your face. Just an incredible moment captured to tape. Sadly, Smith would depart in early 1986, leaving guitarist Christian Logue to handle the lead vocals on subsequent recordings. Logue lacks Smith's ferocity, but does an impressive job otherwise. If you want to visit the roots of american speed metal, then be sure to pick up this seminal album.

I'll say upfront, Scott Reagers is easily the finest doom vocalist in the history of the genre. After the wretched misstep called C.O.D., bringing in Reagers for a full circle return to glory was absolutely the smartest thing this band could've done. I think everyone was stunned when this album hit the shelves because Reagers had been a missing person for the decade following his first departure from the band. When his rubbery ultra-creepy emotive voice kicks in, it's as if time stood still. In fact, I'd venture to say that not only is he the MVP of this amazing sludgefest, this is also easily his finest recorded performance. No question about it.

The material here is notably even more dirged-out and sludgy than any of their previous albums. One thing that really sets this apart from the rest of the band's recorded work is the use of more dynamics in the arrangements. There's a greater mix of light and shade. These tracks sometimes swing from dense heaviness to sparse atmospherics, which really gives this album a more accomplished and sophisticated feel. 

One listen to "In The Asylum" will illustrate this point perfectly. That track is the most deranged, creepy, whacked out thing the band has ever done and Reagers sells it like a preacher strung out on hallucinogens and bath salts. Seriously. It's maddeningly brilliant. 

Well, it's always good to see a legacy thrash band return with new material. Unfortunately, this album suffers from a lot of the same issues that plagued the band near the end of their initial run. The band once again straddles the lines between groove metal, thrash and traditional heavy metal resulting in an album that never quite commits itself to anything long enough to sink in. Moreso, all but one song on the album is rooted in the same key throughout. It makes the album feel one dimensional and monotonous at times.

Best taken in parts as opposed to in one listen. 

While I love Corbitt's voice, the debut is terribly overrated. THIS is probably the best thing the band has ever done. I really dug the last album with Doyle Bright on vox but I think this might even be better than it. What a way to end a career. Well done boys. R.I.P. Bruce.

Wow, after an excruciatingly long hiatus I really wasn't expecting much from these boys. I am happy to say that I was dead wrong. This is a fantastic batch of heaviness that sees the band in top form. This is probably the best produced album in the band's catalogue and with John's trademark squeal firmly in place, this is a no brainer purchase for Raven lunatics. If you loved "All For One", "Architect of Fear" and "Glow", this is a true amalgam of those very different albums. Highly recommended.

Of all the classic thrash acts to have re-emerged in the last decade or so, I think Onslaught deserve the biggest props. They've easily surpassed their early work and have come back completely recharged and renewed. 2007's Killing Peace was an amazing return and while this new one doesn't quite reach those heights, it absolutely buries the last album, Sounds of Violence. While that album was good in its own right, this album sees Sy holding back on the pseudo death vocals and going for the sneering screams that made Killing Peace such a visceral kick in the balls.

This thing is brimming with amazing hooks, ultra tight performances and killer production. A real contender for best thrash album of 2013.

Good god!!!! This might just be the most potent and visceral return to form from any reunited thrash act I've ever heard. Tight, vicious, raw and relentless...Killing Peace is easily the best thing this band has ever laid to tape. Perfectly marrying the primal brutality of their early albums with the tight punch of their last album, Killing Peace is sure to make naysayers eat their shorts. Sye sounds better than EVER and the rhythm section has seemingly not aged in the last 18yrs.

This is mindblowing stuff here, folks. BRUTAL! 

Holy mother of god! What happened to this band? Though I have always admired Mortal Sin, I'd also be the first to admit that they have never even come close to being contenders. Every album has had a handful of cool tracks, but by and large their output has been hit or miss pretty much from the beginning.

Imagine my absolute shock when this puppy landed on my playlist. Gone are the mid-tempo lazy pseudo-thrash leanings, monotonous vocals and the vanilla songwriting. This is an unbridled angry beast from start to finish. Excellent arrangements, extremely tight performances, dynamic vocals and addictive hooks are all just dripping from this album. I'm proud of these guys. After 25yrs in the business, they FINALLY got it right. Sadly, the band split following this album. Talk about lousy timing, since this could've given them some much needed momentum. What a swan song though.

Wow! Gotta say, on first listen, this is a pretty solid step forward. I hear a wider mix of styles on this one and Sabina's voice finally has a nice dynamic approach once again. The last few albums have seen her almost entirely in death grunt mode and here we get more diversity. Good deal. The musicianship is tight and these arrangements twist and turn everywhere. This is truly what she said it would be. Holy Moses redefined. Very impressed so far.

This is probably my favorite post-80's Holy Moses album. The hooks are plentiful, performances tight and Sabina's voice are just shy of full-blown death grunt. Sabina's shift towards death vocals in recent years is my biggest complaint and here, her voice is just right. The material is exceptional for this genre. The drumming in particular is fantastic.

Amazing start to finish

Really surprised at all the ho-hum reviews here for this gem. This is extraordinary punishing, lightning fast and aggressive German thrash. What a HUGE leap this band made between albums. The songwriting is uniformly excellent and the riffage is really unique compared to many of their thrash peers of the era. 

Aside from the aggression, speed and heaviness of "Finished With The Dogs", what sets this apart is the manic energy. See the title track and "In The Slaughterhouse" for good examples of this. Other killer cuts include "Criminal Assault", "Life's Destroyer" and "Military Service". The absolute standout track is the insanely brutal "Current Of Death", which sports a wickedly fast rhythm and some tasty backing vocals from Rage frontman, Peavy Wagner. 

Forget about the fact that this is a female fronted band and sink your teeth into some heavy duty Teutonic thrash. A legit classic of the genre. 

Wow, this band just keep bringing its A-Game. What a vicious batch of thrash we have here and the drummer is PHENOMENAL. Gives ol' Lombardo a run for his money. Brilliant stuff.

Whoa, as much as I hate having to give such a low rating, this is a MAJOR disappointment. After the abomination Tommy Stewart recorded several years back, I was extremely pleased to hear about the return of Stacey Anderson. The soundbytes posted on the band's myspace page showed great promise but alas, it turns out that those tracks are the only ones worth hearing from this terribly produced effort. The album sounds more like a demo than a finished product and the majority of songs are sluggish and leaden. Without even trace hooks to keep the arrangements aloft, the album flounders almost from start to finish. Let's hope Hallows Eve will eventually deliver the goods they are capable of delivering. This however, is subpar.

Universally panned by Hallows Eve fans, in retrospect I think this album was and is still deserving of a far better judgement than it received. A close second to the band's sophomore release, "Monument" is a standout album simply because few thrash bands at the time were integrating HOOKS and melody into their delivery like this band. Barring Metallica, Flotsam, Overkill, Anthrax, Megadeth and Testament this was just about the only other act successfully marrying old school melodic hooks and brutal instrumentation. This is exactly why Hallows Eve should have been one of those first tier bands too. It's a tragedy this album would mark the final effort by the core lineup.

A fantastic follow up sophomore release finds the band at the peak of their powers. Excellent vocals, unique arrangements and superb musicianship abounds here and the result is easily their most cohesive album. To me, this is one of the finest thrash releases of the genre's golden age. Indispensible.

An uneven entry in the early phases of the speed metal movement. Stacy Anderson's brutal and creative phrasing does help to lift this above the standard a bit, but the Iron Maiden based riffing that is prominent throughout does tend to give this album a derivative feel. This band did get it right eventually, two years later.

These guys were the ultimate thrash act back in the day & the metal world has missed them.  As for Omega Wave, well...I'm not in love with this album, but it's a respectable effort given the long hiatus. There are shades of Twisted Into Form and even more Green. Despite how much I totally dig those two albums, there's something not quite right happening here. Some of the melodic ideas fall flat and tend to wander. Russ is a little screamier here than I'm used to and even though screaming is fine by me at times, it's not exactly what I expect from him. On the upside, the band are tight and ultra-heavy, the production is clear and the musicianship is as always, right on the money. This is not a bad album but I'd put it at #4, just ahead of Distortion.

Wow, time has certainly improved this band. Hearing tightly wound and proficient renditions of some of their early material makes me appreciate some of that stuff a lot more now. The reworked material from the Mad Butcher EP all the way up to Cracked Brain are definitely the standouts here.

There are a few great tracks on this album but I can't help but notice a sameness to many of the other tracks. There's a noticeable lack of hooks on this one. Joey sounds great but the melodies are very one-dimensional and less varied than the previous album. There's also a shortage of genuine thrash, despite the numerous claims made to the contrary by some of the members.

This is not to say the album is a dud, but it's certainly not one of the band's more distinct offerings. I guess at this point, any new Anthrax should be welcomed but my hopes were higher than the end result.

I must say, I approached these redux recordings with apprehension, given that the general rule of thumb is that you can't capture lightning in a bottle twice. Let me say this, I WAS FLOORED when I finally got a chance to hear this in its entirety. An absolutely cyrstalline reproduction of the band's early material. The energy, conviction & dynamics are all exactly in place, as they were 20 years ago. This is truly an amazing accomplishment and Kenn Nardi gets huge props for staying the course throughout the proceedings. Often we see re-recordings falling short of the mark, only serving to illustrate just how fruitless such a task is, especially two decades on. This fabulous collection is a rare exception.

With their final two albums, Anacrusis proved their musical sophistication, while their first two albums languished in obscurity mostly because of their poor production. I always preferred Reason to everything else anyway, but hearing these two albums with such powerful production & clarity now, they're on par with anything the band ever did. Suffering Hour in its original form always seemed so primitive in comparison with the band's later work, but not now.

I implore anyone who loved this band, as I did, back in the day...GO BUY THIS ALBUM IMMEDIATELY. You'll be blown away.