Sonny's Forum Replies

First thing to note is that I didn't completely hate this. Yeah I know, no one was more surprised than me, but I was swept along by the obvious enthusiasm and energy of the band and kind of went along for the ride. The speedy riffs and shredding solos are pretty entertaining, the riffs to both "Scream for Me" and "Burden of Time" for example stood out as being much heavier than I would have expected. Vocalist Asami is a big plus, sounding both melodic and reasonably powerful, although I am not so keen when she reaches for those really high notes and becomes a bit screechingly ragged, although this seems to be a feature of power metal generally that I just can't get to grips with. It is power metal after all so, of course, it is larger than life and over-the-top with keyboard overlays and some layered backing vocals, but not in a terribly cringey manner, ultimately being more operatic than pantomime. I do think that the album runs out of steam after "Burden of Time" and tracks like "The Apocalypse", "Inspire" and the godawfully balladic "Edge of the World" (the album's nadir for me) sound more like the kind of power metal that I struggle with.

Look, in truth this isn't going to break into my top 500 (or even 1000) metal albums and I am unlikely ever to pass this way again, but while it lasted I found it entertaining enough and I got through the whole thing pretty easily without a single skip and remarkably few cringes. In fact, if it had ended with "Burden of Time" I would have thought even more highly of it. Damning with faint praise then? Yeah, probably, but for me and power metal this was an untypically positive experience with the guitars and vocals being sufficiently impressive to keep me on board and to allow me to forgive the album its other obvious excesses, not least of which is the ear-batteringly, over-compressed mastering that makes it feel like it is being rammed into your ears with a steamhammer - and not in a good way!

3/5

OK, here are my thoughts:

Firstly I've got to say, I don't feel that Gorgoroth ever get quite the credit they deserve, possibly with good reason in later years, but there was a time when they were a thrilling and devastating proposition and worthy of mention amongst any of the second wave. This, their fourth album, is the product of a band in transition, each track utilising a different lineup, four different vocalists being used for example - Gaahl providing vocals on the opener, Pest, the singer on the previous album singing on four of the remaining tracks, mainman Infernus on a couple more and Malignant Eternal's T-Reaper on The Devil, The Sinner and His Journey. Despite the variety in each track's performers, it doesn't result in a disjointed release as you may expect, rather it is an album that absolutely has an overarching theme and mood and that is one of blistering chaos and nerve-shredding antagonism that feels like the band were trying to produce the most evil-sounding record released up to that point. It sounds to me as if it was heavily influenced by Mayhem's EP of the previous year, Wolf's Lair Abyss, which was also a release that heralded a change in direction.

This time around Gorgoroth's songwriting utilises passages of sheer noise, occasional slowing of tempo and savage, soul-shredding shrieks for vocals in the most part. Despite the noise elements and the savagery on display, underneath there are actually some quite melodic riffs, but they are well-disguised among the intended cacophony yet they enable the tracks to remain in the memory rather than just becoming a dissonant blur. I actually think Destroyer is a great album in it's ability to make an undoubtedly intentionally chaotic-sounding album memorable and like the band that spawned it, it is mightily underrated and should be lauded amongst Nineties black metal afficianados.

4.5/5

I love that album, it is one of the first TD albums I bought, alongside my favourite Rubycon. I was a massive fan of the band back in the 70's and I was lucky enough to catch them live at Manchester Apollo when they were touring their Cyclone album. They had an awesome laser show that really suited their music and made for quite a trippy experience. For all the iterarions of the band since, I think the Froese, Franke, Baumann trio provided the pinnacle of the band's material.

Any chance of uodating the current features release page if you get chance please Ben?

A couple for August Andi please:

Mercyful Fate - "Gypsy" (from "Don't Break the Oath", 1984)

Running Wild - "Diabolic Force" (from "Gates of Purgatory", 1984)

I really like "Die Healing" Sonny. 1986's "Born Too Late" is my favourite Saint Vitus album, followed by the debut but this one is pretty close to both of them in third place. I'd go with four stars for it personally.

My top 5 SV albums:

1. Mournful Cries (1988)

2. Saint Vitus (1984)

3. V (1990)

4. Die Healing (1995)

5. Born Too Late (1986)

Surprisingly I hadn't reviewed this previously, so here are my thoughts:

1995 saw the release of Saint Vitus' seventh full-length album, "Die Healing" and marked the return of original vocalist Scott Reagers to the fold. It followed what is widely considered the band's weakest album, 1992's "C.O.D." which, following the departure of Wino, had featured Count Raven's Chritus on vocals. Now, as much as I love Wino's grizzled vocals, I think Reager's more eccentric style actually better captures the soul of Saint Vitus, so his return was well-timed and he is on fine form here. "Die Healing" was intended to be the band's swansong (although that notion has consequently been proven premature) and it seemed apt for them to end as they began with Reagers behind the mic.

Kicking off with one of the band's best tracks, "Dark World", Die Healing immediately exorcises the ghost of "C.O.D.'s" mediocrity and points towards a band intent on going out in style. Dave Chandler has an ear for simple but effective doom metal riffs and he sounds unlike anyone else with an instantly recognisable and unmistakeable guitar tone that many have tried and failed to adequately reproduce. There is a certain rawness to the best Saint Vitus material, derived from their early days touring with hardcore punk bands, that makes them sound like the sort of band who have just rolled up in a rattling old Transit van, unloaded their own battered gear, plugged it in and just started playing. Now while I am certain that is far from the truth, it doesn't alter the fact that when they are at their best that is exactly how they sound and personally I love that about them.

The tempo here is generally pretty slow, although they sometimes switch it up a little to provide contrast. "Let the End Begin", for example, is one of the album's most sluggish tracks, but contains an uptempo mid-section where Chandler lets rip with a much more energetic riff and guitar solo before reverting back to the creeping grind of the opening section. In fact the guitar solos are generally pretty shred-like with DC going fret-crazy and teetering on the edge of feedback, almost Hendrix-like at times, as on "Trail of Pestilence" for example. The band are also unafraid to lampoon themselves and the wider doom ethos a little bit, with "The Sloth" telling an apocalyptic tale of a marauding Kaiju-like sloth creature slowly laying waste to all around it like a slow-motion Godzilla.

Saint Vitus are unquestionably my favourite of the very early doom metal bands and whilst Trouble, Pentagram et al have their moments for sure, I think SV are the most consistent, C.O.D. aside. Whether it is Reagers or Wino on vocals they just encapsulate that filthy, grizzled aesthetic that so typifies the earliest trad doom scene and which lends them an air of authenticity that feels like they could turn up to play at your local pub on any given night. Great band, great album check it out if you haven't already.

4.5/5

I swear that if I hear one more fucking thing about Taylor Swift and Travis Kelce's wedding on UK TV then I am going to lose my shit completely and will likely need a new TV set as a result.

These new clan badge designs do look incredibly cool Ben. Should the new site not materialise, could these be incorporated into the old site?

I agree with Daniel regarding how useful lyrics are. It seems like lyrics are one of those things that would be nice to have, but probably wouldn't be worth the time investment needed to add them to the site.

I haven't really got any suggestions to improve the community side of the site, I think the tools are there with the forums, features, playlists etc, it just comes down to the participation levels and how we use those tools.

I do, however have a suggestion regarding the rating system. In keeping with the academy theme we could have a grading system for rating rather than a numerical, so releases would be graded E- to A+, giving a 15 point rating system. Obviously all the work in the background would be numerical, and the releases average scores could still be shown as a numerical, but with a grade alongside, so an album with currently, say, a 4.0 clan average rating would be given a B+, a release with a 4.2 average would be an A- and only those releases scoring above a 4.8 average would be entitled to the A+ rating, which could then afford a release a special a award on its release page. For example, such prestigious releases could receive a "Top of the Class" icon on its release page which would signify an exemplary release within its clan's scope. These could then appear on the clan homepage as a kind of auto recommendation to anyone exploring the clan who may not be so familiar with its notable releases. I would also probably restrict the qualification criteria for the award to the clan rating rather than the site overall rating.

I understand that converting from a 10-point rating system to 15 may be unworkable, but I think the merit award for high-scoring releases within a clan would be quite a useful and fun thing to have. I'm afraid that is all I've got for now.

Thanks Ben. I really like the look of this potential new site, it is visually very impressive and the colour schemes look fantastic. I am actually feeling quite stoked for it and I hope it does come to fruition.

This does look very eye-catching Ben and I like the idea of increased flexibility on search options. I think tracklistings are also a must and have long hoped that they would be added as a function.

I am very much a lists person, so would it be possible to have a users lists linked on their profile page, similar to RYM, because how they are currently arranged, all being lumped together, feels a bit random. It would also be great to have clan-specific lists linked on the respective clan homepage.

Interesting news Ben. Will this entail much change in features and how the site looks or  is it going to be more of an improvement in background processes?

Thanks, David. 

August is a Horde playlist month, so get those suggestions in by the 15th please guys (or sooner if at all possible).

It is a three-playlist month for me again, so the earlier you can get your suggestions in the better.

July 2026

1. Pillorian - "By the Light of a Black Sun" (from "Obsidian Arc", 2017) [submitted by Vinny]

2. Rotting Christ - "The Forest of N'Gai" (from "Passage to Arcturo", 1991) [submitted by Karl]

3. Satanic Warmaster - "Black Circle of Death" (from "Exultation of Cruelty", 2024) [submitted by Sonny]

4. Ulg - "Dark Woods" (from "Windark", 2017)

5. Dimmu Borgir - "Ulvgjeld & blodsodel" (from "Grand Serpent Rising", 2026) [submitted by Vinny]

6. Sammath - "Ferocious Mortar Fire" (from "Across the Rhine Is Only Death", 2019) [submitted by Karl]

7. Shining - "Claws of Perdition" (from "IV: The Eerie Cold", 2005) [submitted by Sonny]

8. Ancient Rites - "(Ode to Ancient) Europa" (from "Dim Carcosa", 2001)

9. Agastus - "Black Moon's Blood" (from "Dawn of Martyrdom", 1996) [submitted by Vinny]

10. Venusberg Cardinal - "Mundus Loss" (from "Atlas of Dungeons", 2023) [submitted by Sonny]

11. Serpent Lord - "Constrictor" (from "The Once Forgotten Ways of Old", 2026) [submitted by Vinny]

12. Violet Cold - "Mamihlapinatapai" (from "kOsmik", 2019)

13. Psicosfera - "Copulent (XII)" (from "Beta", 2018) [submitted by Sonny]

14. Firtan - "Innenschatten" (from "Innenwelt", 2016) [submitted by Vinny]

15. Octinomos - "Nuclear Blitz" (from "Welcome to My Planet", 1999) [submitted by Karl]

16. Heltekvad - "Ærbødig er den som sejrer" (from "Morgenrødens Helvedesherre", 2022) [submitted by Vinny]

17. Malefic Levitation - "Black Forest Worship" (from "The Ancient Plague EP", 2017) [submitted by Sonny]

18. Equilibrium - "Unter der Eiche" (from "Turis Fratyr", 2005)

19. Skogen - "I döden" (from "I döden", 2014) [submitted by Sonny]

20. Hirilorn - "Last Ride on the Winds of Eternity" (from "Legends of Evil and Eternal Death", 1998) [submitted by Karl]

July 2026

1. House of Capricorn - "Ashlands" (from “Morning Star Rise", 2014) (submitted by Sonny)

2. Konvent - "Puritan Masochism" (from "Puritan Masochism", 2020) (submitted by Vinny)

3. High on Fire – “Lambsbread” (from “Cometh the Storm”, 2024) (submitted by dk)

4. Rorcal - "Extinguished Innocence" (from "Silence", 2023) (submitted by Vinny)

5. Candlemass – “Destroyer” (from “King of the Grey Islands”, 2007) (submitted by dk)

6. Devil Electric - "Jill & Jack Shit" (from "Tahlia", 2026) (submitted by Vinny)

7. Shades of Deep Water - "Death's Threshold Part 1" (from "Death's Threshold", 2019) (submitted by Sonny)

8. Crouch - "Hatchets and Hammers" (from "Breaking the Catatonic State", 2026) (submitted by Vinny)

9. Gorge - "Smoke Signals" (from "Village Raid", 2021) (submitted by Sonny)

10. Katla - "Satan" (from "Katla EP", 2018)

11. Body Void – “Human Greenhouse” (from “Atrocity Machine”, 2023) (submitted by dk)

12. Thorr's Hammer - "Norge" (from "Dommedagsnatt", 1998) (submitted by Vinny)

13. Khemmis - "The Bereaved" (from "Absolution", 2015) (submitted by Sonny)

14. Ritual Arcana - "Subtle Fruits" (from "Ritual Arcana", 2026) (submitted by Vinny)

15. Serpentcult - "Screams from the Deep" (from "Weight of Light", 2008) (submitted by Sonny)

16. Pyrithe – “Glioblastoma” (from “Monuments to Impermanence”, 2022) (submitted by dk)

17. Reverend Bizarre - "Strange Horizon" (from "Harbinger of Metal", 2003)

 the second that I'm loving to death right now is 11/22/63 by Stephen King.  Excellent characterization, glorifies the culture of the time and showcases great plotting in both the time travel and normal drama departments.

I love that book. A really fascinating take on the events around that time. Its been a while since I read it, so it is may be due a re-read. It may have to wait though because I am currently on book 2 of 5 in the Stormlight Archive by Brandon Sanderson and as each is 1000+ pages it may take a while (I'm not that quick a reader, couple hundred pages a week is probably my average).

I wonder if kids in the west now spend too much time indoors on their phones or games consoles which is why the teams from the world's poorer nations are getting comparatively better as their kids still go out in the streets kicking a ball about on a daily basis which you hardly ever see here, certainly round where I live anyway.

It's a real tricky one Sonny. My son is 13 and spends a fair bit of time on his phone or ninteno, but he is also incredibly active and would spend loads of time outside playing football or cricket or hockey. But where can they go for these, I'd have to drive him to a suitable place. Nothing nearby that his friends could all walk to with the roads that they would have to Cross.

When I was young you just went onto the streets in front of the house. No cars parked up all along the streets then. Then you would just shout car if a car came along and move to the pavement and continue the game when it passed. The speed the cars go round residential areas these days, you wouldn't have chance to shout car.

Yeah that is a good point David. Traffic was virtually non-existent outside of knocking off time at the local factory near where I lived, so we could play in the street quite safely. There were a lot more green spaces available then too. It is certainly a different world kids grow up in now compared to when we were young. So many vested interests vying for their attenion all the time and successive governments that prioritise economics over quality of life.

If you look at the Scotland teams of the 70s and early 80s we had a full team playing in the top league in England with championship winning teams. What has happened.

I was reading an article about just that a couple of days ago. It was comparing how the Scottish Premier League clubs and their norwegian counterparts, countries with similar size populations and football income revenues, spent their money. It seems that the norwegians have prioritised their youth development and grass roots football for some time now with a corresponding improvement in the fortunes of their national squad as a result.

Yes something went wrong somewhere along the line. I do remember under Thatcher school sports reduced and no ball games signs going up on every spare bit of grass. Imagine the did that on beaches of Brazil or any spare bit of ground in Brazil or Argentina. 

I wonder if kids in the west now spend too much time indoors on their phones or games consoles which is why the teams from the world's poorer nations are getting comparatively better as their kids still go out in the streets kicking a ball about on a daily basis which you hardly ever see here, certainly round where I live anyway.

England made that Panama game more difficult than it should have been.

The defence looks dodgy as fuck and we were lucky to keep a clean sheet. Luckily Bellingham put the game on his back and was the only one who showed any real world class quality. I can't imagine France, Spain or Argentina having any sleepless nights about facing England unless they improve massively. One decent half in three games doesn't shout world cup winners to me.

Yeah, it sounds like we'll have a better chance against Egypt than the other teams we were looking at. I still aren't expecting us to win after watching our matches thus far though. I watched yesterday's France vs Norway match & the first-half hattrick from French winger Ousmane Dembélé was brilliant to watch. The dude simply couldn't miss!

I couldn't understand why the norwegians basically let him score the same goal three times, though. You would have thought they would at least have made some effort to stop him cutting inside onto his left foot after the first goal. All the same, France look like the team to beat as they seem the most complete side.

If you look at the Scotland teams of the 70s and early 80s we had a full team playing in the top league in England with championship winning teams. What has happened.

I was reading an article about just that a couple of days ago. It was comparing how the Scottish Premier League clubs and their norwegian counterparts, countries with similar size populations and football income revenues, spent their money. It seems that the norwegians have prioritised their youth development and grass roots football for some time now with a corresponding improvement in the fortunes of their national squad as a result.

Monolord - "Vaenir" (2015)

"Vaenir" is this Gothenburg doom trio's 2015 sophomore full-length, following relatively hot on the heels of the debut, "Empress Rising" from the previous year. They play lengthy distorted doom metal dirges with towering chords, sloth-like pacing and a 'washed-out' vocal style that feels like it is coming to you across huge cosmic distances. Despite the thunderously robust foundation laid down by bassist Mika Häkki and drummer Esben Willems and the undoubted weight of the riffs, the vocals impart a certain ephemeral quality to the atmosphere and act as a spiritual counterpoint to the immensity of the bottom end.

Monolord have a distinct blueprint for how they want to sound and pretty much stick to it throughout. There is very little variation in pacing within tracks, no sudden changes of gear to spice things up, these Swedes being pretty much fundamentalists when it comes to doom metal. If you are impatient for variety and innovation in your listening diet then chances are that Monolord will hold very little appeal for you and you may be better served moving on elsewhere. More recently I feel they evolved a slightly more lightweight sound with hints of psychedelia thrown in, but back in the heady days of 2015 they were all-in on the crushing repetitiousness of 'true' doom metal and were unrelenting in its delivery.

And that, not wishing to sound in any way dismissive, is pretty much everything there is to know about "Vaenir". How you feel about that depends on what you want from your metal. Me, I am more than happy with an album of heavy and uncomplicated doom metal done well and with an unpretentiousness that speaks to a band fully committed to shaking the cosmic walls.

86/100

It looks like the Aussies have got Egypt in the next round Daniel. Could be a tall order against Mo Salah and co but this world cup has shown that nothing can be taken for granted.

Khemmis - "Absolution" (2015)

I have been a casual fan of Khemmis since first coming across their sophomore "Hunted" back in 2016 shortly after its release. Consequently I checked out the debut and, at that time, I wasn't particularly knocked-out by it I must admit. So, a decade later and with a new album on the shelves, I figured time was ripe for a revisit.

Firstly it must be mentioned that this is much more doom metal oriented than their later material, with Pallbearer most often being justifiably cited as a touchstone. "Absolution" maintains a significant percentage of traditional heavy metal in its doom metal DNA, pushing it into epic doom metal territiory. The production and guitar sound is very much in the doom metal milieu however, with a deep and resonant fuzziness that is typical of traditional doom metal and with a certain bluesy feeling to the riffs. The guitar solos sound cleaner and clearer than the riffs and are enthusiastically deployed with an exuberant relish that hints that this is where the guitarists Ben Hutcherson and Phil Pendergast really get their kicks, giving off a Brian Robertson / Scott Gorham, Thin Lizzy vibe. The two also share vocal duties and this is probably the album's weakest point as they alternate between reasonable cleans and frankly unconvincing deathly growling bellows. The rhythm section of bassist Daniel Beiers and drummer Zach Coleman are solid enough, although they seem to be playing well within themselves and keeping it pretty simple.

I must admit that I found myself enjoying this better this time around than I did back then, although I still have reservations. Sometimes the soloing sounds divorced from the meat of the track itself and too often feels shoehorned in whilst I feel the clean vocals are strong enough to carry the material without resorting to the unnecessary and unconvincing death growls. The riffs are generally pretty cool though and when the guitarists do hit a sweet spot between riffs and solos, such as on "Burden of Sin" it is pretty engaging stuff. They saved the best until last and close the album out with the longest and best track, "The Bereaved", which is where the previously mentioned Pallbearer comparison is most apparent. Ukltimately this is a solid but flawed debut, but the band would get better next time around.

78/100

Finally, here it is:

Warning - "Rituals of Shame" (2026)

I have never made any secret of the fact that Warning's masterpiece, "Watching From A Distance" is my all-time favourite album, so I can probably be forgiven for going into "Rituals of Shame" with inflated expectations, although I must add that those expectations were tempered by equal parts trepidation that the band may drop the ball and turn in an album that sees them just going through the motions like so many acts returning after a long period away and so sullying their legacy. So now I have the beautiful oxblood red vinyl platter on my turntable the obvious first question must be, "do I think it is as good as WFAD?" Well, the answer to that is not so simple because it is impossible to compare an album that has been so meaningful to me for two decades with one that has been out mere days. So am I at all disappointed with this third Warning full-length then? Absolutely not and while it hasn't initially hit me on as deeply an emotional and personal level as its predecessor this is still an amazing piece of doom metal melancholy. Patrick Walker just 'gets' doom metal in a way that few others are able to. It isn't just about leaden pacing and towering riffs, Walker doesn't merely write songs that are sad and sorrowful, but also dig deeply into his emotional vulnerability, laying bare his soul in a way which will either resonate with the listener or it won't. If it does then a connection with the material is possible that transcends mere grooves on a plastic disc and if it doesn't it may be dismissed as overly sentimental.

The most striking thing about "Rituals of Shame" is that it doesn't at all feel like an album released two decades after its illustrious predecessor by a band that had been on hiatus for most of the intervening years whilst Patrick Walker concentrated on his 40 Watt Sun project. There is such a remarkable consistency of material between the two albums that you would be forgiven for thinking that it had been recorded in 2010 and only just seen the light of day. In fact the debut "Strength To Dream" is further removed artistically from "Watching From A Distance" than "Rituals of Shame" is, despite there only being a third as much time between the two. The really great thing, though, is that the latest isn't merely a lazy rehash of the former. Despite the similarities, "Rituals of Shame" isn't merely WFAD part two, it has its own character and feeling. Inevitably such a monumental album will cast a long shadow over its younger sibling, but I am convinced that in time it will emerge from that shadow and stand tall in its own right.

WFAD had an indefinably wistful quality despite the huge, doom-laden chords and foundational stolidity of the rhythm section, whereas RoS feels a little less ethereally affecting. This is partly down to the heavier-handed production and increased compression, but it is also due to the inclusion of second guitarist Wayne Taylor who has played live shows with the band since 2016, appearing on the 2021 Roadburn Live album, whose second guitar adds depth and rounds out the sound, making it feel more down-to-earth. Of course, the absolute core of Warning is Patrick Walker's vocal performances and this is where "Rituals of Shame" may even outdo its predecessor because, as I alluded to when reviewing the "WFAD Live at Roadburn" album, Patrick's voice seems to have got even better with time. His vocals sound more varied and expressive now in middle-age than they did as a young twenty-something and his ability to wring genuine emotion from the receptive listener with a mere twist of his voice is undiminished.

I have to say that I am more than happy with this new offering and it has rarely been off my turntable since it arrived. Whilst it is consistent with its predecessor it is undeniably an evolution rather than a rehash and in time I think it may take on a life of its own maybe being a new generation of doomheads' introduction to the band and becoming as significant to them as WFAD has been to me. So whilst "Rituals of Shame" has not deposed "Watching From A Distance" at the pinnacle of my top albums of all-time list, it has certainly pushed a large number of worthy contenders down another slot and has livened up a year that wasn't appearing too great on the doom metal front prior to its release.

96/100

Here is my new, expanded review:

The Immortal Bird that recorded this 2015 album is very different from the three-piece that exists to this day with only vocalist Rae Amitay remaining. Drummer Gary Naples and guitarist Evan Anderson Berry left not long after "Empress/Abscess" hit the shelves, being replaced by Matt Korajczyk and Nate Madden respectively. Bassist John Picillo left in 2019 and hasn't been replaced with Madden doubling up on both four- and six-string guitars. It is good then that Rae Amity has remained as the only constant factor in the band because there is a rounded depth to her ravaged, bellowing shrieks that would be quite difficult for any other singer to replicate. She has a line in controlled fury that is distinctive and powerful and which would put the ineffectual bellowings of many metal tough guys to shame.

Immortal Bird play an amalgam of black and death metal that sounds immediate and confrontational with a suggestion of crusty sludginess that gives the material a further coating of grimy filthiness along with a twist of dissonance for added discomfort. With the five tracks on "Empress/Abscess" only nudging a hair's breadth over thirty minutes there is never any danger of attention wander, although the more timid listener may want to flee and lock themselves in the bathroom. Comfort is not something that Immortal Bird are interested in dishing up, they have a jagged and angular approach to songwriting that will keep you on you toes and which, with other bands, I often struggle. However just when it feels like the band are pushing you to the edge they have an uncanny ability to suddenly drop into a killer riff and sweep you away on a tide of moshpit fury. I get the feeling that the convulsive nature of the songwriting isn't to appear intellectually sophisticated or technically smug, which I feel is the case with some of the acts who write this way, but it is done with the aim of unsettling and disorienting the listener so that when they drop one of those killer riffs it hits all the harder.

So, overall, with a sometimes challenging but always interesting songwriting style, some genuinely exhliharating riffs and one of, if not the, finest female vocalists in all of metal there is plenty here on this short album to keep drawing me back to it time and again. Immortal Bird are one of those bands that I genuinely cannot fathom why they aren't bigger than they are.

4.5/5

I am sure you have it in hand, Ben, but just in case you have forgotten, could you add the new Warning album "Rituals of Shame".

I gave this a few listens today and loved it. In contrast to yourself, Daniel, my favourite of the three recordings is the EP. The two tracks that comprise it are a bit doomier, further accentuated by the muddiness of the production, giving me a Winter vibe. The two demos are pretty good too, especially the earlier of the two. The four track run fom "The Awakening of Majestic Darkness" to "Shrouded in Gore" is top drawer OSDM. Thanks for highlighting this brilliant comp.

Sonny, you will definitely want to get on this one if you haven't already. I think it's right up your alley.

I haven't listened to these guys before, but I am always on the lookout for decent death metal recs, so I will definitely give it a try. The mere mention of Incantation is enough to persuade me.

Like I said in my review I haven't checked out anything from Metal Church after "The Dark", which I personally think is a bit limp compared to the debut. I will have to check out the couple you mentioned above, Daniel.

Khanate - "Khanate" (2001)

Stephen O'Malley is a name that is written large over the history of drone metal. Making a name for himself with legendary extreme doom outfit, Burning Witch and short-lived death doom project Thorr's Hammer, he also formed Sunn O))) alongside long-time collaborator Greg Anderson. Khanate was formed in 2000 after O'Malley met avant-garde musician and member of O.L.D. James Plotkin at an Isis gig. Plotkin recruited O.L.D. bandmate Alan Dubin to perform vocals for the new project with the four-piece being completed by drummer Tim Wyskida.

Well, when you dive down this rabbit hole, you'd better not be expecting Wonderland because here be monsters. From the off Khanate set out their stall to be a genuinely disturbing listen, taking the blueprint of Burning Witch's psychotic doom metal and stretching it further with increased repetition, glacially slow tempos, seismic rumblings and squeals of feedback that act as the backdrop to the outpourings of Durbin's troubled and troubling vocal protagonist whose screeching screams worm their way into your brain and sit there eating away at your sanity. Instrumentally quiet and gentle sections where his vocals are mere creepy-sounding whispers, are akin to the murmured secret exhortations to violence I imagine schizophrenic killers hear from the imaginary voices in their heads. A couple of lines from "No Joy", for example, read "No joy precious joy no joy, Eat that smile right off a face, your face, No joy only only eat stuff that grin down, down your neck no more eat no more, Breathe breathe don’t breathe please don’t breathe". I mean, what the fuck? This truly is a trip to the dark side of the human psyche and a disconcerting listen that leaves you with the impression that you have been witness to the outpourings of a genuinely troubled mind, like the innumerable notebooks that Mills and Somerset find in the room of the psycho in Se7en. Sure, Khanate aren't the only band that deal in disturbing lyrical imagery, but here there is no release with a catchy riff or a shredding guitar solo, all there is is the grindingly slow, dissonant throb of bleak inevitability unrelieved by any kind of positivity or hope.

I hate real world violence and horror, but there is a deeply primal and subliminal part of the human mind that is attracted to darkness in art, hence the enduring popularity of horror movies and true crime series. Obviously, drone metal is very much a niche sub-genre in the wider metal world, certainly when it is as disquieting as Khanate, so it obviously isn't for everyone, especially the impatient listener, but if you have a penchant for the darker and more uncomfortable reaches of extreme metal then Khanate are absolutely a required listen.

4.5/5

OK, so I have completed THE GUARDIANS: Heavy Metal - The 1st Era clan challenge I think. Ultimately it doesn't mean anything as I already have my four clans but, should I wish to switch to the Guardians at any point then i guess my work is already done. Anyway I really enjoyed the journey through this challenge and it has actually gone a long way to reigniting my former love of 1980s metal, whilst also providing an enjoyable walk down memory lane.

Here is my ranking of the 25 releases on the challenge:

1. Angel Witch - "Angel Witch" - 96/100

2. Black Sabbath - "Paranoid" - 94/100

3. Diamond Head - "Lightning to the Nations" - 94/100

4. Judas Priest - "Sad Wings of Destiny" - 94/100

5. Mercyful Fate - "Don't Break the Oath" - 92/100

6. Iron Maiden - "Powerslave" - 90/100

7. Motörhead - "Ace of Spades" - 90/100

8. Rainbow - "Rising" - 90/100

9. Saxon - "Strong Arm of the Law" - 88/100

10. Ozzy Osbourne - "Blizzard of Ozz" - 86/100

11. Running Wild - "Gates To Purgatory" - 85/100

12. Satan - "Court in the Act" - 84/100

13. Cirith Ungol - "King of the Dead" - 84/100

14. Metal Church - "Metal Church" - 83/100

15. Jag Panzer - "Ample Destruction" - 81/100

16. Queensrÿche - "The Warning" - 80/100

17. Dio - "Holy Diver" - 79/100

18. Manowar - "Hail To England" - 78/100

19. Omen - "Battle Cry" - 76/100

20. Thin Lizzy - "Thunder and Lightning" - 74/100

21. W.A.S.P. - "W.A.S.P." - 73/100

22. Accept - "Restless and Wild" - 68/100

23. Manilla Road - "Crystal Logic" - 65/100

24. Scorpions - "Taken By Force" - 60/100

25. Riot - "Fire Down Under" - 49/100

Metal Church - "Metal Church" (1984)

I must confess that at the time, back in the 1980s I gave Metal Church a wide berth, for no other reason than their name made me think they were a glam metal band and so were taboo as far as I was concerned. OK, yeah I know, but I have always been a bit of a dickhead, so more fool me. Even to this day this debut is the only album of theirs I have given much attention to. I have heard its follow up "The Dark" but it didn't make much imprssion on me so the self-titled remains my only real touchstone with the San Franciscan metallers. In addition to this I was never a very big fan of power metal, but since joining Metal Academy I have become converted to the joys of the US version which is less bombastic than its european counterpart and is much more to my liking.

"Metal Church" whilst often being touted as speed metal, or even thrash, is neither of those but rather a good example of USPM. Undoubtedly, when they put their feet on the gas, it is certainly pretty close to speed metal, the instrumental "Merciless Onslaught" for example, but overall the tempos are more varied and there is a bit more to it than the average Exciter album. The title track, (my personal favourite) whilst having a relentless riff, isn't an all-out blur of speed, but is a much more deliberate and considered medium-paced affair, meanwhile "Gods of Wrath" even has a balladic verse structure alongside a classic-sounding NWOBHM riff for the chorus.

Having formed in 1980, the band had been churning out demos prior to Metal Church and that experience served them well because I think they sound like a pretty tightly-knit unit here. Whilst the twin guitars of Kurdt Vanderhoof and Craig Wells are undoubtedly the star attraction, I think drummer Kirk Harrington deserves special mention for his performance which is pretty damn impressive and does a lot more than just keep time with his relentless and intricate drum patterns. Vocalist David Wayne has a tendency to become a bit screechy, but never to the point of annoyance, and he does inject some character with his voice. As I said earlier, though, it is those twin guitars that really dominate "Metal Church". Whether it is the charging of the rampaging riffs or the frantic shredding of the electrifying solos Vanderhoof and Wells impress with their energy and skill.

These were pretty exciting times to be a metalhead as the new wave of acts sweeping the metal world were stripping away the final vestiges of hard rock from their sound, pushing each other to be faster and more evil-sounding and with this debut Metal Church can hold their heads high with their contribution to the movement. In all honesty, though, I would have been perfectly happy without the "Highway Star" cover which feels like an unnecessary nod to the increasingly irrelevant old guard. By the way, is it just me, or is the title track a candidate for the "Influence or Coincidence, Inspiration or Plagiarism" thread because it sounds to me like Dave Mustaine ripped it off for the chorus of "Architecture of Aggression". It isn't like he was unaware of this album surely, they are contemporaries from the Bay Area and must have crossed paths in the 80s.

4/5

Reviewed as part of THE GUARDIANS: Heavy Metal - The 1st Era clan challenge (25/25 completed).

Deschamps must have put a rocket up the French at halftime because that was like a completely different team in the second half. Could be very difficult to beat now they have got going.

These tossers throwing themselves on the ground whenever an opponent breathes on them should be made to watch film of Georgie Best, ankle deep in mud, being hacked at by Norman Hunter or "Chopper" Harris and refusing to go down or Pele having the entire Argentinian team trying to break his leg every time he got the ball. 

Yes, that's a major annoyance. They could also look at Jimmy Johnstone against Athletico Madrid or Racing Club in the battle of Montevideo (not that I am quite old enough to have seen those live). Or Maradona against Gentile of Italy. I have spoken lots of time to folks I used to play football with as a teenager and I don't ever remember anyone staying down injured at all (never mind this rolling around accompanied by a scream). You do see it a bit in kids football these days, but it's not nearly as bad as the professional game.

When I was a youngster playing both football and rugby the mantra was always "don't let them know you're hurting". It seems that footballers now don't care if they look like a total pussy or not. 

Rodri should be more concerned about his team's inability to create any real chances against a resolute defence. I thought Belgium were disappointing and Egypt looked the more dangerous side. New Zealand and Iran both had defences you could drive a bus through and are unlikely to cause the other two in the group many problems I should think.

These tossers throwing themselves on the ground whenever an opponent breathes on them should be made to watch film of Georgie Best, ankle deep in mud, being hacked at by Norman Hunter or "Chopper" Harris and refusing to go down or Pele having the entire Argentinian team trying to break his leg every time he got the ball. 

Thanks Daniel. I actually love hearing about reviewers' personal connections to releases and find the human side of music listening to be far more interesting than merely factual, but emotionally cold, reviews that only focus on the technicalities. As long as there is enough information to allow me to decide for myself if a release is something I may enjoy, then I would much rather hear about what makes it special to that person and all the better if there is a personal story attached. I know those types of reviews annoy some people and they just want the facts, but those music theory type reviews aren't my strength at all.

And what kind of fool would throw a perfectly good Motorhead cassette into the street? Good fortune for you though. Maybe things would have turned out very differently for you if it had been a Duran Duran tape!

Motörhead - "Ace of Spades" (1980)

Once again I apologise in advance if you think this review is overly autobiographical, but my earliest days as a metalhead were inextricably linked with this band in a way that no other has been since and I feel I must acknowledge that. Anyway, review incoming:

Ah, Motörhead. I can't tell you how heavily obsessed with this band I was in my secondary school days in the latter part of the 1970s. Lemmy, Eddie and Philthy were the absolute fucking peak of musical rebellion for me back then. Punks thought they were rebelling, but they were just glorified clothes horses. Nah, bikes, booze and speed as preached by this unholy threesome were where rejection of the system and true freedom really lay. Motörhead shows were special, they had a hardcore of fans who always showed up, particularly from the biker community and were a celebration for those who rejected and lived outside of the system. The band had been steadily growing their popularity with each release, but then, all of a sudden in '79 / '80, rock and metal became popular here in the UK and all manner of "normies" started taking notice. Pivotal in that metal explosion here was "Ace of Spades". It became popular on a level that was unprecedented for UK metal bands (even Sabbath didn't really hit this level of popularity in the general populace). Shit, the 'Head were even there on Thursday night on Top of the Pops for fuck's sake. I was a naive kid and some part of my kid's mind felt betrayed by this sudden "sell out". Of course this was a great album, but my admiration of it was a bit grudging because, much as I loved it, I resented having to share something that had been so personal to me with all these newbies who had no history with the band. Stupid and naive, but my immature mind knew no better. Rather than revelling in the fact that my love of the band had been vindicated by so many others now discovering them, my connection now felt diluted.

So now, as an only marginally more mature-minded old man, what's my take on "Ace of Spades"? Well, I don't think its influence on the future of metal can be understated. Its influence on bands such as Venom is evident and therefore, by extension, on the whole extreme metal scene. It was certainly Motörhead's most truly metal album up to this point and is a long way from the material you would find on their earliest recordings such as the heavy rock 'n'roll of "On Parole". It is also one of the band's most consistent records with few real dips in quality, unlike a lot of their albums which always frustratingly seemed to have at least one "bum" track, think "Vibrator", Step Down" or "I'll Be Your Sister".

The tempo established by the iconic opening title track is maintained pretty consistently throughout the album with tracks like "Fire Fire", "We Are the Road Crew" and "The Hammer" while they shake it up with some variety of pacing as supplied by tracks like "Shoot To Win" and the brooding "Chase Is Better Than the Catch". And over all this booms Lemmy's unmistakeable, thundering basslines whilst Philthy lays into all around him like the "Animal" for which he is named, the duo combining into one of the most devastating and charismatic heavy metal rhythm sections of all times. From what I understand Eddie Clarke was already at this point becoming a little disillusioned with playing second fiddle to Lemmy, yet he was such a consummate professional that you would never guess it as this is probably his all-time best work and his riffs and solos are vibrant and energetic, playing the lightning to Lemmy and Phil's booming thunder. Sure, I will concede, sometimes Lemmy's less-than-serious lyrics can cause the odd grimace, but I think he wrote them with tongue firmly in cheek most of the time.

I don't know if they ever suspected that the title track would become the iconic track it did. I mean it is up there with songs like "Paranoid" and "Smells Like Teen Spirit" in terms of tracks that are so well known people actually become tired of hearing them over time. Whether they did or not, it is one of the best known British metal tracks ever. Hell, even my Elvis-loving mum could be caught singing it occasionally. To be fair she did once sweet-talk a bouncer into letting her in for the last half hour of one of the band's shows at our local fleapit when she came to pick me up. It blew her mind and she always loved Lemmy after that! I digress, but the material on "Ace of Spades" is so strong that even with such a titanic track opening the record, the remainder doesn't feel even remotely disappointing and a couple such as "We Are the Road Crew" and "The Hammer" are even better for my money. Ultimately the top and bottom of it is that this is one of the iconic albums of the UK metal scene alongside "Paranoid" and "Number of the Beast" and no matter what I or anyone else says that ain't changing any time soon.

On a more sombre note, I always use metal-archives as the resource for factual information about the albums I am reviewing and, rather poignantly, I thought, the full lineup page for "Ace of Spades" which includes producer Vic Maile, engineer Trevor Hallesey and even photographer Alan Ballard has R.I.P. next to each name. Fuckin' sad man.

4.5/5

Reviewed as part of THE GUARDIANS: Heavy Metal - The 1st Era clan challenge (24/25 completed). One more to go!

I was going to go to bed at halftime, but this Morocco v Brazil game is so good that I am gonna have to stay up for.the second half. Really impressed by Morocco - great teamwork, pressing high with a good tempo in possession and quick passing combined with excellent off the ball movement. You can never count Brazil out with such brilliant individual skill, though.

Mercyful Fate - Don't Break the Oath (1984)

I'm not going to get into the divisive nature of King Diamond's vocals here, I am sure I have addressed that issue elsewhere. Let's just accept for now that I actually do enjoy his idiosyncrasies and move on. The simple fact was, and remains, that Mercyful Fate wrote some absolute killer metal tracks. They gave Iron Maiden and Judas Priest-like melodic riffs a more evil bent with overtly occult lyrics, although still firmly in the literary or cinematic realm rather than the Anton LaVey serious satanism of later black metal bands. This, coupled with KD's histrionic vocals and early version of corpsepaint gave the impression that the Danes were pushing the envelope of sheer metalness ever further. MF were undoubtedly a major influence on the early exponents of extreme metal and the metal landscape may have ended up sounding quite a bit different without them.

I absolutely love the band's debut album, "Melissa" and it has several of not only my favourite Mercyful Fate tracks, but favourites of traditional heavy metal as a whole. Songs like "Evil", "Into the Coven" and "Satan's Fall" have riffs with the ability to get my head nodding and feet tapping whilst King Diamond's vocal hystrionics simultaneously set the hairs on the back of my neck on end. I think it is more than fair to say that there hadn't been anything quite like Mercyful Fate before. The band had a big task on their hands, then, to follow such an impactful record with one of similar quality that would cement their legacy as metal frontrunners. Ten months later they dropped "Don't Break the Oath" onto an expectant public and the rest, as they say, is history.

I think the first thing that hit me about "Don't Break the Oath" is that KD seems to have dialled back the vocal excesses and delivers a more controlled performance behind the mic. That doesn't mean that he took a conventional approach to his singing duties by any means and if you didn't like his vocals on the debut, then this is unlikely to change your mind as he still hits those theatrical falsettos fairly regularly, just not in as over-the-top a manner as on "Melissa". What about the riffs then? Well, DBtO is as jam-packed with riffs as a Snickers bar is with peanuts and every one registers pretty fucking high on Sonny's patented head-bangability scale. These riffs will be bouncing around your brain long after the record has ended, probably getting you very strange looks should you be using public transport at the time. On top of this Shermann and Denner's guitar work is exemplary with an energy and vitality that sounds genuinely thrilling whenever they let rip with those dynamic solos. The songwriting here also sounds more mature than on the debut, the tracks resolving themselves with a little more complexity than before. This ain't prog though and the memorable hooks are still there in vast numbers, they are just not the be all and end all on this album.

This is certainly a worthy follow-up to "Melissa" and is arguably a better record, even though the hooks on the debut are incredible, but there feels to be a bit more meat on the bones here which, when coupled with King's more restrained performance add up to one of the best traditional heavy metal records of the 1980s.

4.5/5

And finally, who here will be watching the FIFA World Cup? I'm planning on checking out the Soccoroos first match against Turkey tomorrow in the hope of an upset.

Yeah, I have watched the Mexico and Canada games live and the South Korea game highlights, so I'm pretty much up with it so far. Half the games are on at like 2 am here in the UK though, so I won't be watching those live. It has been OK so far, but there is still too much throwing themselves on the floor at the slightest touch from an opponent which is one of the things that really riles me up about the modern game. The rule changes to cut down on time wasting are pretty good though and seem to be working so far.

Yeah, but when I read shit on the internet I get the impression that some people feel what they think other people want them to feel!

What can I say, I feel what I feel.

Riot - "Fire Down Under" (1981)

Riot kind of passed me by at the time, never penetrating my 1980s musical bubble and, frankly, this doesn't possess the energy or aggression that is likely to to draw much of my attention all these many decades later. To me this sounds like a product of its time with way too much hard rock catchiness for my comfort. I mean, come on, "Feel the Same" and "Don't Bring Me Down" are Aerosmith tracks surely. This feels like AOR metal to me, written with US FM radio play in mind and not to provide any aggression or adrenaline as that may negatively affect record sales. Basically this is SAFE and safe is not a word I want attached to my metal listening thank you very much. I guess you want a bit more from me but, frankly, I don't want to waste too much time on this because listening to it is like staring at a blank wall for thirty-seven minutes. It gives me nothing and I shall return that with nothing of my own. If this is what was passing for metal in the US back in the early 80s prior to the thrash boom then I can understand why Def Leppard became so big over there (and you were welcome to them). I guess "Swords and Tequila" is kinda fun and "Run for Your Life" is passable, but the rest is anodyne and meaningless to me.

2.5/5

Running Wild - "Gates to Purgatory" (1984)

Whilst prepping a review for this I noticed the inexplicably low score it has on the site. So, I looked through the reviews to see if I could fathom how I could have got my own judgment so wrong when it is at such odds with people whose opinions I respect. One criticism seems to be that it's too satanic and not "piratey". Oh no, I can only imagine the "Metal Band Sings About Satan" scandal that must have been splurged all over the front pages of the german tabloids. Thank heavens for the PMRC! Seriously though, I hate that whole pirate bullshit that soils their later albums, so this really ain't a problem for me. Why have "Pirates of the Caribbean" when you can have "The Exorcist"?

The second criticism is, essentially, that it is too simplistic and samey. Well, I guess that is where being a neanderthal when it comes to music appreciation works in my favour because I don't have any issue with the lack of subtlety or variation on the album at all and, in all honesty, there is all the variety I need on offer here. I honestly don't think they are any more repetitive than a whole slew of bands from around that time, particularly on the speed metal front. Anyway, here's my review:

I have only listened to a handful of albums from Running Wild, from various points in their career and with mixed results. Of those I have heard, for me, this stands head and shoulders over the rest. Their later "pirate metal" schtick doesn't really track and feels a bit too goofy to take seriously, whereas "Gates to Purgatory's" speed metal influenced, occult-themed trad metal is much more to my taste. They appear to have been initially influenced by the early-80s metal coming out of the UK, particularly Venom who, considering their influence here and on the likes of Sodom and Kreator, must have been huge in Germany around this time. They sound more technically adept and tighter than the Geordie trio for sure, but the influence is definitely there. Another obvious touchpoint for me is Tank with Rock 'n' Rolf's vocals sitting very firmly in the same ballpark as Algy Ward. However, with their more melodic sensibilities, twin guitar attack and proficient soloing, the additional influence of english heavyweights Iron Maiden and Judas Priest can't be understated either. In fact I suspect they are named for the Priest song of the same name from "Killing Machine" which seems to be exactly the kind of track that this album's foundations are built upon. For me this dichotomy makes for a nice balance that lends the hooky riffs and proficient guitar work a suitably raw edge that pushes it into the more aggressive regions of the speed metal world and away from the pomposity of power metal.

It isn't all headlong speed metal charging, though, with the pounding and hulking "Preacher" having more of a doomy riff and slower tempo, putting the brakes on and allowing a pause for breath after the opening dual salvo of "Victim of States Power" and "Black Demon" before diving right back into the even more adrenaline-fuelled headrush provided by "Soldiers of Hell" and "Diabolic Force". Meanwhile "Genghis Khan" does sound awfully Maiden-esque and I may be imagining it, but it feels a lot like the spiritual successor to the identically-titled instrumental from the Irons' "Killers" album. It is, however, one of the album's weaker tracks, sounding a little bit messy at times. I'm not convinced by the closer, "Prisoner of Our Time" either. I like the anthemic chorus and the soloing, but the verses just feel a bit flat in comparison.

So how does it stack up then? You know what, I am actually a bit pissed off that I never got wind of this album at the time of its release because tracks like "Diabolic Force" and "Adrian S.O.S." were exactly the kind of burnt rubber, fuel-injected riots that a bike-crazy, speed junkie like I was back then would have absolutely drooled over. A couple of misfires aside I really like this and I would certainly take it over the band's later stuff. Maybe I would be a bit more disparaging of it if I had a history with the band, but I don't so I unashamedly give this a thumbs up.

4/5 (85/100)

I will definitely be looking to score a copy of this soon.