Sonny's Forum Replies

I think as far as 'The Big Four" goes and arguments about who should or shouldn't be considered as members of this exclusive club: This was a term that was in use very early on in the development of thrash metal and at the time those four bands were literally the biggest four thrash bands around. Testament were quite late to the party, The Legacy coming out after Reign in Blood, Master of Puppets, Peace Sells and Among the Living so were never in with a shout of being considered in The Big Four. Time has dictated otherwise and revealed their consistent back catalogue to merit inclusion, but The Big Four is like the Mount Rushmore of thrash and will remain as those four for time immemorial.

Despite all these differences of opinion, which I was hoping for when beginning this thread, please remember that what unites us is more important than what divides us. Go to RYM and read their board's, there you will find people who think every single album on this site is shit and we are all idiots for enjoying them.

Finally, I must 'fess up that one of my original points is not actually my opinion and I included it in the hope of getting a reaction. Can you guess which it was?

So it looks like you're quite selective when it comes to classic albums from bands like Iron Maiden, Motorhead, Slayer, and possibly Judas Priest and Anthrax. You also seem to think Devin Townsend, Pantera, and Death are overrated despite being masters of their respective genres. And you dislike genres like avant-garde metal, post-metal, and gothic metal. Your opinions might not be similar to what others tend to believe (which is kind of the point of this thread), and we might not see eye-to-eye on many things, but like I said in one of my threads, respecting what people think is key!

Hey, what can I say, I'm just a flawed individual!

For the record, I am never shocked by other people's opinions... only by the fact that they don't realise they are wrong!!

OK, I shall likewise respond:

1. Disagree, but you're right - that is an unpopular opinion!

2. Better than Never Say Die maybe, but better than an album that contains Gypsy, You Won't Change Me and Dirty Women? I must strongly object, sir!

3. In all honesty, I don't rate any of Sabbath's live albums anywhere near as much as the Heaven and Hell album Live From Radio City Music Hall.

4. Agree - and Falling off the Edge of the World is the best Dio era Sabbath track.

5. Also agree. It's actually a bit all over the place in my opinion.

And for an added bonus: Ozzy Osborne only made one good album after he left Sabbath and that was Blizzard of Ozz.

Just to correct myself on my own point 3. I meant to write Painkiller, not Defenders of the Faith (that's about number six). I much prefer Sad Wings, Sin After Sin and Stained Class that they put out before they consciously tried to become the biggest metal band in the world and sold out. I'll just illustrate what I mean - on the Stained Class tour they charged about a quid for a programme. On the next tour less than a year later, after Take on the World had been on Top of the Pops, metal was growing in popularity and a load of middle-class kids got their parents to take them to the gig, the cheeky bastards wanted to charge £2.50. I said "fuck off" and never bought another concert programme again. So for being such a bunch of lousy sell-outs I stand by this claim that their best albums were when they cared about the music, not the money and fame and started fleecing their fans.

I would say that if you are surprised that a metal musician holds right-wing views or isn't a beacon of righteousness, then you are extremely naive. This is a bit of a thorny topic however and I can see why some have problems with it. The Arts are littered with reprehensible individuals, so where do you draw the line? I have never been a fan of celebrity culture anyway and am not particularly interested in the lives of musicians or actors so pay little attention to their (usually self-important) views.

Similarly to Ben, if I love the music, then I will still listen to it whilst acknowledging that the person or persons involved in it may be of dubious character. I am no big fan of cancel culture and have no desire to become involved in that whole self-righteous wave sweeping our world. 

"Let he who is without sin..." and all that!

I agree that there is probably very little you need to change, Xephyr as your reviews are always very well-written and give a good idea of what to expect from the release.

As a non-musician I find it difficult to talk about the technical aspects of a release, so I tend to focus on the atmosphere and emotion of a release (these are the aspects that interest me anyway) rather than chord progressions, song structures or what key the song is in.

I am no great writer, but I do enjoy it. However, I don't always feel the need or inclination to write an essay about a release, so often throw in single paragraph reviews which hopefully will at least fulfil Daniel's hopes to get a flavour of a release. I know some people don't approve, but surely it's better than a release having nothing written about it and to be perfectly honest , I just switch off to really long-ass reviews as they either get too technical, stray from the point or just become boring.

Finally, I also like to get an idea of how the reviewer relates to the release and really enjoy reviews that have a personal touch and may relay some interesting tale of metal fandom that doesn't really says much about the release, but a lot about the writer and their life as a metalhead.

It's a cover of an Edgar Winter track from 1973, so not really thrash metal at all. Still a good track, though.

Hi Ben, please add Atavist's latest album III:Absolution.

There are certainly film scores that I love - Gladiator, Blade Runner, Legend to name but three and there are some computer game scores I quite like (although not many I'll admit) such as Skyrim. My problem isn't so much that the Doom soundtrack is a computer game score (it is a score and not a soundtrack), it's that I genuinely found it unbearable. It just gave me a splitting headache, which considering some of the shit I listen to, is some achievement! And worst of all, IT'S NOT EVEN FUCKING DOOM!!

I don't really remember their earlier stuff that way. As I remember it it was quite shouty, but maybe I'll revisit them when I'm at a bit of a loose end. Or I may just go back to Smashing Pumpkins instead.

December Feature Releases Verdict:

MDB - The Dreadful Hours: My favourite MDB full length 4/5

Deftones - Ohms: I didn't go into this with any relish at all. I had a very good friend who used to push their albums onto me (sadly now passed), despite the fact I couldn't do with their brand of metal at all - I hate White Pony and the self-titled intensely and haven't listened to the band at all for well over a decade. But I do quite like Smashing Pumpkins and this sounds like Billy Corgan & co gone metal, so finally Deftones have made a record I actually quite like! 3.5/5

Incantation - Diabolical Conquest: Brilliant, has become one of my all-time favourite death metal releases 5/5

Oranssi Pazuzu - Mestarin kynsi: Amazing, cementing OP's position as one of the most original metal bands around. 4.5/5

Deathspell Omega - Chaining the Katechon: Deathspell's music is all about acute angles and sharp edges that never allow the listener to really get comfortable and never more so than on this single track epic. Terrific. 4/5

Testament - The Legacy: The riffs are classic thrash chuggers and Alex Sloknik's solos are vibrant and electric, guaranteed to make your neck hairs stand on end! Chuck Billy's vocals are great, particularly for a thrash singer, with a versatility few vocalists in the genre could equal. A great example of 80's thrash. 4.5/5

Sunami - Sunami EP: As a fan of hardcore punk I must admit I quite enjoyed this short and bitter EP. 3.5/5

Mick Gordon - Doom: Horrible. I'm sorry but I hated this. If a two-hour computer game soundtrack is the best a clan can come up with, then I guess it's not for me. 1/5

Gamma Ray - whatever!?: Sorry, I just couldn't be bothered with two hours of power metal, especially after a two-hour computer game soundtrack. After all there are limits to what I will endure for The Academy!

I'm a big fan of hardcore punk like Sick of it All and Minor Threat and the first Suicidal Tendencies album is one of my all-time favourites, so I quite enjoyed this - far better than almost any metalcore I've heard before. Benefits, as most hardcore-based releases do, from it's short runtime as that level of intensity is hard to maintain for extended periods. 3.5/5

Ah.. I've deleted both ratings then re-rated it and it seems ok now.

Could you add In the Company of Serpents (US) and Yatra's All Is Lost album please Ben?

Wow, that's an oldie, but goodie!!

And yes, OP sound massively like Hawkwing nowadays don't they.

I got turned onto this earlier this week, some real heavy pre-1970 shit:

Hi Ben, please add the new Dö EP, Black Hole Mass.

New album from Briton Rites, a decade after their previous, debut release.

BR feature veteran doom vocalist Phil Swanson of Hour of 13, Seamount, Vestal Claret, Atlantean Codex and more.

FFO classic doom metal.

Hi Ben could you please add the new albums from Cardianl Wyrm (Devotionals) and Briton Rites (Occulte Fantastique)?

Just caught on to Onirik's latest release and have spent most of the weekend with that so far.  But also dusted off some old vinyl (second hand purchases) that wouldn't play on my old vinyl player - because the player was shite - but now seem to be okay, so last night I got through Winger's self-titled (shut up) with a few whisky and cokes in me and sang along like a teenage girl!  Onirik and Winger in the same day, what an eclectic bastard I am.

That Onirik album is a seriously great record... erm Winger, not so much!

That is an incredible amount of work Ben and your dedication is amazing. Thanks 25,000 times for all your stellar efforts to provide your members with a satisfying experience.

In these crazy times we are all living in, it is fantastic to have a place where you can just "hang out" and shoot the shit with like- (or sometimes unlike-) minded individuals about music, nothing more and nothing less. No pandemic, no mentally unhinged politicians, just talking with (and hopefully listening to) others about something we all love. Many, many thanks to both you, Ben and Daniel for all the hours you both must spend to provide this all for us.

Best wishes to both of you and your families for Xmas and the New Year and also to all the Academy members.

I didn't mean to imply that any of us only listen to Metal, but I'm interested as to why we keep returning to it, as our involvement in MA suggests that we have more than a passing affection for it. I know numerous people who have been metalheads who just lost interest, so presumably it doesn't speak to something in those people the same way it does with us. Personally, I am a massive delta blues, prog rock, punk and post-punk, psychedelic rock, folk, ritual ambient and (don't laugh) opera fan (that's why I despise symphonic metal, it really doesn't stack up against the real thing). Yet it's here I spend my time, wanting to talk about metal not those other styles.

It's an interesting point you make Daniel about the cerebral side appealing to you because, for me,  it's the primal emotional punch that really hooks me. When I listen to metal I want to FEEL it. I think that's why I prefer genres like funeral doom and black metal, cavernous death metal and neck-breaking thrash over the more technical stuff. I tend to do my cerebral exercises whilst reading. In fact, now I think about it, it's probably true of most music I listen to - I dislike jazz immensely, but I adore New Orleans jazz, I love the old blues guys like Robert Johnson, Muddy Waters and Howlin' Wolf, but blues rock often leaves me cold as it just feels soulless and too 'clever' next to those guys.

I think a point most of us do agree on is that metal is an outsider's music. I am one contrary motherfucker (just ask my old man) and I've always seen metal as a "fuck you" to the norm. That is why I hate any attempt at commercialisation of metal. The worst crime any musician can commit musically, in my view, is insincerity and although there are (an increasing) number of fakes in the metalverse, I would say less so than in most popular styles of music. 

Also a great point about the camaraderie amongst genuine Metal fans. It's weird, but even though we may have disagreements about the merits of certain aspects of the metal world amongst ourselves, should it be attacked by "outsiders" we all rally round and leap to it's defence like a pack of angry wolves defending their den.

Anyway, whatever our reasons, here we are and here we'll stay!

Hey Vinny, it's great to hear a story with some positivity coming out of what has been a completely f***ed up year and I am genuinely made up to hear it. Personally I have had to put up with tinnitus  for years, due as much to working in a foundry/rolling mill back in the Eighties when H&S rules were much slacker as it is to standing in front of the bass bins at Motörhead gigs. The consequence for me is that I tend to listen to too much music as it disguises the constant hissing. But I completely recognise where you are coming from when you say you had trouble retaining the music you were listening to, almost as if some connection was lost. Your comment about not trying to keep up with every new release really resonated with me as I am guilty as charged. My theory for this is that like some emaciated smack-head I keep chasing the high of that first time hearing Paranoid, Creeping Death, I Am the Black Wizards or whatever shit it was that blew my mind back in the day and I attack every new album with the relish of a junkie with his first bag of the day, only to be left disappointed more often than not. So, I have decided that I too will abandon, at least for now, this constant chasing of that musical dragon and try to focus on fewer new releases and maybe try to reconnect with some of that music that inspired me so much back in the day. Thanks Vinny for sharing your story and maybe reigniting something I thought I had lost, I am genuinely grateful.

Just read your review Daniel and it absolutely nails it as to what makes this album so f***ing awesome and expresses it far more eloquently than I ever could. Your quote "The intentionally sludgy & mossy production, the gorgeously muddy guitar tone, the monstrous bass tone, the loose-ish performances that ooze of underground credibility, the ultra-deep & repetitive vocals" sum up exactly what I love most when I do listen to death metal. Unlike yourself, I am not a dyed-in-the -wool death metal fan, being more attracted to doom and black metal for my extreme metal fixes, but this is exactly the sort of record that appeals to what I do love about the genre and it's looser, filthier side. 

Ben, could you add LA's Merciless Death please.

I agree wholeheartedly with Ben's assertion that the issue lies with laziness around genre descriptions (particularly on RYM) and the fact that any metal with folk elements becomes tagged automatically as folk metal or any Viking-themed metal is therefore Viking Metal. The question then is, do you rely on genre tagging from RYM and try to fix it through the Hall, in which case maybe MA needs it's own, less ambiguous genre descriptions, or do you find another source for the initial genre designations?

The Manowar / Bathory connection is also very similar to the Black Sabbath / nearly every single stoner doom band ever who claim the Sabbs as an influence connection where Sabbath are heavy metal and all those others are stoner or doom metal, even those who sound exactly like Sabbath.

The wild and weird world of genre definitions, frustrating though it is, is certainly a great source of debate in the Metalverse though isn't it?

Folk Metal is another of the myriad sub-genres I am not particularly clear about. There are a huge number of black metal releases with substantial folk parts that often get tagged as folk metal on RYM (particularly as secondaries), but I guess what you're referring to is the out and out folk metal that, to my ears sounds like it would be more at home nestling next to power metal in The Guardians. Viking Metal I'm not so sure about as most of my experience with that comes from Bathory and early Enslaved, which I have no problem with sitting in The North.

I have no idea about trance metal's proper placing as, being an old, out of touch m-f, I'm not even sure what it is. Maybe you could suggest a couple of the top examples for me to check out. As for Nintendocore & trancecore I didn't even know they existed until I read your post. Please, what the fuck is Nintendocore and whatever you do, keep it the fuck away from me!! Whatever next, McDonaldscore, Nikecore? So metal has now officially become a corporate whore (I kinda knew it anyway, but that is ridiculous).

Finally, grindcore sits perfectly naturally in The Horde as far as I can tell.

January suggestions:

HeXen: Gas Chamber from State of Insurgency (2008)

Blood Tsunami: One Step Closer to the Grave from Grand Feast for Vultures (2009)

Slayer: Chemical Warfare from Haunting the Chapel EP (1984) (Spotify: Live Undead / Haunting the Chapel)

Suggestions for January:

Thorr's Hammer: Troll from Dommedagsnatt  (1996)

Saint Vitus: Bitter Truth from Mournful Cries (1988)

Burning Witch: Sacred Predictions from Crippled Lucifer (1998)

For January I'm only going to go with a single suggestion as it's quite a long one (and not just the title):

Ek sá halr at Hóars veðri hǫsvan serk Hrísgrísnis bar from Árstíðir Lifsins' latest album, Saga á tveim tungum II: Eigi fjǫll né firðir.

However, if you need to fill a couple of minutes I wouldn't mind hearing Marduk's Panzer Division Marduk from the album of the same name.

I agree with you Daniel that the vocals alone merit a place in The North, I merely posed the question to see what others thought. It is probably an album that is at the very limit of what could rightly be included that clan though (along with a number of doom metal bands that utilise black metal vocals, but have few other BM influences).

I must also defer to you on what constitutes post-metal, as it is a genre I have only recently become acquainted with to any degree. I do enjoy some of it very much, but that I have listened to kind of reminds me of 70's progressive electronic music in that it's soundscapes feel quite passive and engender atmospheres to sink into rather than actively engage with. (I'm probably not expressing what I'm trying to say very well here, but as I say, my experience with the genre is limited and I defer to those with more expertise on the subject).

A direct quote from my review of some months ago - "In fact, I hear very little black metal on here other than in the vocals. " So I absolutely agree with you on this one Daniel. The question then is, does only having a vocal relationship with black metal constitute a strong enough case for inclusion in the North. When I refer to them as a black metal band, I do so in the same way I would refer to Enslaved, as a band that has developed from black metal beginnings that still retain a vestigial link back to their origins. In both band's cases I think it is also fair to say that even in the early days they were already stretching beyond the genre's confines.

Something I did refer to in my review that I would like an opinion on is that I believe this album exhibits a huge influence from UK space rock pioneers Hawkwind. I don't know how familiar you are with them, but listen to Choose Your Masques from 1982 and then Uusi Teknokratica and tell me there's no relationship. Also the driving rhythms overlaid by electronics is classic Hawkwind.

I can't help thinking that if one black metal band can break out of the scene and gain some kind of mainstream acclaim, then it is going to be Oranssi Pazuzu. I believe the avant-garde tag for this release is grossly misleading and I would argue that rather, this is true progressive music (be it metal or not) that is born of minds similar to true visionaries of the progressive rock era like Robert Fripp and Peter Hammil, but with all the armoury of modern music-making at their disposal. I understand why you would want to tag this as post-metal, but personally when I think of post-metal I think of somewhat passive music and this is anything but passive.

A lot of shit is talked about a lot of bands being original in metal when, let's be brutally honest here, they really aren't that much, but in OP's case this is a true statement. This, along with 2016's Värähtelijä and the Waste of Space Orchestra collaboration with Dark Buddha Rising, are three of the finest, most original albums to emerge from the metal scene in the past decade and should already have cemented the band's legendary status.

Ben, please add Germany's Sacred Gate.

Unlike about 90% of metal fans (it seems) I'm not really keen on fantasy art, although I do love good sci-fi artwork, so probably The Infinite would be one. Natural landscapes are also a big favourite, especially mountains, snow, forests and water, so The North obviously. The melancholic aspect of a lot of The Fallen artwork also has much appeal, so I would make that my third. Also any clan that has Mariusz Lewandowski artwork!

DsO are another band that I haven't listened to anything like enough. Obviously I'm familiar with Paracletus (everybody should be, let's face it) but other than their latest I am largely ignorant of the rest of their output. On the strength of this and Paracletus I obviously need to remedy this situation. Deathspell's music (at least that that I have heard) is all about acute angles and sharp edges that never allow the listener to really get comfortable and never more so than on this single track epic. Apparently, the Katechon is that that prevents the world falling into chaos and disorder and a bulwark against Armageddon, hence the chaining of such would result in just those things (which would probably amuse the DsO guys no end!) Unfortunately it seems that DsO are another band who have at least one member with some quite reprehensible views and that is always disappointing, but judging them solely on musical output, they are a challenging and interesting listen in the main and a band that any fan of extreme metal should be familiar with.

I've just posted a review and I've got to say, I have been absolutely blown away by just how awesome this album is. I have lots of reservations about certain aspects of death metal, but when it gets it right, as it most definitely does here, then it can be truly mind-blowing. I'm already touting this as one of my five star albums after only handful of listens. Another winner from me from the Featured Releases, after the Shining and Neptunian Maximalism albums from last month I'm beginning to feel a bit spoiled!

From this month's Horde featured release. The bass sound on this track is f***ing insane!!

I agree, the gothic metal aspect is nothing like as obvious here as in a lot of gothic death doom (and is better for it!) It's been mentioned before, but I think there is a case for separating true gothic metal from other metal sub-genres that may have some gothic atmosphere, such as death doom or black metal. At best these should only have gothic as a secondary genre, as they would say on RYM.

I actually reviewed this for The Pit clan challenge a bit back. As I said there, I never really gave Testament much credit, coming a bit late to the game as they did. In the past couple of years though I have been re-evaluating them and have recognised them for the damn fine thrash outfit they are, turning out to be more consistent long-term than three of the big four as the years have passed. Alex Skolnick's scintillating solos and Chuck Billy's vocals are as good as any thrashers have produced and the songs are anthemic and  memorable, with no duffers in the whole 38 minutes. A neck-wrenching 4.5/5 from me.

I must admit I only use Spotify to listen to the MA playlists, so I have no idea how they handle splits. I do listen to a lot of stuff via Bandcamp and bands quite often only post their own tracks from split releases and not the other band's. Usually to get the whole release together you would need to go to the label's page rather than the individual artist's.

I am one of those Luddites who still loves collecting physical releases and so split releases are probably more relevant to old gits like me, still living in the past, rather than all you young tech-heads and your new-fangled streaming thingummies!!

Haven't you heard Värähtelijä either Daniel? Damn, get on that one soon as you can, it was my AOTY for 2016. 

Shit, I hope it's better than that cover, Daniel!

You are right Xephyr that there is a big difference between a split and a collaboration, look no further than the superb Bell Witch / Aerial Ruin collaboration, The Stygian Bough which is one of my favourite albums of the year. A collaboration does tend to be more coherent because the bands involved are working on a common piece. Splits however, are often used to showcase different bands separately and one band that is less familiar can get exposure on the back of another. The Nechochwen / Panopticon split is just such a beast due to the critical acclaim Austin Lunn has garnered over recent years. Because the two bands usually work independently on a split it can have mixed results, which is why I ask how people think of them. Sometimes the bands complement each other really well and others are not necessarily a good fit. Maybe the split is a format that has had it's time, but I don't think so because, as I say, there have been some belters this year in my opinion.

Thanks for that Daniel. For the first time this month I listened to nearly all the featured releases and although I can't honestly say I enjoyed them all, it was an interesting undertaking nonetheless and one I am hoping to continue going forward, so hopefully I'll be able to come up with something to contribute to the discussions, especially regarding stuff I probably wouldn't normally listen to.

Just out of interest Daniel, whilst going through this month's featured releases, I was wondering what your criteria was for selection as it seems like quite a challenging task.

1. Black Sabbath - "Sabbath Bloody Sabbath" (1973) 5/5

I can't in good conscience have any other of these nine albums at #1 as this has been a favourite of mine for well over forty years now. A proto-prog metal classic as the Sabs stretched themselves a bit and added Rick Wakeman on keyboards.

2. Shining - "V - Halmstad" (2007) 4.5/5

Despite not being a huge fan of Shining previously I was knocked out by this album. I found a profound connection to it on a personal level. Emotional.

3. Neptunian Maximalism - "Eons" (2020) 4.5/5

The thought of a two-hour avant-jazz album had me positively sweating with dread. But this isn't that album at all I'm absolutely thrilled to report. Yes, sure there are avant-jazz elements present, obviously, but I consider them merely icing, the heart and soul of this album is the percussion and it's ritualistic and tribal rhythms that call to something buried deep in the human psyche. I'm a big fan of ritual ambient artists like Draugurinn and Forndom, but this is on a different level completely. I must admit though that I did wonder how it became featured on a metal website, until the third section at least where it's drone metal credentials kick in. I still have some issue with the solely jazz sections and it is a long album, but these are minor gripes as this is something truly outside my comfort zone that I absolutely love. The trouble with it is, it has made me an unfaithful music listener now - I'm listening to something else, but I'm thinking of this while I'm doing so!

4. Disillusion - "Back To Times Of Splendor" (2004) 3.75/5

I dislike melo-death intensely and prog metal to me means Dream Theater-style musical wankery, so I didn't approach this with much relish. But, it is actually pretty decent, albeit with a couple of provisos. I'm still not sold on the melo-death sections particularly, although they are far from the worst I've ever heard and, secondly, the vocalist causes me a few issues. I think it was Vinny who said that the vocalist is stealing a living, it appears he's stealing it off Serj Tankian and Corey Taylor. I actually don't mind the SOAD sounding parts, but I hate that Corey Taylor-like melo-death vocal style and here it's especially horrible. But that aside, musically I enjoyed huge swathes of this, it reminds me of a heavier version of Polish prog-rock outfit Riverside, a modern prog band I particularly enjoy. Vocals apart, it's well performed and varied with some decent prog songwriting, so I'm gonna call this a (qualified) success.

5. Undeath - "Lesions Of A Different Kind" (2020) 3.5/5

Solid, if somewhat predictable, OSDM.

6. Warbringer - "Weapons Of Tomorrow" (2020) 3/5

Not bad modern thrash, but I gotta say no classic and on those occasions when they slow it down it pretty much sucks.

7. Faith No More - "Angel Dust" (1992) 2/5

American college-kid party music. Unlike the Shining and Neptunian Maximalism albums I was unable to relate to this in any way. I didn't even hate it, I just found it incomprehensible and could make no connection to the music either intellectually or emotionally. A musical placebo.

8. Strapping Young Lad - "Alien" (2005)

I haven't scored this because I honestly couldn't be arsed listening to it. I'm one of those unhip types who thinks Devin Townsend is massively overrated. A friend did encourage me to listen to it years ago and I remember not being enamoured of it. Sorry.

9. Gaza - "I Don't Care Where I Go When I Die" (2006) 0.5/5

So this is mathcore is it? Well, Fuck that! this is literally one of the most awful metal albums I've ever had the misfortune to hear. Sounds like a toddler throwing a tantrum in the supermarket because his mum won't buy him his favourite snack - if I wanted to hear that then I'd take a trip to the local Aldi. If I never hear this again it'll be too soon.

So, in summary, a couple of really amazing discoveries for me (thanks Daniel), an old favourite, a prog surprise, a couple of solid, if somewhat unremarkable releases, a couple of non-entities and an utter bag of shite (as we say round here)! The good outweigh the bad however, so thumbs up!!

Ah, that may be the issue. Thanks Daniel.

I think you can rate on one listen because, to be honest, ratings can often be quite fluid anyway. I do agree though that it is impossible to review an album in any meaningful way without several listens as to do so without delving into it further does the music (and the artist) a great disservice. This is often why I will submit a rating initially but not a review, the rating acting as a placeholder until I get round to giving the album the attention it deserves. If I can't be bothered to go back to it for whatever reason, then I am plenty happy enough for the rating to stand. For this reason I view unsubstantiated ratings as more of a rough idea of how an album is considered, whereas a review is far more relevant as to how a listener considers a release.

To return to my original point, maybe not everyone does have a subconscious bias, but I still think it is a very special critic who can put all internal biases to one side when passing judgement on something as subjective as music. Maybe I feel this because I have no musical ability whatsoever so the technical aspect of music is as impenetrable to me as quantum mechanics (which some dickheads say is why I listen to so much metal) and for this reason I have to judge a release on how it affects me personally and that will always inevitably butt up against personal bias.

I've been listening to Sodom's 2016 album Decision Day this morning. I thought "Actually this is a really solid album", but despite that, because it's Sodom and I know what the band are (were?) capable of, I couldn't in good conscience give it better than a 3.5. Now, had that album been put out by an unknown band, would I have scored it better? Maybe. Anyway I got to thinking and came to the conclusion that I subconsciously have a problem with great bands producing good, not great, product. So my question is, what are your conscious or unconscious biases when rating albums - and please don't tell me you don't have any, because if you think that's the case then, sorry, you do, you just don't recognise any of them!

I must second all Daniel's comments and add that I really appreciate all the effort and financial commitment that Ben puts into the site. Speaking as someone who doesn't really like internet forums, the one exception is here on The Academy and that is down to the openness and welcoming nature of the site as a whole which is absolutely driven by Ben (and Daniel) and their friendly and respecting attitude to all the members. We may not be large in number but we are all  dedicated and that is wholly down to those two guys I think. 

Also, it was mightily impressive how speedily and efficiently you implemented the new changes Ben and I think the site is just going from strength to strength. The most fun metal website on the internet - there, put that on the poster!