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Godflesh 'In All Languages' (Earache)
Double CD- part one more a compilation than anything else, with a pretty strong selection, including personal favourite 'Slateman' ('twas hearing this on the Grindcrusher comp years ago that got me into this band). Each platter since the indie self-titled release is covered here. The second part is naturally the more interesting of the two disks, covering hard to get mixes etc. Inevitably it's a bit of a patchy affair, some remixes appearing in inferior guises to the originals (such as 'Xynobis') but in terms of value fer shekels comp of obscurities, 'In all languages' is 100% quality. Godz. (Spandex)
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Halford 'Live Insurrection' (Sanctuary)
More than a few folks have been bemused by our Rob's shameless racing from Metallik pillar to post (Pantera-like 'Fight', the dubious 'Two' and then back to solid 'eavy Metal with the modestly monikered 'Halford'). I couldn't give a damn, I'm more than happy to see the baldy old scrote striding 'cross the stage in his stinky leather chaps once more, his integrity be damned, treating us to a variety of his various guises over the past coupla decades... the Fight stuff sounds great, the Priest klassiks (Electric Eye, Riding on the Wind, Beyond the Realms of Death, Breaking the Law etc) delivered with impressive umpph, though Rob's vocals do seem somewhat patchy in places. And whilst the 'live' status of more than a few of the tracks here are very doubtful, 'Live Insurrection' is a jolly splendid display of good ol' Blighty's finest. Alas, no rendition of 'Well Bent for Trevor'... (Spandex)
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Hell-Born 'Hellblast' (Conquer Records)
Forgive these guys the crappy name, for this is Metal of the highest order. Think old-school Thrash/ Death Metal, basic, powerful music with excellent riffs and decent vocals (ie not of the crap oft heard these days)... this could almost be torn straight from the late 80s, akin to the BlackThrash movement (Sodom, Kreator, Slaughterlord et al). 'Vision of Decline' is monumental in its effectiveness, the riff won't leave your brain till the day it's eaten by the worms. This Polish crew MUST be checked out. (Spandex)
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Immortal Cringe 'Undying Fear' (Demolition)
Stop press. Every so often, an album screams seemingly from out of nowhere, delivers a merciless volley of hard digs in the face and then pisses over your beaten corpse. Colorado's 'Immortal Cringe' is such an event. Post-thrash bludge-o-rama with a surprisingly effective vocal delivery and an extensive array of fancy-pants riffage a la Cynic and Atheist which never detracts from the muscular, twisting power. Creeping from the speakers like a reinvention of Slayer's 'Hell Awaits' intro, this album then moves intelligently through the hallowed halls of Metal, touching upon Thrash, Power and flamenco (?!). Enough to make any Frash'ead spontaneously gush forth the lurve potion in his/ her panties. One of the most highly recommended albums this issue. (Spandex)
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Kreator 'Violent Revolution' (SPV)
Given their perhaps ill-advised flirtations with Sisters of Mercy/ Killing Joke during the latter part of the 90's (though 'Endorama' was rather good), this proper new album was greatly anticipated. Would it go straight back to HATE METAL as we had heard rumoured, or would be a Maiden/Megadeth-esque 'yeah, this is the best we've ever done' shite-spray? Well, fall to thy knees, for this is a slab of Metal so mighty it shall flay thy soul. It's a move back onto solid Frash ground, though more so 'Coma of Souls' than 'Flag of Hate' if y'dig. And that's more than fine to these ears. The title track is actually one of the weaker moments here (though its simplicity should make it killer live), and the quality is from the likes of 'All of the same Blood', 'Second Awakening', 'Reconquering the Throne' (Thrash-wise, they come pretty damn close to achieving this) and most particularly the arse-shatteringly heavy 'Servant in Heaven/ King in Hell'. The venom's back, and the riffage is nothing short of dangerous. Brilliant. This is the most confident slab I've heard in ages. (Spandex)
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Lucyfire 'This Dollar Saved My Life at Whitehorse' (SPV)
A side-project from Tiamat's frontman Johann Edlund, 'This Dollar...' is an utterly dismal, useless, wretched disk. Proclaiming on the promo sheet that this presents his sense of humour, it must be a pretty shite sense of humour at that. It's sub-electro pop a la The Mission, dumbed down by a factor of ten (and that's saying summat), and it plain sucks. He also manages to make a balls of covering ZZ Top's magnifique 'Sharp Dressed Man' from the 'Eliminator' mega-platinum opus that lurks somewhere within everyones record collection. You'll doubtless be as fascinated as I to learn that the album title is inspired by Scrooge McDuck, that Disney cartoon. Boring boring boring. If you want this, send me a big envelope and I'll throw in all the other shite received over the past few months as well. (Spandex)
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Megadeth 'The World Needs a Hero' (Sanctuary)
Damn, I'm stupid. Fell for it again, all those 'yeah, back to the true 'Deth' reviews I read and believed. To say this kicks ass would be to tell a great dirty lie. Mightily disappointing on first listen, having grabbed it on the release day and scuttled back to my lair to give it a spin, the previews having led me to anticipate summat akin to 'Rust...'. I've always had a major soft-spot for the 'Deth. Nonetheless, it does grow... and if anything, does reflect Mustaine's debt to NWOBHM clearer than any previous releases. Diamond Head, for example, is subtly called to mind on opener 'Disconnect' (hark the tree-bell part of 'Sucking My Love'). But it's done so again on a song so abysmal that I cannot bring myself to say its name, where 'Am I Evil' is disinterred and violated in the most tasteless manner. The title track and 'MotorPsycho' both fail to impress your sterling zine writer here, but next slab up, '1000 Times Goodbye' reveals a hint of the trademark Mustaine cynicism and is rather damn good. 'Promises'... hmm, he should start a side project methinks for that ilk of dittie. 'Recipe for Hate... Warhorse' harks back to 'Go to Hell'. 'Losing My Senses' ain't that bad either, an infectious bit of stuff. The verdict: it's definitely not a return to 'Rust...', it's worse than 'Risk' and 'Youthanasia', and nowhere not the equal of the fantastic 'Cryptic Writings'. Megadeth remain in shame. (Spandex)
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Mourning Beloveth 'Dust' (Bron)
If you've lent an ear to the demos by this excellent Irish doom act, prepare to be a tad surprised by this 'un. Sitting in the dark with a glass of fine Merlot, in your favourite armchair, you slip the disk into the doombox and settle back to get sucked into the vortex of despair, to be transported to that plain where souls go to die. But what's this? Less sonic attrition, less claustrophobia, less all-round abject misery. 'Dust' sees a significant development in the MB experience. It's more accessible, and more expansive in mood... and, let's be honest about it, less arduous a listen. With a much greater emphasis on melodies and vocal contrasts, this offering is highly engaging and surely deserves your attention. The sound itself (courtesy of Mags) is superb, and with this five song piece yielding just over an hour of aural activity, rest assured that these guys are unlikely ever to succumb to the lure of the three-minute single. (Spandex)
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Narnia 'Desert Land' (Nuclear Blast)
By Gad, those damn Boche must be producing this True Metal stuff by the score in the Ruhr industrial heartlands, in vast underground manufacturies peopled by the mulletheaded hordes of the dark Ardennes forests. This sounds on occasion astonishingly like Saxon being gay, though the vocals can't match our Biff's, and the keyboards are too gay. The lyrics are shite, the titles dreadful ('The Witch and the Lion') and as a concept, 'Narnia' is terrible. Why base a band on a kid's book? What next, the heroic adventures of 'Bunny Fluff's Moving Day' (which was, incidentally, my favourite bedtime Ladybird book as a wee boy). Thing is, it's just so damn preposterous that it comes perilously close to actually working. (Spandex)
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Overkill 'Bloodletting' (SPV)
Initially sounding a bit flat and lifeless to these ears, 'Bloodletting' has definitely turned out to be a killer. Opener 'Thunderhead' is a deceptively 'upfront' opener to this platter, but there's the same darker feel to this album which has characterised recent Overkill outings. 'Blown Away' is a good illustration of this, a pace and delivery a million miles away from the frantic 'Hello from the Gutter' fayre of yore. Solos are also pretty much absent here (the notable exception being 'My Name is Pain'), the band favouring relentless riffage instead. This isn't to suggest that Overkill have abandoned their Thrash roots or wimped -out... there's still plenty of bite and venom here, kiddies. Worth also mentioning that Joe Comeau (ex-Liege Lord fame) has departed to Annihilator, his place here being taken by Dave Linsk. (Spandex)
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Paradise Lost 'Believe in Nothing' (EMI)
By rights, this should have been reviewed for issue 3, but I simply hadn't bothered to buy it following from the universally bad verdicts I was hearing. Lo and behold, one fine day on a Metallik foray I chanced upon said album in a bargain boutique and snapped 'er up. Well worth the two quid I 'd say... 'Believe..' is a rather damn good album. It's not as immediate as 'One Second' but also not as forced as 'Icon'. There's a great sense of darkness and isolation eminate from this opus, an air not so much of melancholy as one of standing back and talking a fresh view at the world. Main stand out is 'Mouth'. Less impressive are the likes of 'Look at me Now', 'Divided' and 'Something Real'. Recommended through curiosity, though it must be said that it does require patience. (Spandex)
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Ravenous, The 'Assembled in Blasphemy' (Hammerheart)
Hail the Gods of Metallik Ecstasy, for this line-up is almost indecent in its incandescence. It's any Dethster's wet dream... Mr Daniel Lilker (Anthrax/ Nuclear Assault/ S.O.D/ Brutal Truth/ Exit 13) and Mr Christopher Reifert (Death/ Autopsy/ Abscess) in the same band... wooargghhhhhh. Jeez, Autopsy SHREDDED... check out 'Mental Funeral' if you've never heard that TOTAL GORE outfit... these guys went where no-one else had either the wit (hmm) or wisdom... death combined with KRUSHING DOOM, yet possessed of a primordial groove that could get the coldest corpse freaking like Joey Deacon on speed. Aye, and also some of the coolest lyrics committed to parchment. Autopsy, of course, have long lain mouldering in the dampest corner of the Metallik graveyard (most likely in the plot beside Repulsion). But wot of the Ravenous? Well, they obviously restate the Autopsy sound, right down to the geetars... and this can only be GOOD... very good. But the vibe ain't there. It's a homage, a tribute, nothing that builds upon the original blueprint. (Spandex)
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Regurgitated 'Carnivorous Erection' (Relapse)
Take the Earache catalog circa 1991. Select Entombed, Carcass, bring to boil. Top with a dash of gore-grind. Serve with a glass of cianti. Nothing you haven't eaten a thousand times before but, mmm, it's still delicious. (Spandex)
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Riffmaster General 'A Trust Betrayed' (Manqueller Records)
The most immediately noticeable thing here is that the vocals are better on this release than on 2000's demo, displaying a Mustaine-like sneer in 'I am Destroyer'. Yeah, it may sound a bit contrived, but it does work. Nonetheless, a bit more vocal projection wouldn't go amiss, as I suspect that Andy may be a bit self-concious about it (it's like a shy Ricky Warwick). Mind you, the vocal harmonies work well on 'Til Tomorrow Dies'. Pace-wise, some of this is a tad sedate, but there's always a goodie such as 'Promised Land' just waiting to ramp it up a notch or two. And, of course, what better way to close than with 'We Like That', a bona fide Metal anthem for the hedonistically inclined amongst you. If you're looking for music that smashes through the boundaries of Hell to spew forth something new and innovative, this isn't the album for you. Beyond describing it as pure Heavy Metal, there's no convenient pigeonhole you can whack this into... not power, not hard rock, just plain damn Metal. 'The Almighty' might be a useful reference point. Nice. Ultimately, it's guitar-hero album... it's classy, professional, well-executed and has a great big pair of swinging balls... and that's exactly what I'm sure RMG have set out to achieve. Of the all the acts from up north here, it's going to be a close run thing between this crew, Scald and Stand Up Guy to see who gets signed first. (Spandex)
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Rose Tattoo '25 to Life' (SPV)
It's quite perverse to think that the first time I ever heard Angry Anderson it was for his ballad for Scott and Charlene's wedding (what do you mean 'eh?'). Naturally, Rose Tattoo have a quality back catalogue to pillage... 'Assault and Battery', 'Bad Boys Don't Play Rock'n'Roll' (a toon first heard by these ears aeons ago on G'nRoses' 'Lies' EP) are all here, recorded before an ecstatic Wacken Earthdog horde. But clear winner is, of course, 'The Butcher and Fast Eddie', the tale of two guys, one mean but fair, the other a complete kunt wot sells his sister-who's-not-yet-fifteen on them cold streets. Kamp as fuck, but great. This album rules. (Spandex)
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Saxon 'Killing Ground' (SPV)
Perhaps the least 'cool' band that England's ever produced (ok, there was Thunder as well). By this, I don't equate 'uncool' with 'crap', but 'uncool' as in prone to put-down, pisstake and disdain. See, these guys were lads from oop north, provincial boys perceived as hopelessly naïve and unsophisticated, lads who liked a cup of tea better than a JD'n'wet minge. A band most remembered in general Rok circles for that one Biff photo that used to constantly appear in Kerrang!. But these guys had great toons and songs (ok, so the lyrics might have lacked a certain finesse, but if yer not compelled to shed dandruff to 'And the Bands Played On', 'Strong Arm of the Law', etc, yer a fool). The first Saxon album I got was 'Crusader', one of their softer affairs. And that weren't too bad. There's a surprise cover of a King Crimson toon on this newie, which has pretty much been the norm for bands of late (think of Entombed and '21st Century Schizoid Man'), namely 'Court of the Crimson King', and whilst Biff's vocals ain't the best here, the groovacious riffage in the middle of the song is great. Follower 'Coming Home' has a feel of David Coverdale-era Deep Purple/ early Whitesnake lurve-potion, a theme which segues smoothly into 'Hell Freezes Over'. 'Dragon's Lair' gallops nicely, 'Deeds of Glory' stirs the Metallik heart that pumps beneath the Denim breast. Indeed, the title of the closing dittie, 'Rock Is Our Life' sums it all up rather nicely. Verdict: the last outing, 'Metalhead' had two good songs. Consequently, it was not good. This new one pisses all over that. It rocks mightily. I shit you not. (Spandex)
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Sceptic 'Pathetic Being' (Last Episode)
An album notable particularly for the adequate cover of Nocturnus' fantastic 'Arctic Crypt'. Together with Graveland, Vader and Decapitated, Sceptic add to my awareness of Poland as being rather busy for Death Metal. This album isn't that strong though, the excellent twin-lead geetar (scything, like early Pestilence, as opposed to gay) being terribly compromised by the dire vocal performance on offer... yet another of those albums were the vocals consist of supposedly vicious, frantic bile but in fact come across as deadly as a slap across the ace with a dead stoat. Ditch the 'singer', guys, he's a waste of space. (Spandex)
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Michael Schenker 'Dreams and Expressions' (SPV)
Ho ho! As much fun as having your colon irrigated by acid after being anally invaded with a knife, and twice as painful (I would imagine). This guy makes Def Leppard sound engaging. (Spandex)
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Skyclad 'Folkemon' (Nuclear Blast)
By the time this review's being written, this album's already a piece of history... June 2001, and our Martin's called it a day for reasons of fiscal deficit and retrod the path back to Sabbat (now 'Return to the Sabbat'). This means, of course, that Skyclad's going to get new vox, well Graham's anyway. Thing is, listening to 'Folkemon', I could swear they already have... surely that ain't the BatOx? For a start, the vocalist lisps like a Castillian nobleman, and where's the bark? Ok, I haven't listened to Skyclad since 'Prince of the Poverty Line' (damn, the poor sales are all my fault) and Martin's way different now. Maybe someone knocked a couple of his teeth out, who knows. Anyhows, the album... well, IT ROKS. Less cynical than I recall, though still the same WIT and BITE. Meanders out, unfortunately, just before the end with two duff songs, conclusively proving my theory that albums are simply too fucking long these days. (Spandex)
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Skyclad 'Another Fine Mess' (Demolition)
Now, this was surprise, me thinking that the Walkyier-era was now firmly stitched up with 'Folkemon'. The bulk of this album comprises a live set from Dynamo '95, mostly culled from the 'Prince...' and 'Silent Whales...' platters. Essential? Not as such. More interesting are the tracks which follow, re-recordings of such gems as 'Land of the Rising Slum' and 'Sins of Emission' which originally appeared as the ltd edition (that old marketing chestnut) 'Outrageous Fortunes' EP given away with the 'Answer Machine' album. (Spandex)
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Slayer 'God Hates Us All' (American)
SLAYER. SLAY-ER. SLAAAY-UUURRRRRRRRRRRRRRR! Any new Slayer album inevitably comes in for criticism from fans, as there seems to be some unwritten rule which states that Slayer aren't Slayer unless they endlessly rehash 'Reign in Blood'. Well, balls to such narrowmindedness. Bands can and must change, accept it. But can Slayer 2001 still laugh as we eternally rot? Yup, indeedy. This is a band smart and able enough to develop their sound and make it contemporary without shamelessly abandoning all they stand for. Yes, Slayer obviously have their eyes open and do notice that Metal is changing. And, yes, they do reflect this change in their music. On '', for example, Tom's vocals carry more 'melody' ie they're sung as opposed to frantically shouted or uttered. Muich stronger then 'Divine Intervention', more consistent than 'Diabolus in Musica', 'God Hates Us All' is destined to become another classic Slayer album. (Spandex).
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Sodom 'M-16' (SPV)
An album on which Uncle Tom tackles issues of social exclusion and sexual orientation, before concluding that yes, life is marvellous in all its facets and, like, wouldn't it be great if we could just learn to love ourselves and thereby love each other. AND THEN KILL EACH OTHER IN THE MOST HIDEOUSLY PAINFUL FASHION. 'M-16' is a weirdy indeed, Sodom's Vietnam war opera as it were. Building in strength from a rather indifferent beginning, this album hits the nail on the 'ead, with the brace of 'Lead Injection' and 'Cannon Fodder' slashing and grinding as good as the best of klassik Sodom. Nice. And finisher 'Surfin' Bird' (being a Ramones song, yeah?) is quite a novel way to close. Not just quite as vicious as 'Code Red', but equally METAL. We wouldn't have it any other way. And neither, it seems, would Mr Angelripper. (Spandex)
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Soilwork 'A Predator's Portrait' (Nuclear Blast)
Clear proof that if something's shite on first listen, it's often best to set it aside for a few weeks and go back to it rather than take it out the backyard and bury it six feet under. This was condemned as utter wankfodder on first spin. There's a strong Swedish technical thrash/death feel at play here, and what hasn't nowadays I sometimes weep in despair, more than a nod toward The Haunted you could say, but with a tasty prog-dalliance or two which suggests Dream Theatre in big jackboots on occasion and this is where Soilwork shine best. The axe-werk on 'Shadowchild', for example, is rather damn good. The vocals ain't bad, but the lyrics are terrible... shit choruses that make you cringe and squirm with embarrassment... they detract more than add to the vibe. Verdict: tolerable... it should kick harder. (Spandex)
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Spazztic Blurr 'Spazztic Blurr' (Earache)
CD re-issue time for this weirdy that's been lurking towards the back of my vinyl collection for several years. Think of the hell that is being forced to listen to a gang's in-jokes and musical fuck-around-ery... it'd be pretty damn awful. However, this ain't too bad... one track, 'Mexicalli' is in fact great, a sardonic and venomously biting pastiche of some righteous dude's feeble attempts to account for why he shunned Metal for the cooler generic Hardcore scene. Ouch, you bitch! But is it worth spending money for? Nah. (Spandex)
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Susperia 'Predominance' (Nuclear Blast)
In the name of Satan, what are NB playing at? Wave after wave of third-rate 'thrash' and Goth-lite drivel vomited froth from this once fabled-stable of Death. And this, Susperia, arse-shatteringly mediocre Black Metal with all the menace and evil of a kid who's been denied his sweeties at the supermarket check-out. I simply cannot tell you how bad this is, and the fact that magz such as Terrorizer are kreaming their pants over it simply MAKES ME WANT TO KILL. If you actually rate this, you should take a long, objective reconsideration of your taste. (Spandex)
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