Judas Priest "Turbo" (1986)

 

Feeling nostalgic and adventurous for more Heavy Metal, I thought id check out the controversial record released a couple years before Ram It Down. I barely listened to Turbo in my youth as it was often cited as their worst album. Interestingly it made for a commercial peak at the time. Title track Turbo Lover is also a cracking classic they still play live to this day. The critique I remember used to focus on the inclusion of synths, something they had not done so bold before. Having given it a good go, the electronics are barely a fraction of whats wrong with Judas Priest's tenth, Turbo.

 Softening the edges of their metallic might and looking for anthemic vibes in all the wrong places, Priest essentially miscalculate their strengths. Pivoting to themes more fitting of partying, excess and love. The records overall tone seems have one foot in the Glam Metal trend of the time. Every song brings a bigger than life attitude looking for the sing along stride of the time, which on paper it achieves but the you can sense the crowd pleasing lyrics falling flat. Oddly, this isn't too far from their kettle of fish but Halford's lyrics just don't strike a nerve. He doesn't feel authentic or real, often awkward or uncomfortable. its as if he is on auto pilot at someone else's show.

Its all so odd, song after song checks all the boxes yet it plays through a musical uncanny valley. The big riffs rock hard and wild guitar solo's blaze over top with that classic Downing & Tipton shred but it never escapes the gravity of its own softened tone. The old school analog synths don't flip the scale in either direction. On a couple of songs they are more prevalent but its mostly a soft aesthetic dressing. It is the Glam persona they attempt to take on that's mostly to blame. Wild Nights, Hot & Crazy Days is probably the best example. Halford crams all the lyrical cliches in but despite his phenomenal presence as a timeless front man, It doesn't suit them.

Turbo is a strange experience. On one hand I do kind of love the overt cheesiness, more so the delivery than words. On the other, it all plays with an awkward misfire that fails to land emotionally. The album does deliver another cracking tune tho. Locked In just about beats the Turing test. Its big crooning guitar notes and warm bass drive is a gorgeous moment. The synth break before the solos is fun too. Its no secret as to why this one is so contentious but that's nothing to do with the electronics. Its the song writing and lyrics to be blamed. I'm glad I checked Turbo out but I wont be returning.

Rating: 4/10

Author & Punisher "Krüller" (2022)

 

 Krüller is fantastic. It had me going back to Beastland to feel the difference, which is colossal. Author & Punisher is an Industrial musician with an edge. Using his own custom built VST controllers, Author manifests a physicality to his music. The punishing landscapes of weighty mechanical monotony birthed through sweat and tears. Beastland had a unruly harshness about it. With time, it faded from memory. Krüller on the other hand opens up with streaks of color nestled between its slow grudging strikes of percussion. His voice, now melodic and sustaining, gushes with painful emotions. Alongside the streaking synths that burst brief sparkles of reprieve, it becomes a memorable craft. The best of this musician I've heard to date so far.

Although this mostly speaks to the opening song, the through line is often the relation between voice and what offerings of melody come by. The record is dense in atmosphere, a wash of fuzz and static broken apart by the smashes of snares and collisions of kicks as its percussion arrives with a force overcoming any obstacle. They drag and groan, slugging with a lethargic crawl that subtly gives way to the fuzzy atmospheres as the record broods with each passing song. Through its lengthy drives, often six or more minutes, creeps of resolve briefly emerge, always fizzling back to the shadows. Its a burdensome experience. One worth enduring for its glimmers of hope.

Glorybox is my favorite song. The gravitas of pain the album encompasses initially had me hearing it as a transsexual expression. The cries of "Give me a reason to be a woman, I just want to be a woman" so harrowing and wrought with anguish. It mirrored pains of bodily identity, however turned out to be a cover of Portishead's original. Now I know it, I can hear the difference in the music, best revealed by the guitar solo. It still is a remarkable cover on a brilliant record that may be a little to weighty to remember every moment with the same thrill of its better parts. It must be said its peaks soar to a punishing and unique place you wont forget in a hurry.

Rating: 7/10

Kero Kero Bonito "Bonito Generation" (2016)

Following their debut mixtape Intro Bonito, the London trio known as Kero Kero Bonito polish their sound for a sophomore effort that rides the curtails of their quirky warm persona. Bonito Generation doesn't stylistically evolve as much as its aesthetics are refined with a touch more welcoming tone. Stagnation seems prevalent, conjuring similar moods and feelings from their smiley place of simple thoughts and life's innocence. It doesn't pack quite the punch with surprise no longer being a factor.

That's not to say its a bad record but both the instrumentation and lyrical themes roll off lukewarm as the tracks are packaged into simpler song structures. Slower melodies, gentler percussion and a sense of safeness permeate. Bonito Generation is less adventurous, lacking creativity and sparkle. Thus Sarah's easy expressions of her college life tend to lull into a mediocrity. At its most off track, the band infuse casual communications and Japanese lyrics but its not the saving grace the music needs.

Trampoline is the records best track as the simplistic language and metaphor finds a space to feel a tad absurd when it revolves around the jumping mat. The song has a little more of a club vibe with its colorful synths and tight percussion, something one or two other tracks do but its not enough to give the record edge. This one really hides in the shadow of its predecessor, somewhat of an autopilot experience. Its competent, enjoyable but lacks the dazzle of Intro Bonito.

Rating: 5/10

Andromida "Hellscape" (2021)

 Naturally my enjoyable experience with Voyager had me curious for more. Clicking play on Hellscape, I immediately knew what would be next on the playlist. Kicking of with Havoc, the album blasts off with a banger of bouncy low end djent riffs and siren synths painting the hellscape its title suggests. The album art too hints at whats in store, as this particular approach to Metal with a heavy dose of dystopian Industrial synths is in tribute to composer Mick Gordan and his atmosphere defining Doom Eternal soundtrack, which aesthetically caved itself a niche in the Metal universe.

Sadly, others replicating this fusion of textural guitar barrages and hellish saw synths on overdrive tends to be hit and miss. Opening with its best track by some distance, Havoc embodies the best of this aesthetic. For the album experience Hellscape feels constrained by the narrowing options sticking to such a temperament imposes. Unable to escape the drive of eight string might and gravity warping synths, its flushes of string symphony always tied down to the monstrous weight of its dark demonic roots.

Subtle club drum grooves and nightly Synthwave vibes emerge on the journey. scenic guitar melodies expand horizons but the climax always falls back to the chug riffs and evil slam of the synths. As the album draws on, I'm reminded of Skrillex and the Dubstep drop fad, as the machinations of these two seem to get progressively more random and obnoxious in search of new grounds it never quite lands upon.

Only briefly on a couple of occasions does the intensity let up for some atmosphere. The respite serves it well but as the demonic onslaught marches on, it becomes clear this is a tribute to the game. It feels like a compliment to the Doom experience, the unrelenting tensions and onset of dread as demonic hordes descend feels intentional. Hellscape is a love letter to the style from a very competent musician and producer. Unfortunately for me, the style doesn't quite amount to more than the sum of its parts.

Rating: 6/10

Dimmu Borgir "Godless Savage Garden" (1998)

In the imaginative realms of "what could of been", Godless Savage Garden always haunts me with its utterly majestic, fantastical offerings. One can only dream of what a full length may have sounded like. Wedged between Enthrone Darkness Triumphant and Spiritual Black Dimensions, the two original songs of this mini-album are remarkable. Both in tone and composure, its slower pacing, drenched in esoteric symphony, the dynamic and spiritually memorizing guitar solos of Astennu. It all marks a band advancing boldly into new territory. Although recorded in the ETD sessions, to my ear they lean towards my all time favorite record, SBD.

Chaos Without Prophecy is an utter delight, its slow beefy power chords and altering drum intensities let the synths set a darkly atmosphere. Shagrath storms in with phenomenal screams on the back of bouncy guitar riffs, resonating with a glorious bell chime. In its lengthy seven minute duration, the back end of the track embarks into a slow brooding drudgery of mysterious intent. Its haunting, creepy and rife with witchery. Moonchild Domain has a comparatively upbeat tone, more of a colorful voyage through dark arts and cryptic magics as the ride is punctuated by glorious pianos and bursts of lead guitar. The drums its housed in batter hard at times with big pedal grooves and lots of complimenting intensities. This all leads to a gratifying guitar solo, blazed by Astennu and his ponderous nightly character.

The other tracks consist of two fine re-recordings from For All Tid. They do an inspired repurposing of the bands once glum and odd atmosphere to this mighty powerhouse sound of rocking Metal and satanic darkness. A cover of Metal Heart by Accept plays a fantastic tribute to their influences. Although the song is not their own, parts of it feel very fitting for Dimmu. Beyond lies live recordings. Not in the greatest fidelity, they are a fun insight to the live experience but sadly feel like filler. Perhaps plundered around obligations to release a record.

As described, Godless Savage Garden brings two of Dimmu's finest songs at the crossroads between records. The particular spirit they share is defined enough to create a glimpse of something special that could of taken place. Maybe in another universe. Who knows. Anyways, I think that about raps up my tangent back into the origins of the band for now. Someday I will get around to the other three or so records I'm yet to cover on this blog. I look forward to it!

Rating: 8/10

Animals As Leaders "Gordian Naught" (2022)

 

Now approaching six years since The Madness Of Many, this technical trio led by the trailblazing Tosin Abasi and his phenomenal guitar skills, have another album set for release next month. I'm unaware as to if these tracks will grace the record but I must comment that a preference is to be found in this trio of songs in a shorter context. Without a vocalist, looping structures and repetitions often feel drawn out despite the magnetism the band have. At eleven minutes, Gordian Naught is a bite sized delight of the latest cuts from the Animals As Leaders camp.

Sadly, despite much enjoyment, the needle has not moved far in terms of style. The group are still exploring the veracity of timely executions dissecting chugging rhythm and dense aesthetic. Often abstract guitar and bass noises become a facade for extreme polyrhythms and dissonant grooves. The percussion is a particular persistence of ambidexterity. A technical feet of ability, weaving in detailed beats flush with delicate intricacies around the battering picking sequences.

Its best moments are at the intersection with convention. Luminous colors arise from its electronic synths or melodic lead guitars, breaking up the impressive but monotonous drives of its intricate rhythms. These moments are gorgeous, open and expansive. Pivoting from the dark and mechanical into streams of uplift and light. Its jazzy, emotional and soothing yet doesn't come along often enough.

Title track Gordian Naught is the chugging powerhouse concluding with a mighty discordant breakdown. The Problem Of Other minds opens up the colors with synths and leads. Monomyth then elaborates further, its curious background bells giving its grooves feeling. As it drives harder into the mechanical feet, its pivot out feels more gratifying. In that moment it is the most satisfying, better of these new songs.

Rating: 3/10

Stormtroopers Of Death "Speak English Or Die" (1985)

 

This classic record has been on my radar for years. Having finally plunged in and gotten to know its flavor of chaos, the year of release endows a context of immense appreciation. Before Slayer unleashed the unbridled fury of Reign In Blood, here stands one of the first Crossover Thrash projects encroaching on that timeless intensity. Stormtroopers Of Death is somewhat of a "supergroup" uniting musician from either side. With an intentionally unsavory and controversial, politically incorrect theme, they converge at a furious intersection of Thrash Metal and Hardcore Punk. The result is a wild, uncompromising assault on extreme music of the time. Perhaps Metallica's Kill Em All was the cutting edge before this? Although it may seem tame today, I find myself stilled stunned this was released in 1985!

Boasting big gritty distortion guitars, the fast and choppy slaps of power chord shuffling gets amplified by a fantastic percussive performance. Charlie Benante is a powerhouse of Hardcore groove and Grindcore blasts as his drumming often derails from mosh stomps into loose thumping rattles of chaos. Its an old-school flavor of blast beats so uncommon now yet it sounds utterly fantastic when unleashed. Its the duality with Scott Ian of Anthrax who, for a Thrash guitarist, gets the Hardcore energy just right. The constant shuffling between moshing grooves and unrestrained extremity is fun and fast. The songs blitz through an arsenal of riffs and ideas that simply excels.

The majority of songs clock in around two minutes. A helping of very short stunts chime in too. The six second Anti Procrastination Song a particularly fun one, an idea preceding Napalm Death's Guinness world record holding "You Suffer". All ideas are explored swiftly, rarely lingered on for more than a grasp of whats going on. They tend to roll into one big wash of frenetic aggression as its pummeling charges roll out the punches over and over again across its twenty one tracks. It does end on a bit of a whimper, limping out on a string of jokey seconds long songs that don't land well.

Often abbreviated to S.O.D, I realized the song Pussywhipped was mistaken for System Of A Down back in the file sharing days of Napster, a common issue with the service. It brought quite the smile to hear an oldie from my school days. I always thought it was an early band demo or something along those lines. Its also one of the albums best songs with razor fast riffs switching into big bouncing grooves as the drums batter down hard with snare rolls. I'm left with no illusions about how significant this record is in the landscape of extreme music. I reckon it will only ever grow on me with time. If id discovered this in my youth, I'd probably be worshiping it till this day!

Rating: 8/10

Dimmu Borgir "Devil's Path" (1996)

 

If you are unaware of this little gem, then oh boy are you in for a treat. Recorded and released between Stormblast and Enthrone Darkness Triumphant, it serves as an insight into the radical transition Dimmu Borgir undertook in that period. Its opener Master Of Disharmony made it onto EDT and the title track would be later re-recorded in their modernized aesthetic. Also included are two versions of Nocturnal Fear, a Celtic Frost cover that sends a nod to one of their key influences. The songs pivot a minute in from a pacey evil assault to a stomping heavy metal groove feels akin to the new style of songwriting Dimmu showcased with this release of this four track EP.

Before the metallic song kicks in, Master Of Disharmony opens up with a short and entrancing, ritualistic instrumental. Foreshadowing conspiracy and collusion with the devil, its opening line, now using English lyrics, commands "sons of Satan, gather for attack!". Tjodalv's competency as a drummer is drastically improved as his rattling blast beats unleash a new darkness for the band. The synth tones bring a sinister edge and the fast guitar blister in grimace under that loose snare rattle. Shagrath too seems far more intentional, embodying the persona of this soul shrouded in darkness, seeking possession. Understand the words goes lengths to embellishing the theme.

In this new direction Dimmu counterbalance their satanic persona with bursts of big Heavy Metal groove, theme enriching malevolent synths and flushes of melody through guitar leads and lively, animated solos. Devil's Path also works within this new song writing style but whats special here is the albums production. Rough and raw around the edges, its lower fidelity aesthetic doesn't exactly hold the music back but showcases the transition out of one era and into another. Its ninety percent musical and makes me dream of hearing ETD in this style. This is nothing like the Stormblast MMV re-recording as their musical maturity had truly turned a leaf. Ultimately you'd have to conclude the modernization of their aesthetic was a genius call, however you know the songs would hold up well in a different context thanks to Devil's Path.

Rating: 6/10

Dimmu Borgir "For All Tid" (1995)

Released ten months on from Inn I Evighetens Morke, my Norwegian darlings Dimmu Borgir debut with a peculiar mix of ideas on their full length album. tIn my youth For All Tid charmed me with all its dingy oddities. Many years later, that magic is still present but more so does the amateurish performances and dire production fidelity. It once seemed less like an intentional mystique but now, more like a band with growing pains who managed to land a record deal as Symphonic Black Metal emerges alongside the explosion of attention the scene received over its controversies of the time.

That's not to dismiss the music, Its littered with symphonic magic between some glaring flaws. In my youth I never dissected its offering, just enjoying the odd glum atmosphere and flushes of esoteric melody loosely held together with spurts of aggression. Now I hear a more mixed bag of ideas. Less of a cohesive vision as Dimmu would execute masterfully with every following album from Stormblast and on.

Perhaps it is the opening Det Nye Riket that emphasizes some disparity. Its Korg keyboard driven intro akin to the now established Dungeon Synth. Mostly comprising of power chord and tremelo riffing with varying degrees of symphonic involvement, a couple songs stand apart for feeling off pace with the more common mood. Over Bleknede Blaaner Til Dommedag deploys awful clean vocals. Out of tune, stretched and folkish, me and my friends would always chuckle whenever it burst out. A minute or so later Silenoz howls a ghastly scream out of nowhere. Its loud presence in the mix makes it all seem so haphazard. Even at its worst the songs still have charm.

The two minute Stein is an oddity of snarling darkness countermanded by a fantasy flute melody. Its a glaring reminder that much of the extremity of the band seems more quirky than dark and evil. The following and exceptional Glittertind instrumental, housed by another garish scream erupting loudly out of nowhere, is an upbeat thrust of melody. Its warm mood and fond guitar melodies so opposing to the blast beats that drive it along. Again the band have such a peculiar vision of darkness. Perhaps all that has developed over the years in extreme music since has softened its edges.

The final four songs are class. Homing in on a gloomy chills and a rain drenched atmosphere, the composure of power chord riffs, acoustic strummed chords and eerie synths meet on the back of great songwriting as its structures feel directional and gratifying. I can't help but feel some Doom Metal vibes along the way, perhaps its synth tones reminiscent of The Gathering's classic Always...

This revisiting was heard through its original recording. In my youth I had the Nuclear Blast remaster, a service performed just two years later. Oh boy does that make a huge difference! Everything has more punch and grit, the volume disparities less prominent the harsh vocals have their energy inline with the renewed intensity of the guitars. Had I not thought to listen to the very original No Colors release, these thoughts may have been very different. These songs are invigorated by its remastering and it really serves as the better way to experience the songs. Low fidelity doesn't always work in your favor! For anyone else curious, listening to both is an adventure but I'll leave my heavily bias praise based on the legs the remaster gives it to go. Without it, I'd of knocked this "rating" down a peg or two.

Rating: 8/10

Dimmu Borgir "Inn I Evighetens Morke" (1994)

 

I couldn't count the years since I've gone back to the roots of my eternally adored Dimmu Borgir. Before they became a powerhouse of modern Metal drenched in devilish symphony, the Norwegians had a murky start. You could never have predicted their trajectory from this humble origin but their sophomore effort Stormblast would shine bright before the modernization of Enthrone Darkness Triumphant occurred. Inn I Evighetens Morke is a short, three track EP that kicked things off. I can't do much to defend it other than express my deep attachment to its gloomy nature, which sparked my curious adolescent mind as I discovered the world of Black Metal.

The first song is the unique experience. For a band joining a scene of new found extremities, its opening number broods on a slow tempo. A morbid piano sequence kicks things off. Distortion guitars become a distant haze under the the warm bleeding baseline. Esoteric synths arises, glum acoustic chords cry as they are plucked. The song swiftly lulls into a depressive tone of death and suffering. All achieved without blast beats, screams and other tropes, its an interesting conjuring that rides a little charm of the amateurish production as the instruments muddy together.

Its second half ups the metallic intensity. Shagrath's barely competent drumming barrages one with plenty of tom rolls in shuffling beats. Any attempt at a blast beat get drowned out as the production fails but also masks the shoddy performance. Silenoz howls harsh, higher pitched screams upfront while churning through lively power chord riffs. The eerie synths struggle to punctuate and the whole song lacks the majesty to leave anything remarkable in mind other than its mystic, quirky nature.

The final Raabjorn Speiler Draugheimens Skodde shows class, a curious arrangement of synths and power chords with direction and structure that bring it to a "break down" conclusion. Shagraths drumming is miles better, a tighter performance with more interesting grooves. Again without blast beats the band linger in the Black Metal realm through its symphonic spin off and the harshness of Silenoz's vocals. Otherwise it comes offs as dark and dingy oddity. Of course this song stood the test of time, being re-recorded a couple of times for future records. It is blemished in this incarnation which was a very amateurish start but a fun one for a die hard fan.

Rating: 5/10

Andromida "Voyager" (2018)

By name and title alone one can figure out theme and inspiration, its album cover a further confirmation of cosmic awe and wonder. Hitting play for its fifty minute voyage, one is lured in through a subtle layer of atmospheric synths as glossy pianos and a punchy drum machine ramp up the energy for rhythmic djent guitars to slam in with slabs of momentum. Swiftly do the hall marks of a one man, Progressive Metal project emerge. The lack of any vocal presence, the perfectly sequenced drum patterns and excessively proficient guitar skills. Initially a little shy out the gate, New Worlds fully immerses us in its guitar acrobatics and metallic aggression. Swirls of rapid fret-board tapping and polyrhythmic low note chugs kick into full gear.

Not a record to maintain intensity consistently, the songs navigate an arsenal of rhythmic assault riffs diving into the deep end of djent's obnoxious nature. It does so through many lulls and shifts that pivot from drives of ambitious Metal chops to the soft glowing ambience of its backdrop. Often compromised of serine strings, subtle synths, glitchy electronic noises and an ever present luscious piano melody, it straddles the two opposites with a middle ground led by big guitar chord strumming that unites its elements. It can fluctuate in a moments notices, jumping from the calm persuasive into flurries of powerful guitar led activity with all in between.

Its the lack of a vocal presence making this unironically feel a little less human, more observational, which its fitting to its space theme. The cosmos is a place that often seems still and majestic, yet its reality is a violet concoction of elemental forces. Initially this disparity in consistency felt empty, yet grew to be the records charm as the guitar became its voice and the shifts in density more welcoming with each listen. The whole experience now play like a soundtrack, I can focus on some other task as the magic churns away mighty conjuring in the background with its swells.

Andromida's brilliance is earned through repetition as its cold mechanical inclination, led by the drum machine, steadily gives way to craftily forged songs that hold one in its vision. I'm reminded of the genius Gru, with his timely djent riffs and swirls of luminous melody derived from tapping sequences. Its approach to atmosphere through the current trend of electronic stylings similar to that of Shade Empire. Although similarities with both, the constant twinkle of piano notes and airy symphonic backdrop gives it a real character of its own fir for the universe.

Rating: 7/10

Korn "Requiem" (2022)

 

Approaching thirty years since their formation, the Bakersfield band and Nu Metal pioneers Korn are far beyond the heyday of chart topping platinum records and MTV domination. Navigating a patchy period without guitarist Head, the recent resurgence of form, peaking with The Serenity Of Suffering, has been fun but ultimately struggles to have the impact of their early albums. With The Nothing I wasn't initially excited but then pleasantly surprised. It seems the same thing has happened again as Korn navigate a more toned down, slightly atmospheric take on their iconic sound. This time its without bassist Fieldy who has taken a creative hiatus from the group.

His lack of participation is noteable, that distinct low rumble and rattle of his string slapping technique, usually a hallmark, is missing. Its oddly fitting to where the music leans into mood, tone and aesthetic less on the bombastic side, which his crunchy baselines always helped reinforce. On Requim, Korn seem to of nostalgically reached into the past and plucked the subtler tones and accents of their style. Its reinvigorating them with songs that sway through through swells of distorted guitar melodies and dense resonance as the overall mood and texture becomes its persuasion.

Sure, each song has its meaty riffs and simple, syncopated Nu Metal riffs but they are rarely pushed to the forefront and often flexed back and forth with bustles of overdrive playing out further up the fret board. Ray Luzier suits this style so well as the kick snare grooves take less focus and he contributes to the tone with lots of cymbal grooves and timely drum fills. The theme of subtlety continues on with frontman Jonathan Davis ,who so atypically himself. Somehow he finds a performative presence that gels with his band mates as well as they ever have before.

Lyrically, it hinges on the expected themes of mental health, self loathing and metaphorical demons hes reiterates again with plain language. His vocabulary seems softly expanding this outing but its mostly what you'd expect. Its the performance that grabs me, he straddles a sweet melodic spot in his range and gives a lot of his sung chorus a humming melody to it. His screams and shouts don't dazzle quite the same and hearing some classic scatting again is a crowd pleaser for sure but nothing new.

I step away from Requiem now, after many spins, with a sense that this one will never be dull to pick up and enjoy again. At a shorter thirty two minutes its curation and focus serves it well. I wonder where it would stand if my apatite for Korn were as it was in my youth, if it may rank among the best. With the band still churning a new record out every couple of years, its hard for that impact to be properly felt. With time I'll see how this one feels again at some point in the future.

Rating: 7/10

Zeal And Ardor "Zeal And Ardor" (2022)

 

If Metal has stagnated in recent years, then Zeal & Ardor would be at the forefront of bands exploring new avenues for the genre. This self titled sophomore effort rides the wave of their profound chemistry, an unlikely marriage of anti-christian Black Metal theatrics and the historical struggles of an African American experience housed within its dark relationship with slavery. Clearly mastering both the inspirations and aesthetics Manuel Gagneux has carved for his band, this latest forty four minute effort feels strongly leveraged on a new idea. Frequenting the record are sharp, hard hitting, precise breakdown riffs that levy its personality with thrusts of mean anger as angular guitars jolt fast and choppy riffs, executed with a cold mechanical precision.

The gamble pays off wonderfully as a rather atypical metallic approach exchanges with bluesy Blackgaze and folksy Gospel music with a grim grounding. Its brutal rhythmic force and precision timings play up the fun of obnoxious Metal yet never truly escape the weighty emotions of the burdensome soulful experiences that precede them. If anything they seem to give them a sense of conclusion as a lot of slower paced and gloomy atmospheres are given a fist of fury to punch the listener with.

Its what initially grabbed my attention and with subsequent listens the music between began to open up. A lot of similar ideas and compositions are heard again as on Stranger Fruit and Devil Is Fine. Usually the most interesting chemistries emerge when the light straddles the heavy and the two exchange. Early on in the record I also felt as if I were hearing far more electronic vst experiments. Springy unsettled sounds chiming in on breakdowns and big riffs. Götterdämmerung strikes me as the albums best track, a brilliant exchange of devilish melody, chuggy guitars and chain gang blues. This self titled record is a fine execution of their now established sound but its left me with one of those "time will tell" feelings as to the impression it may leave.

Rating: 8/10

Judas Priest "Ram It Down" (1988)

To compliment yesterdays The Ultimate Sin, a dive into classic Heavy Metal, I thought I'd pick out another personal favorite. Again it comes with a streak of irony. After receiving backlash from fans with the experimental Turbo, Judas Priest decided to give them exactly what they wanted, a run of the mill metallic showdown. Ram It Down is a bastion of fist pumping, head banging Metal anthems navigating a lack of depth as its peaks and valleys do come with some contrast when the album wains in its mid section. When throttling forth with vitality and enthusiasm, it rocks with an infectious spirit. When tempos slow and atmosphere leads, the grooves get somewhat stiff.

Ram It Down's aesthetic rides its rigid and hard hitting backbone as the group chose to deploy an aged drum machine to handle percussion on this outing. The drum sequencing has both charm and limitations as a lot of arrangements are limited to big bass snare groves, which pound away wonderfully. The finesse of drum fills and more intense beats are drastically limited and it shows as any organic dexterity is a rarity. Massive tom drums chime in with large feedback reverbs, a big feature of the 80s sound. I am quite keen on how its utilized, it suits Priest well!

Around the drums hinge bright and brimming overdrive guitars. Loud bold and ambitious, the duo bring a lot of audible clarity to the tight rhythmic chops of classic palm mute chugging and power chord shredding. Behind them the bass guitar pounds away with strength, pulsing hard with power and punch in the rhythm section. Upfront, Rob Halford is a gem as always, gleaming with his ear piercing falsetto, having his finger on the pulse for turning these fine instrumentals into arena Metal anthems.

The music roars out the gate with a string of its best songs. The themes and concepts simply a self realization of their rock star personas as a band. I'm A Rocker and Heavy Metal hit hard on anthemic, sing along feelings fit to steal a live show. Come And Get It speeds on in a similar tone with a cheeky, raunchy spirit metaphorically adjacent to the music. In its best moment the music rips hard. The cover of Johnny B Goode another goosebumps track to flip a Rock n Roll classic into a Heavy Metal riot.

In my mind this could of been a finest hour among others for Priest but sadly the album stalls going into Blood Red Skies and never quite recovers. That's not to say its a bad song but the pivot to focus on atmosphere driven by its repetitive drums and subtle bass synths doesn't match the faster paced material. Monsters Of Rock best showcases this as the group try to flip the anthemic narrative into a lunging beast of slow moving weight. Its a half to Ram It Down's concept that doesn't quite land but for what they get right I simply adore this record. It gets the adrenaline going fast!

Rating: 8/10

Ozzy Osbourne "The Ultimate Sin" (1986)

 

When it comes to legends of Heavy Metal, can there be anyone more legendary than Ozzy? I'm more familiar with his days in Black Sabbath, having never gone to deep into his solo career. Ironically the one album that did it for me is his least favorite, The Ultimate Sin. Upon release it became a commercial peak for the singer, charting well in the states where he flourished as a lone name. Siting reasons of artistic repetition and staleness, again ironically may also signal the very thing I adore about it most.

 To my mind, the album captures the essence of big theatrical arena filling Heavy Metal the 80s. The big hair, garish outfits stage antics and oldschool lighting rigs fill my imagination. Perhaps I've watched too many classic Ozzy concerts on youtube for my own good. I adore how the record hinges on Osbournes distinct voice, he gives the music a sincere emotional edge over its hard hitting, guitar rocking riot of big power chord riffs and lighting guitar solos, all so nostalgically typical of the times.

Jack E Lee is a phenomenal talent, a prolific guitarist, not just technically with his flashy showmanship and dazzling fretwork but with song structures that respond to Ozzy's direction. Swiftly does the music transition out of head banging mode into emotional surges, with key shifts and deliciously plucked acoustic guitars chords. Its fits so snugly together, a band in unison. Soussan and Castillo are equally competent in the rhythm section, providing a powerful footing for Ozzy and Lee to shine.

This "autopilot" Ozzy describes is probably why track after track is so well written. Rather than look for a new artistic direction they churn out the hits as they know how to make them and boy do they make them well. A few songs get a little cheesy with cliched rock and roll lyrics but a lot of the themes are far more moving and meaningful, including the anti-war song Killer Of Giants, one of my favorites on the record. Its lush opening guitars are simply wonderful. Dark, sleek, steely and covered in reverb.

When it comes to critique, the nostalgic lens tends to distort my perception as I adore the dated production and tropes of the 80s Heavy Metal. That's why I tune in, when wanting to capture the spirit and feeling of that era. This one has it in droves! Writing now reminds me of my Dio exploration. I really have no excuse not to throw a few Ozzy albums into rotation like I never did in the past. I just stuck with this one!

Rating: 8/10