Danzig "IV" (1994)

This fourth installation in the mighty Danzig series continues onward with an ever so familiar blues soaked, devil horned grin rumble of metallic rock reveling in the ecstasy. With minor tonal changes and aesthetic nuances adjusted for a shade more sweat and muscle, IV marks a shy attempt to broaden the scope a couple outbreaks of nonchalant forays into gloomier sounds. Its mostly defined, once again, by Danzig himself who, between his ever command presence, offers up a whispering softness of attempted diversity on Cantspeak as well as a spoken word style performance on the grim, tribal and mystic Sadistikal, the likes of which we haven't heard of before.

Aside from the small pickings of adventures upon new land, IV marks the band still firmly in a potent stride, producing, as always, captivating music lined with a similar balance of variety and the hooks to dig in deep as Glenn relishes in the empowered delivery of dark, menacing lyrics to sing along with. The metallic, groovy songs loaded with distortion guitar riffs are on fire and their acoustic laden counterparts offer up a sense of ebb and flow that lets the album ride sweetly from front to back without a hitch! Its becoming a very familiar experience with not much to elaborate on but the quality is yet to subside, as I'm guessing they, like many bands do, will eventually come to some sort of decline, a quick flick into the fifth chapter does not sound promising though.

Favorite Tracks: Until You Call On The Dark, Bringer Of Death

Rating: 7/10

Danzig "III How The Gods Kill" (1992)

This third chapter in the series continues on with a very expectant tone, the same knuckle strapped rock and rattle of Heavy Metal tinged in the bluesy voice of Glenn Danzig strikes again. Deep into their stride the band offer up another ten songs that will make a meal of picking your favorites, the energy is ripe, the music inspired and the tone dripping in a moody evil ready to persuade. With an increasingly metallic leaning, the intensity broods and moves a touch more expansive, the opening "Godless" a bold example as its thrashy uptempo pace collapses into a crawling swell of prolonged power chords fading into a soft and eerie synth. It parallels Doom Metal but only for this one song.

Much of what Ive said about Danzig and Lucifuge could be said again here, the music however catches up with Glenn here, the powerful intensity of the guitar work keeps up with his monstrous personality as the enigmatic front man with his cursed performance which always carries a burdeon. "How The Gods Kill" keeps the power at bay, a soft acoustic guitar accompanies Glenn who shows the soft side of himself in a pleasant melodic calm that unsurprisingly erupts with squealing pinch harmonic riffs to ratify the unease that lingers throughout.

Each of the songs ideas are executed with a touch more cohesion than before and the whole album is enshrined by its shadowy mystique, the songs turning the screws tight on a darker shade of the Danzig sound. Its chilling, spooky and perhaps best personified on "Heart Of The Devil" where Glenn affirms is evil intention, boasting the influence of his corrupt powers in a roaring performance. Followed by "Sinstinas" the mood drifts ethereal as the group take a turn with light synths and soft reverberated chords that plays like a sleepy dream pop love ballad reminiscent of Julie Cruse, of course its like a mirror to the darkside.

The edging of ideas creeping into new territory that can be heard here fits easily into the chemistry but only in the fractions it does. Otherwise this third chapter makes its self mostly known for its more sinister leaning and harder hitting guitar licks. As on every record so far Glenn's performance and persona illuminates the record and his lyrics get stuck in your mind. Its their most powerful asset, here as sharp as ever I think its fair to say this is my favorite so far! Chapter four is next.

Favorite Tracks: How The Gods Kill, Dirt Black Summer
Rating: 8/10

Danzig "II Lucifuge" (1990)

Two years off the back of the self titled debut, Glenn Danzig and his cronies reunite with Rick Ruben for another stab at their metallic tinged blues rock. Taking a vigorous stride forward, Lucifuge marks the solidifying of ideas heard on the first record while turning up the intensity, a nuance you could easily miss. Its a sweet and simple progression that has very much the same blueprint and aesthetics yet a learner, harder Heavy Metal approach brings out a touch more aggression and attitude in the guitars while Danzig himself revels in his voice, finding much comfort and ease in this tone he has carved for himself.

 Opening with meaty temperate grooves and harmonics loaded into classic metallic fretting, the rock and wail is illuminated with more intermittent guitar leads, mini solos and licks over the top of mighty power chords, raising the energy for Danzig to steal the show with his deep burly voice, flexing Country accents and tinges of Southern sounds in his bluesy performance. He sounds born of hell, weathered yet youthful, full of energy but engaged with life's burdens. It culminates with strings of classic lyrics and choruses to sing along too, as well as many big riffs which often come front and center when the songs shift to the slow and hellish elongated grooves reminiscent of Doom Metal and mainly Black Sabbath on a couple of tracks.

"I'm The One" goes full Country, an athletic acoustic guitar bustles in the silence between Danzig's musings, a lone hi hat holds the tempo down with its steady rattle. It feels as if the track will erupt into overdrive but it never quite comes. Its followed by a string of sterling songs that lead to "Blood And Tears", a slower, sorrowful song that plays like an old timers ballad, peaked by a solo and illuminated by the soft glow of a buried organ. The record is a shade better than its predecessor, my enjoyment still feels a little limited but it gets steadily more infectious with more exposure. I really get the impression these records would of dazzled be blind in my youth!

Favorite Tracks: Killer Wolf, Her Black Wings, Blood And Tears

Rating: 8/10

Danzig "Danzig" (1988)

I'd never had much luck getting into the Misfits and if it wasn't for Rick Rubin's involvement producing this record Id probably of passed up diving into the solo material of an artist from a band I'm yet to vibe with. Named after front man Glenn Danzig, this four piece outfit revolve around their singer, songwriter who disbanded the Misfits six years earlier. His intent was to take his musically seriously, something he couldn't do with his former band mates and so he formed "Samhain", a band with a very similar image, using the same iconic font, following themes of horror and the occult in its imagery. The success of that band landed him a record deal with Rick Rubin's newly formed American Records and this is the resulting debut for both band and label, considered by many as a classic.

Danzig's voice and personality are the focal point of this record, its charm, atmosphere and attitude all swell from a creative force not heard like this before. Once an angry shout soaring over distortion guitars, Glenn tones down the format for a Hard Rock, grungy Blues Rock beast that has him singing with soul and passion over lightly overdriven guitars that kick blocks of chomping Heavy Metal groove between the mood of bluesy classic six string, plucked and strum chords arrangements.

 The blend of styles is warm and inviting, making for songs with a bit of bite and strength between its hard Blues Rock tone. Danzig's singing brings the record to life with his lower vocal range illuminating the feeling in his poetry. The riffs, words and arrangements all add up here on a lively record that's broken up neatly with Heavy Metal guitar solos tinged in a Southern Rock tone. The production is crisp for the era, the drums have an especially nice padded tone about them and it all culminates in a solid record with no weak points, an obviously classic but a style I am still becoming accustom to.

Favorite Tracks: Am I Demon, Mother

Rating: 8/10

Metallica "Reload" (1997)

 Written in same period as its counterpart, Metallica split the bulk of their material into two halves and recorded them in separate sessions, returning to the studio after a brief touring period to promote the first, Load. Of this era I once dismissed I do remember being significantly fonder of Reload yet today It seems like the more varied of the two, a variety that has significant peaks and valleys. The openers "Fuel" and "The Memory Remains" are the most likely of all these songs, from both records, to make a set list.

 Followed by "Devil's Dance" we are treated to atmospheric brilliance as Metallica's creative juices yield stomping, crawling grooves and heat soaked shady leads from Kirk who drops in a marvelous solo, leaving his comfort zone and shredding wild screeches that revel in noise play. The vocal hooks are massive as James shows his harmonious range between monstrous "Yeah!" shouts. Laden with occasional effect drenched background vocal lines it oozes with charm from a band pushing their own boundaries. That high is followed by a low "The Unforgiven II", a sequel song that doesn't hit a mark, lurking in the shadow of the original its borrowed riffs and adjustments feel like a rearrangement rather than a second chapter, its all made unbearably worse by the "you're unforgiven too" pun, not a favorable lyric!

Too my ears this record definitely sounds like the second of a pair. If Load got all the first picks it explains its consistency and flow in comparison. Reload goes down a few different avenues, some yielding duller tracks like "Prince Charming" and "Attitude" which seem to lack a spark between sets of reasonable riffs. On the bright side it has some real wild cards like "Where The Wild Things Are", a song that narrows its metallic groove and surrounds it with sweet melodies, mostly from Hetfield who really shows a soft side of his voice. A big shout to "That's Not Metal" for noticing the similarity between this song and Ghost. You can definitely hear it as a precursor to their style.

Metallica get some stick for this era yet there's a lot about it that has contributed to the trajectory of Metal to come, especially the ditching of the strict "all black" metal-head uniform. The production, aesthetics and attitude of this record are much the same of what I said on my Load blog. I remember perhaps being critical of Kirk who felt a bit quite on that release yet here there are a fair few moments where he becomes a big focal point, especially when turning to big, steady atmospheric leads playing of reverb and slow bends like on the remarkable closer "Fixxer". Its hard to pick a favorite of the two, Load is the better album yet Reload has my favorite songs. Ultimately I'm now gasping for more of this era too many fans have dismissed! This era is a fantastic evolution for the band, unfortunately its the end of Metallica at the top of their game.

Favorite Tracks: Devil's Dance, Better Than You, Silther, Carpe Diem Baby Where The Wild Things Are, Fixxxer

Rating: 9/10

Metallica "Load" (1996)

 After the monumental success of the self titled "Black Album", the legendary Metallica took five years to find an artistic stride to new territory. Despite them selling multi-platinum copies and bringing hordes of new fans to the Heavy Metal culture, their back to back Load and Reload records have been the mockery of metalhead snobs from then till now. The sad reality is I was once one of them. Thankfully my journey of music discovery has led me to a place where I want to hear what the artist is about and not just what I think will satisfy my taste buds.

Metallica were right there at the formation of my passion for music, my first and still favorite record of theirs, Ride The Lightning, carved my passion for this music and being a young teen with Christmas on the horizon I had a chance to scoop up more. Visiting the local record shop I was captivated by the covers of Load & Reload and picked them as my next Metallica records, so imagine my disappointment not to hear more of that fast, dark and sleek Thrash Metal! Unfortunately that sour first experience and the rarity of encountering fans that liked these records solidified my opinion that they were garbage... I owe a big thanks to the "That's Not Metal" podcast for prodding back to these records, their epic ten hour talk covering every inch of history in detail and heaped praise on this period of the bands history. With the fire stoked again for this band Load has been on heavy rotation and with mature ears I can join them in their praise of a truly excellent musical period for the band.

Where the old guard may moan that the Thrash roots are gone, Metallica have moved on, evolving into a mature beast that channels the energy of old into hefty, momentous grooves and power throttling drives of weighty riffage that erupts among a band expanding their horizons. Broadening their pallet, the four horseman let the sounds of Blues, Country and Hard Rock accent the guitar tones, steady the pace to a strut and shift the "heavy" to the grooving backbone as their new expressions become a focal point. Songs like "Ain't My Bitch", "2X4" and "Wasting My Hate" stick to their guns but the rest of the record flourishes with the new pallet.

Hetfield has to be given major props for his performance on this record. If the riffs weren't hard, thick and jiving enough, his vocal performance soars on many moments of the record with fantastic harmonious deliveries that will have you singing along. His mannerisms, the "ooh"s and "yeah"s reach a new level of infectious attitude and enthusiasm for his art which just pours out on this record, most likely due to turning inwards for inspiration. The social, political commentaries of past are void, with practically every track carrying an introspective edge in his words. Like with the range of energy these songs carry, James matches it with endearing performances, like the emotional, ranged, Country power ballad "Mama Said" to the grit and gusto of the grisly "Poor Twisted Me".

At nearly eighty minutes the album is loaded, mind the pun, by a band producing gold that might of needed some refinement, one or two less favorable songs trimmed, some unnecessary length on tracks too but the reality is the atmosphere and drive Load has keeps its excitement from start to end. Maybe this lost treasure trove from one of my favorite bands is just too much for me at the moment as I haven't wanted to skip by a second of this yet. I think the variety the record offers has much to say, flexing chunky heavy grooves between diversions into Blues and Country let the songs wind into different territories all while maintaining the grit of the biker gang persona that resonates. Free spirit on the road man.

Production wise, we have an authentic aesthetic. You can feel the heat, sweat and sand of dusty winds and hot climates. Lars's drum kit is snappy, sharp and piercing, every strike is heard and his patterns are as always a strong fitting for Hetfield. Kirk and Jason sound somewhat underutilized, his fifteen years in the band leading to a criminal lack of creative input that finds most of the baselines backing the guitar with a warm, thick mirroring in the base that provides a meaty thud when James gets into the heavier riffs. Kirk's solo's haven't left much of a mark on me, his roll is heard emphasizing the accent and tone Metallica are coming from but his leads never overtook the expressions of Hetfield who drives everything forward with his riffs and singing.

If I were to be critical of anything it could never be the artwork, the change in image the band undertook. Metallica aimed to reinvent themselves and that's exactly what musicians should do when it calls for it. Retrospectively I can see how turning the axis on whats of expected of Metal music is so important for the genre to evolve and perhaps their choices here have had unfounded influences on the shape of modern Metal. Its quite the shame that none of these songs grace the live show anymore. This is a fantastic period for the band, evolving their artistic expression and hitting the mark in the process. Now to binge on Reload!

Favorite Tracks: Until It Sleeps, Bleeding Me, Cure, Mama Said

Rating: 9/10

CKY "The Phoenix" (2017)

The legendary CKY from West Chester, Pennsylvania, also known as "Camp Kill Yourself", were a fond part of my youth. Soundtrack to the CKY movies full of skateboarding, pranks and tomfoolery, their songs were drilled into my mind as we watched them over and over alongside Jackass. I often return to their first two records and had the opportunity to see them live for the second time in a small and intimate venue recently. It got me hyped up for this record after having barely heard a thing from them in over a decade.

This is the bands first record without former front man Deron Miller who departed back in 2011. He's one of the original three and in his absence Chad Ginsburg has stepped up taking on the vocal role, performing the guitars, synths and continuing his duty as the bands producer. In Deron's absence their persona hasn't been tarnished, the music comes from the same place and Chad has the voice to fill his boots with a very similar vocal style that you may not of noticed had changed if you picked this record up unknowing to the lineup change.

The Phoenix is an album for the stage. Fun, lively and energetic, full of charisma. CKY continue to develop their unique sound while boldly showing their influences as flaming guitar licks emerge from their more traditional, grungy power chord grooving. With Chad in the limelight he takes the opportunity to show off his inspiring guitar skills with tones of wild, soaring guitar solos, blazing a trail of notes to try and keep up with as he quite frequently gets into the roll, especially on "Days Of Self Destruction" where the last ninety seconds of the song is dedicated to nothing but the shred!.

Many of the songs have similarities to their early classics, however they feel fleshed out with thick instrumentation that has synths humming between the cracks of bold audacious baselines that prowl and groove. The guitar leads stack up over the power chords with short lively melodies and Jess's drumming holds in all together with a subtle roll to gel everything together without being overly present. The sort of performance to impress when given due attention.

I love the density of this record. Without being overtly heavy CKY shine on the musicality that loads every passing moment with depth as everything has an intricacy. Although the song structures are rather formulaic and many sections repeat it always feels big and ambitious without being "heavy". Chad's Hard Rock and Funk influences definitely make themselves known here without taking away from their core sound. Its a very solid record with a few songs to match some of the classics.

Favorite Tracks: Days Of Self Destruction, Wiping Off The Dead

Rating: 6/10

Baroness "Purple" (2015)

American Metal band Baroness caught my attention at the Grammy's with a nomination for best Metal record. Ive heard them a few times before due to critical acclaim but never got into their breed of sound, however this time I figured I would give the album a fair shot. Its the groups fourth full length and only singer John Baizley survives from the original lineup. Their sound hinges on a Rock core with Metal leanings that at times conjures fiery storming riffs, very similar to Mastodon's distinct style. In its counterpart the record is loaded with great catchy hooks, sing along vocal lines and an undercurrent for melody that surfaces in the climactic moments and interludes like "Fugue". Classic Rock with a hard tone, dynamism in its riffing and the subtle use of keyboards to compliment lead melodies and bury layers of unearthed sound under the riff roar of the energetic guitars.

The records production and mix says a lot about the looseness of their performance style. In the calmer moments everything is tight, fluent and well measured but when the music fires up, the distortion guitars and tone of the music gets a little sludgy, loose and organic. The production puts a lot of emphasis on this with peaking guitars and drums that can be heard with every tom roll as the distortion draws a complimentary energy from the peaking compression. Mostly it compliments the instruments tone but when the drums get lively it can become a bit tiresome to endure.

With matching tone and direction the songs here mix the lines between more tradition Rock ideas and metallic aggression, creatively I must say but the best of them come from moments of melodic cohesion where the guitars and vocals meet in the same direction which is something that doesn't happen all too often. Baizley's shout isn't the most charming but it has character, soul and a burden that is truly sung and felt. When the pieces full in place Baroness make terrific hooks and choruses but not every song could hit that mark. The guitars also deserve merit here for the expansiveness to make repetition interesting in delivery and playing where the dynamics are in a state of motion. It mMakes for a very humanistic listen with a passionate voice singing over a loose and noisy Rock entourage.

Favorite Tracks: Kerosene, Fugue, Desperation Burns

Rating: 7/10

Young Guns "Echoes" (2016)

"Echoes" Is the bands forth record and my second listening to them. Following 2015's "Ones And Zeros" the band hastily moved to the studio to crank out another eleven tracks of their gleaming, poppy breed of Alternative Rock, edged with the occasional moment of Metal. Their sound is appealing in many senses, Its a simple format, catchy and energetic with an inviting tone but that rooted pop structure gives it a lack of depth. These songs are pleasant but their fruits dry up quickly in a routine of verse chorus and a cliched style of lyricism.

 A few moments of dynamic riffage and a couple of infectious hooks breath a little life into an otherwise mediocre record. The constant dazzling tone of the octane guitar and singer Wood's easy voice masks the momentary feel of these songs. Glorious in one moment and gone the next its an aesthetic experience that fails to yield anything lasting. It might be a harsh criticism but really its a personal preference, their style doesn't resonate deeply with me.

The currently trending "woha woha" backing vocals drive me a little mad but its the song "Paradise" that takes the biscuit. For me, the lyrics feel hollow and attempting to be far greater than any meaning they provide. Whatever "Somethings wrong is paradise" may be about, it comes across as a self absorbed tragedy, the ballad approach with Wood singing his best over the soft piano just feels so formulaic as if they were gunning for something musically the lyrics couldn't match up to.

I do actually like this band, they have a great live show and I'm fond of their aesthetic but the pop side of their music pulls them in the wrong direction at many turns. Last record they pulled up some really strong songs with fantastic hooks but it just hasn't worked out the same way this time around. A quite disappointing record but certainly not a turn off, Its enjoyable in its moment.

Favorite Track: Echoes

Rating: 4/10

Avenged Sevenfold "The Stage" (2016)

It was fifteen years ago I first heard Avenged Sevenfold, abbreviated as "A7X", the Californian rockers burst onto the scene amidst the storm of Metalcore's commercial arrival. I remember it fondly, a wild sound, slightly unhinged, with bursts of melody and harmony between a screechy onslaught of groovy goodness and boundless energetic drumming. Their following releases steered away from the heavy aspects of their sound and I lost interest. Over the years Avenged have become a huge name in Metal, Rock and Alternative music, much of it passing me by but the opening song, the title track and single caught my attention. How glad I am that I decided to tune in, "The Stage" may be one of the years best records, an epic, lengthy concept record that delivers a continual level of class across its seventy three minutes, concluding with the fifteen minute epic "Exist" featuring none other than Neil deGrasse Tyson.

So the record takes on the common theme of mankind's potential self annihilation through a plethora of lyrics that unsurprisingly amount to little for me, given my more musically oriented mind most the words are in one ear and out the other. M Shadow's clean voice doesn't particularly resonate with me and he is no annoyance through this record but there were only a handful of moments where his presence helped elevate the music, "Everyone lives on borrowed time". Fortunately the instrumental aspect of the record is so strong it does little to tarnish the theme and direction of the music.

"The Stage" is a metallic treat that stretches its might into a few unexpected crevasses, "Fermi Paradox" showcasing a brief Black Metal blast beat and shadowy riff. For the most part its a generally Progressive Metal record with moments of Thrash Metal intensity, rhythmic moments of Groove Metal with Hard Rock and Heavy Metal antics. Its pulled together with luminous guitar leads that flex melodies and energetic guitar solos seamlessly in the transitional moments. The songs don't just hammer down on the heavy, with gorgeous, bold and slightly metallic acoustic tones the instrumentation comes together flexing its muscles between intensities as songs organically move through the motions. Calming a storm in one moment and blowing up the next.

Each track makes its distinction and on some with the help of additional instruments that sneakily drift into the music, disarming us of their presence. Keyboards, strings, trumpets and the like crop up throughout the record, often to participate in just singular moments of a songs journey. "Sunny Disposition"s chorus has M Shadow softly singing over a Mexican sounding horn section, its astounding catchy. If not an additional instrument, the core music is always exciting with quality riffs and song structures that come together with a lot of fire and energy. It plays through like a true epic.

The albums conclusion "Exist" is an almighty one, starting off with gritty thrash beat downs that are brought to life by fast, colorful sweeping guitar leads, then it bursts into an unsettling tone with looming organs. Once again the gears shift and grooving riffs rhythmically slam before light horns lead the way back to the organs. It plays back and forth a charm, steadily culminating into a storm before the song blows out its steam and calms to an acoustic tone before steadily building towards its grand finale, a stunning, inspiring and deeply meaningful speech from Neil deGrasse Tyson that plays through the music and with each words takes more of the focus.

Whatever Avenged were up to before this record I think it would be a fair assumption to say they have out done themselves. "The Stage" is lengthy, yet without filler. Its production is modern, crisp, clean and balanced for it to never be a concern. The inclusion or rich instrumentation and the general ambition of the record speaks volumes in the quality of each of these tracks, there is never a dull moment.

Favorite Tracks: Paradigm, Creating God, Fermi Paradox, Exist

Rating: 9/10

Metallica "Hardwired To Self-Destruct" (2016)

And so the time has come to pass, the moment where the world's most important and influential Metal band graces us with new music. For my generation that's been quite the sour experience, firstly with the bizarre "St.Masterpiece" and then eight years ago with their attempted redemption on the thrashy, over compressed "Death Magnetic". I never gave their collaboration with Lou Reed any attention, its since been snubbed from their discography, which leaves us at a point where expectations aren't even a consideration. If they felt pressure or not, Hardwired certainly shows no signs of it, external or internal, its as if they have found their spark again. Of course time has passed and there will never be a "Ride The Lightning" again but dare I say it, Hardwired is their best sounding record since the "Black Album" in 91.

After many plays through its as if this record could reside between Black Album and "Load" / "Reload". Its got the Dynamic feel of "Black Album", the slower heavy grooves of the "Load" era and between a majority of mid tempo tracks there is a hand full of thrash tracks. "Moth Unto Flame" illuminates as an instant classic with its hard crunching riffs, fluent grooves, catchy leads and James's timeless delivery you can sing along to. It will undoubtedly become a staple track in the bands set list. "Hardwired" shreds as hard and fast as Battery, a short tempered, fast and furious burner. The album closer "Spit Out The Bone" also invests in a faster tempo that grinds through its verses, interluding with a Metalcore riff and leading up to a fantastic sparse guitar chord ringing, then a bass solo before Kirk throws in infectious leads.

The only moment on this record where Metallica don't quite sound themselves is on "Atlas, Rise". Mostly its a grooving song but its lead guitars are very reminiscent of Iron Maiden, to the point where it sounds "lifted", using the same techniques and harmonization. The rest of the records song fall into the mid tempo range with stomping, steady grooves crunching away while James sings similar to the "Load" era. They are far from bad songs but certainly the weaker aspect of the record, which is applicable to taste, depending on your thoughts to their slower style.

Individually each member is where they need to be. James at the fore front finds the fire in his hands and throws many vocal licks down in typical fashion however some of the mid tempo track lyrics aren't going to turn your head. Kirk is stunning with his contributions, every guitar solo is fire, inspired and in his distinct wah style. They are in shorter bursts by nature and some solos sound very similar to old classics but it all works like a charm. Rob mirrors James's Rhythm work with one or two short "solos" but Lars is the only one I'm not entirely convinced about, not the best drummer in the world but certainly has a great chemistry with James which is important. I found every beat and groove here solid, with exception to the fills. Everything is snares... snare, snare, SNARE! The one time he does something other than a snare fill it really adds a dimension, "Now That Were Dead" and its flat, autonomous tom hammering.

Much more could be said but in short its just a great record, not a classic but a solid release, something little were expecting this late into the bands carrier. This could well be there last full length record, which is actually a two disc release but not their longest. When I next see them live Ill be wishing to see at least four of these songs live and hopefully they will stick for the next few years, unlike the last two records of which nothing sticked. The band has found themselves again and in the build up to its release "re-textured" covers were appearing online of musicians playing the new songs in old album aesthetics. Hearing "Moth Unto Flame" as if it were on "And Justice For All" gave me shivers.

It also got me thinking that "Hardwired"s tone, distortion, production etc is not king here, the music is. The albums drums sound fantastic but James's guitar distortion is a little brittle and compressed. It gets the job done though, no complaints just not the most pleasing sound for the albums most prominent instrument, oh and James's voice is, strong, powerful and in its usual persona however live he is struggling to keep up. Possibly the bands last record and a solid farewell, lets hope its not though as clearly they have re kindled the fire.

Favorite Tracks: Hardwired, Now That Were Dead, Moth Unto Flame, Spit Out The Bone

Rating: 8/10

Ghost "Popestar" (2016)

Swedish Metal act Ghost should need no introduction but the reality is they are a new, fresh and growing band who have revitalized an old metallic style with a devilish undertone beneath their lush aesthetic. "Popestar" is a five track EP, its name a play on pop-star and the anti-pope image of front man Papa Emiritus. Riding of the back of a Grammy for "Circle" its a good tie over to there next album which could potentially be a big one as they continually expand their reach across the Metal audience. Consisting of one b-side and four covers it may sound like a scraping of content but actually its a fantastic little mini record.

I can't remember when I last enjoyed a collection of covers as much as this, the gorgeous aesthetic of the record paves the path of possibility for harmonica solos, spacial ethereal synths and some of the bands most melodic and "light" songs to date. At most times the Metal element feels far removed and we are left with colorful, bright music, free for melody and harmony to reign supreme through acoustics and Papa Emeritus's glorious voice.

"Square Hammer" Is a typical Ghost track of devil worship between grooving Hard Rock riffs and the oozing thick smoke of the purple organ, It could of fit right into the Meloria record. The covers equally depart from the tone of Ghost and in this moment showcase the versatility of their sound, the final three tracks have an infectious singalong spirit coming from a different musical center. The lyrics have a very pro christian tone and I think the choice to keep them the same rather than swapping names for Beelzebub let the music shroud it in a subversive tone of evil. On "Bible" its even further removed without a heavy guitar chord and thick evil organs slugging away to heavy the tone like on "Missionary Man". It retains the uplifting biblical tone and with one strike of rumbling guitar in the chorus, hides just enough darkness to satisfy.

Its a fantastic mini record, four great songs and one I'm not as fond of. Its another welcome dose of Ghost but makes me excited for the versatility of their sound, I hope the exercise of cover records like this is to test the waters with fans and find more regions to which they can evolve their sound. I'm once again very keen for more from the excellent band, one of Metal's best this decade.

Favorite Songs: Square Hammer, I Believe, Missionary Man, Bible

Rating: 6/10

Metallica "Death Magnetic" (2008)

With a new album on the horizon and a couple of fantastic singles, the legendary Metallica sound like their heading back to form comparable to their glory days over twenty years ago. With the new single "Moth To Flame" it sounds as if the bands inspiration is without reflection to previous standards, allowing them to move forward in a new genuine direction. And that's what we thought of Death Magnetic eight years ago. I binged this record and caught Metallica playing live several times in the year but then eight years strolled by and I realized Ive never listened to it again. The reason why? Well having dug this one out again its become quiet apparent where its short comings are.

Two big factors stand in the way of this albums potential, one is production and the other is song structure. I remember at the time there was a lot of emphasis on long songs during the promo and each song is six or seven minutes with one ten minute song amounting to well over an hour long record. The problem is a lot of this length is needless repetition. Not all riffs are fantastic but there are definitely belters in here but they come between the drawn out song structures that make a meal out of appetizers. There is simply not as much core material for the length and so the record feels tiresome despite being genuinely energetic and interesting in the beginning stages.

Its second short coming highlights a problem that's cursed a couple of other records, ...And Justice For All's toy drum kit and baseless production has haunted what was a brilliant record and in someway comparable to this one with some needlessly lengthy songs and complex song structures. The other is St.Anger and its clanger snare and dense thudding base kicks. They went for a garage sound and certainly got that. So Death Magnetic joins them with its horribly over loud and over compressed production. Anyone could see this by taking a glance at the EQ with constant peaking across wide ranges. It sucks the craft and texture into a blunt aggression as the guitar texture competes with the crashing snare and drum kit in general. The fast guitar picking sounds fluttery and most instruments suffer from this poor production choice, tiring the listener with a constantly difficult distortions from peaking.

Underneath it there's some great music and memorable riffs in the albums opening songs, however as it stretches on either the music isn't as good or the tolerance for its aesthetic starts to hamper the listening experience. "Cyanide" its a rather weak song and that's where Death Magnetic never picks up steam again. "Unforgiven III" is a pretty lousy third part that bares little resemblance to the original. Its got its strengths but overall id say the record was a disappointment however it has its moments which were pretty exciting back when it was released.

Favorite Songs: That Was Just Your Life, The End Of The Line, The Day That Never Comes, All Nightmare Long

Rating: 5/10

Kvelertak "Nattesferd" (2016)

Prior to this record I had never heard of this Norwegian six piece band Kvelertak. It would seem that they have had a significant success selling records in their homeland and have been praised by critics for a unique blend of Rock n Roll and Black Metal. On "Nattesferd", the groups third, much of the black sounds like a hangover heard in singer Hejlvik's rough, tonal screams and guitar distortions that are a touch more visceral and thick than whats warranted for the Rock N Roll core of their sound. They are not the first too fuse the two sounds together but maybe the first where the artistic intention comes from a much brighter and expressive place than the scornful fire and hate filled noise of Black Metal.

The sounds of a generation gone by echo through this record 70s Rock and Hard Rock leanings reminiscent of Thin Lizzy, see "1985", and other acts of that era make up a large portion of the sounds between the occasional blast beat and shredded guitar riff. Its fluid, organic, full of twists and turns led by solid guitar riffs often accompanied by bright acoustics that accent the rhythm guitars direction. These songs have a fantastic sense of direction and expansion as they evolve through many riffs and progressions that become pretty captivating when in the mood to enjoy whats on show.

With this they certainly carve a unique identity for themselves on a gorgeous sounding production that breaths a ton of life into the guitar tones and strikes a sweet balance with the drums. Everything sounds peachy except for two things which I always found dispelling. I'm not a fan of the vocals, they feel out of place, a little raw and flat and for the most part become tiresome when in the music. As well as that some of the guitar tones get a little weighty and aggressive which feels unnecessary. With that said there are plenty of blacker moments in this record that flow very well between its counterpart. There is artistic creative and vision in abundance but the way it comes together just isn't quite for my taste all of the time. Despite my annoyances I still think its a fantastic record.

Favorite Tracks: Nattesferd, Heksabrann

Rating: 7/10

Savages "Adore Life" (2016)

London based group Savages are Post-Punk four piece band who were put on my radar by Henry Rollins. Ive already heard reviews that this record isn't on par with their debut released three years ago but this is where I wanted to start. A fair few songs from this record were played at a concert I watched on youtube. That alone convinced me there was something special about this band who labeled as "Post-Punk revival" have the sound and spirit of that era coursing through all aspects of their music, with exception to the recording quality that makes no attempt to downgrade the fidelity.

This record comes across in tones of grey, deep dark blues and browns, muted colors that reflect the records pale and grim tone. Bleak and distant on the outside much energy, life and charisma rumbles within and flourishes through the dark, drab walls they are contained within. Its a unique chemistry of contrast and subversion, like a limbo or purgatory suspended between two states. This feeling runs through the entire record which is brimming with identity and originality as not a passing moment feel stale or repetitive. Its organic and in a state of perpetual growth.

The group approach their respective instruments like weapons of noise with whaling feedback loops used for atmosphere, crashing thunderous distortions and the sounds of pick sliding down the strings soaked in reverb paint dense atmospheres. A simple riff isn't enough and beside the guitars expanded sound the baselines rock hard with bold, rumbling, burgeoning lines that make there-self known at every moment. To often in music the base mirror guitars but not here where we get the fullest extent of the base holding its own ground and being a crucial part of how the songs come together.

The drums are equally in a creative air, each moment interesting and inventive. The kits sound lacks reverb which works well against the mammoth guitars and the snare compression gives the harder rolls some serious punch and power. In front of it all singer Jehnny Beth brings a subdued attitude through her soft voice with a delivery that doesn't strive for big notes or showoff theatrics but finds a poetic, artistic expression with the occasional scream buried under the other instruments. On "Surrender" she shows her range with a passionate delivery for a memorable hook on the records best song. "Adore Life" is stunning for its variety, consistency and characteristics that demand a full play through from the listener, which each song offering up something you cant pass on.

Favorite Song: Surrender

Rating: 8/10

Judas Priest "British Steel" (1980)

Pounding the world, like a battering ram! British Steel is English Heavy Metal band Judas Priest's sixth album released at the beginning of a new decade for the band, the 80s, and would be their most definitive and celebrated record. Having pioneered a heavier, unique and charismatic style in the 70s with records like "Killing Machine" it was this record that it all came together to produce an anthemic collection of songs that paraded the hard metal and leather niche of Heavy Metal they had created for themselves. I was lucky enough to have found this record at a young age around fifteen years ago and time and time again its been a go to record for getting the adrenaline pumping with Heavy Metal fever.

Singer Rob Halford's unrivaled vocal range leads the charge with a commanding and fearless attitude through a forceful strength in his voice which despite being relativity smooth and audible has the grit and clout to enhance the bands heavy attitude. Alongside him the guitars blaze a trail like the sirens of Heavy Metal, assaulting the listener with crisp, metallic tones, dynamic and powerful as they combine a sense of melody and rhythm together in a power chord led offensive of endless tunes to hum along to. The bass takes a tamer roll, often mirroring the guitars but sounding solid and bold. The drums have a mighty tone, a rounded, cutting snare and a thudding bass kick that arrives in the higher ranges gets a workout with double pedal techniques cropping up on occasions. Considerably heavy and progressive for the time and holding up as sturdy backbones for the songs.

Nearly every other song feels like an anthem, or one of importance. The radio hit "Breaking The Law" probably needs no introduction. "United" a true spirited sing along that combines the groove and grit of metal riffage with a shoulder to shoulder chorus of unity. "Red, White & Blue" sounds like an alternative, metallic version of the American anthem and was actually a popular live song when they toured there. Each song has its own reason to be great and my favorite might just be "The Rage" for its genre bender intro which could pass as a piece of Reggae or Dub before crashing in with a thunderous beast of a riff, excelling into a ferocious atmosphere led by Rob's vocal foray.

Its the moments where Rob unleashes the high end of his range that are truly riveting. The power, speed and pitch is mighty and unrivaled as he broods his way through songs, ready to unleash his climatic falsetto at the given moment. Even more impressive is the length he can hold these notes for, reaching mountainous heights and holding his breath longer than the listener. The guitar solos also leave a lasting mark on metal with a slightly chaotic flair that would influence bands like Slayer. They erupt and explode with an energy that illuminates with a frenetic momentum that could go in any direction. The whole thing is an absolute treasure and for its time you can't find a flaw with it. Its stood the test of time and as much as it did for them then, its still a Metal classic.

Favorite Songs: Grinder, United, You Don't Have To Be Old To Be Wise, The Rage

Rating: 10/10

Ghost "Meliora" (2015)

Ghost have been one of the most impressive Metal bands I've heard in a long time and I'm not alone with this opinion. Critics and fans alike have been praising this band since there debut "Opus Eponymous" and the band has rapidly been growing their fan base and praise with striking stage theatrics and music to match. I discovered them not long before the release of their second "Infestissumam" and this new record "Meliora" has been my most anticipated record for some time.

Defining Ghost's sound with words may be relatively easy but you have to hear it for yourself to understand the level of execution these musicians are putting into their art. Side stepping from the atypical progression of Metal music Ghost pull influences from the earlier era's of Heavy Metal and satanic themes in music with a tasteful re-imagining of ideas portrayed by extreme bands of that era. There's hints of Doom Metal, Psychedelic and Hard Rock, even Progressive Rock at times and it all comes together with a focused vision of dark, satanic worship in the form of bright melodies and lush, inoffensive instrumentation. Further playing into the twisted vision the band remain anonymous as "Nameless Ghouls" and their singer "Papa Emeritus III" replacing the former with each record. The anonymity wasn't of much interest to me, however it is speculated that the Swedes are a "super-group" of sorts.

Meliora is a gorgeous sounding record that finds the group playing down some of the metallic, riff oriented elements of their sound in favor of melodies and instrumentation that will have you watering at the mouth. The production captures these instruments with color, clarity and a chemistry that lets the harmonies between instruments spread like butter. Behind the glorious aesthetics the familiar theme of satanic worship is dressed up and delivered through Papa Emeritus soft persuasive voice, often subtle and suggestive with his lyrics he delivers hooks and passionate sing along lyrics with an evil subversive undertone that gets stuck in the mind.

The instrumentation is the bands most diverse, ambitious and on point so far. Across the ten songs they hit a remarkable range of ideas, themes and variety that can be heard through a thicker range of sounds, from sparkling acoustic guitars to the luminous pianos, enchanted choral vocals and eerie organs, everything has its moment in the spotlight. The lead guitar rips dazzling solo's that let Progressive influences blaze the trail on "Mummy Dust" with an almost synthetic quality. The drumming marches along with the flow of the tracks and punches a lot of pedal kicks and cymbals together to mark the rhythmical hits in the notation. Even the bass guitar gets its moments to show off its snarling raw texture as it bounces and grooves with the lighter guitar distortions utilized.

The record flows from start to end without a dull moment, and although there may be some tracks a little more favorable, it will vary from person to person as every track has wonderful vision and execution. "He Is" was undoubtedly my favorite, an spirited worship song fitting for traditional christian song if it wasn't for the lyrics, on this track its Ghost at their absolute best and there's little this record could of done to be better, however I think we are still yet to see the best of this band who are quite simply killing it right now. Can't wait to see them live again, and already I'm excited for what the next record will bring, but far from done with this gem.

Favorite Track: He Is

Rating: 8/10

Young Guns "Ones And Zeros" (2015)

 

Trying to stay out of the rain at Download Festival I caught this band, one of the secret acts, on the forth stage. I was sucked in by there performance and stage presence. Upbeat, bold, energetic and poppy they certainly put on a show that at the time I knew wasn't exactly my cup of tea but I enjoyed it none the less. Young Guns are an English five-piece group who play enigmatic Alternative Rock with reverb heavy metallic tones and poppy hooks. Their sound is both generalized and accessible, as it is distinct and a tinge on the heavy side.

"Ones And Zeros" is their third full length record and as a whole a powerful, absorbing record if their dreamy, pop epic aesthetic is to your taste. In my case it very much was on the aesthetic front, however the pop hooks and overuse of "woah-oh-oh-oh" vocal inflections really killed of a lot of the enjoyment to be had. There's a lot of good tracks in here, beautiful numbers that soar and glow as epically strum instruments collide in a wash of noisy bliss. Its the poppy undercurrent that at times get under my skin. There's too many moments where the group trade in the progression for cheap hooks and breaks that really break the spell, often with the backing vocals throwing in reinforcing, distant "ah-oh-ah-oh" chants that by the end of the record are driving me mad as the last few tracks seem to ramp up there use.

If it wasn't for my dislike of these choices id be really into this record, there's a lot of the magic I saw live and the aesthetic of the instruments, their chemistry with singer Gustav's strong, velvety voice a real treat for the ears. The production is a typical flawless modern capture that gives so much space for each instrument to fill and with little technical issues to talk about its sound is fitting of the big, lofty, glistening sounds the group create. Its a shame the rely so much on the cheap thrills of trending poppy styles, but between those moments there is substance to be found.

Favorite Songs: Rising Up, Memento Mori, Lullaby, Daylight

Rating: 5/10