Chevelle "Niratias" (2021)

 

I'm glad I'd taken the time to discover Tool before encountering a record like this. Chevelle have won me over with their thoughtfully tempered and artistically angered take on Rock and Alternative Metal. It was on the second listen that the resemblance to Tool suddenly clicked and its been unshakable since then. Singer Pete Loeffler emulates Maynard at every turn, both in style, pitch and delivery. I feel that I can only refer to his obvious influence as the distinction. His multi-instrumentalist brother Sam does much of the same with the song writing, arrangements and riff ideas with an occasional big riff more akin to perhaps Nu Metal in delivery. Even deviations from the norm on instrumental interludes with ghostly pianos have an echo of similarity. Either I'm right on the nose with this or infantile to the web of influence Tool have undoubtedly cast on bands like Chevelle.

Similarities aside, this album has been a blast. Niratias runs an expressive line of crafted writing, steering clear of leaning to hard on tropes and arrives at its conclusions with the grace of lavish instrumentation that gets everything involved in intervals with space for individuals to shine in the gaps between. So often do the guitars drop back for the bass guitar to rumble. Lead guitars get to sweetly slide into focus with elongated stretches of atmospheric melody and around it all the drums weave together a narrative. Its theme is supposedly rooted in the talks of the times when it comes to a commercial era of space flight and the now popular philosophical discussion of simulation theory. Its most potent lyrics to me tho, where the impassioned cries towards misinformation and science skepticism which too have risen to prominence during the pandemic.

At a meaty fifty minutes, Niratias offers up some fantastic vibes, balancing aggression and artistry with something I can only describe as the "festival feel". Many of these songs feel set for the summer stage to be shared with thousands of fans, delivering those big riffs and crunches after grueling through the gradual build ups and hold over sections that keeps the music in lane. In the past I think its the sort of music I'd gloss over but I am happy to say that ignorance is gone! For all the familiarity this has been an exciting listening experience that feels best as a whole, having found it hard to pick favorites from the track listing. Peach however... is a peach of a song! Oh too easy but yes this one has an exception bite to it as so quietly builds to its blunt force guitar throwing down thumping slabs of low end noise. Pete absolutely makes this song pop with his fiery singing, crying out woes of foreboding limb removal!

Rating: 7/10

Pop Will Eat Itself "This Is The Day..." (1989)

 

This album may just go down as one of the most intriguing, genre crossover and retroactively curious records to discover at a time where the historical musical tapestry rarely surprises. This Is The Day... is a defining sophomore album by British act Pop Will Eat Itself, a band fueled by a passionate energy for music alternative to the mainstream. Despite being floored by its hallmarks, the now dated era sound of its fainter stints has me less indulged by its waves of nostalgia emanating from a moment in time prior to my favorite 90s sounds. Essentially, this would of been my world had I discovered it earlier in my youth. Hearing it now, its still a marvel to behold and enjoy.

Kicking off with PWEI Is A Four Letter Word, a defining influence is made known with its bold snippets of Chuck D & Flavor Flav of Public Enemy. The sampling culture of then still emerging Hip Hop sound runs rampant as defiant statements are drawn around the concept of "stealing" music in this sampling form. These guys stand on the cutting edge of the times, bringing Rap and Rock together with Heavy Metal and Punk Rock guitars among its weaving web of Electronic, Pop and even Disco in brief bursts. It has the spirit of Anthrax's inclusion on the crossover classic Bring The Noise. Its a wild punchy sound, bold and hard hitting as its elements stack together crudely through the riotous noise blaring from DJ Winston's eclectic sample choices.

Individually the songs tend to feel structured in a Pop format with chirpy hooks and a ton of cultural inclusion from its embracing sampling and referencing lyrics. The experience is like a youthful time machine, references to Terminator, Robo Cop and even Mc Donalds ground itself in the era. Notably, this is where its weak points gleam. Its silly refrain "Gimme Me Big Mack, Gimme Fries To Go" rapped alongside the classic Funky Town melody is both gaudy, geeky yet admittedly fun. Its grown on me, the awkward leaning arrangements do have musical charm at its inspirational core. My other "gripe" were the crass English accents, a little stiff and engineered when rapping but giving it some Merit, its the late eighties style, simple but effective.

Wrapped around its bold affront, the musicianship from Mole, Mansell, Crabb & March is remarkable, a keen negotiation fostering the spaces between its sampling indulgences with timely riffs, melodies and grooves to lay a firm foundation for the madness. Its an organic unraveling textile sound, morphing into songs as samples and programs drums invade the percussion, bass, guitars and beyond. The rhythm section was a personal pleasure, reflecting the tones of Alternative Metal, Industrial and Post-Punk to remind me fondly of the coming shift in sound the 90s would bring.

As said in the opening, its a marvel, full of mentions to perk your ears, Can U Dig It? is a lovable spew of references built around the classic line from The Warriors movie, sampled over and over. I set out to write a more critical review as its gaudy moments and rough edges had been a focus in casual listening, but as it happens on occasion, diving in deep and getting the thoughts out really made me appreciate this one more. Its quite iconic to me how it slips in between a lot of great music I adore with a "here first" affirmation. It will take time to digest deeply. One thing is sure, I am not done with it yet! Ill be spinning This Is The Day... for years to come, I can feel it in my bones!

Rating: 8/10

Bathory "Nordland II" (2003)

Nordland is a mighty double album, two hours of spirited nostalgic lore and viking aggression without a weak spot. All from the same recording session and with little distinction between its two halves, it is simply an epic musical output by an inspired musician finding new ground. That's an important point to linger on, it would be all to easy to describe this as a return to roots. Although it has the spirit of a Hammerheart, or Twilight Of The Gods, this is a rather forward thinking pair of albums, refining and rebuilding the chemistry that defines it, introducing new elements along the way too.

With keyboard synths and cultural instruments, stringed and woodwind, the symphonic aspect feels fleshed out and spirited acting as the sail for many melodies to carry the music forth alongside the swells of male heathen choirs and metallic force. Its never a glum affair, much of the atmospheres conjured have might and pride, an uplift sailing against winds and rain. The harsher realities of ancient rural life trumped by the glory of natures unforgiving beauty and human life among it.

Each song feels poignant in its narrative, gleaming melodies swell, riding into shifts of tone. Guitars, synths and choral voices interchange to hold over lengthy songs with excitement. Quorthon sings with one of his fairest performances given his authentic singing, which is challenged. He utilizes his strengths, not straining and often refraining with a spoken word temperament that electrifies the many choral arrangements that proceed him. Where songs of old were driven by fresh ideas, this collection really explores whats possible with more musical involvement on all fronts.

The metallic element is a keen one too. His rhythm guitars are initially more of a backing element but with Dragons Breath and a couple numbers or Nordland II, he delivers some bouts of cunning aggression that triumph over anything from the Trash Metal era and meld so well with otherwise melody oriented music. The lead guitars are a blessing too, not only peaking with rampant shredding solos but hitting bold with striking metallic melodies into the songs at regular intervals.

To summarize, this is undoubtedly revisiting his Viking Metal glory days but with such a refreshing attitude. These songs are given so much love and care that they come to life on a new level with deeply involved song writing. Better sound design and use of instruments outside the norm flesh out its theme well. Strides are made on all fronts however thumbing over the tracks again one by one, Ive got to say it does feel as if the more rhythm guitar driven songs end up on the second album. It has the darker charm with a more aggressive temperament. Its been a fun journey and this is one heck of a note to end on, even if it was sadly not planed as so. It will always be a curiosity to think what might of followed but great to know he found his way again after a patchy series of albums.

Rating: 7/10

Bathory "Nordland I" (2002)

Another epic journey concludes as we embark on Quorthon's final works, essentially a double album that rekindles the flames of old, having lost his footing through the nineties. Sadly we may never know where he would venture on from this high point, his untimely demise coming just over a year on from the release of Nordland II. Supposedly linked to heart conditions it is often speculated that Bathory never toured for this reason. At this stage of his career though, he was truly a one man band, not only writing but performing all the music that makes up these records. Both are of the same studio session with little distinction between its two halves. It made sense to write about them together in one single post, so that will come next and for now we will focus the journey this infamous artist has taken us on to get here.

Starting out in the mid 80s, the early records are gritty, edgy and ambitious, pushing boundaries which seem tame and cheesy by today's standards. That is precisely the legacy though! With The Return, many ideas emerge that would become staples of the Norwegian scene in the 90s. Its not until Under The Sign Of The Black Mark that something special sparks. Still hammering out the extremes, his songwriting elevates, outlasting the gimmicks and giving us a glimpse of whats to come in the next few years. The introduction of synth on Enter The Eternal Fire also a remarkable idea, a clear traceable linage to the many Symphonic Black Metal bands yet to come.

Blood Fire Death marks a true stride of genius. Clearly growing as an artist, the Nordic inspiration of his heritage and Viking roots brings fresh, original ideas to Metal. It all flourishes with a pivot to focus on this spirit alone with the mighty Hammerheat, putting Quorthon at the heart of two big musical movements set to evolve over the next decades with him practically checking out and pivoting to Thrash Metal during its decline. It is this era that highlights something forgivable in the early days, sound production. Whatever the reasons, the harsh abominable aesthetics hinder much of the output moving through the 90s. Its been a stain on much of the music, with Blood On Ice providing just a little relief along the way.

 Fortunately the Nordland saga is finely produced. Still a little harshness lingers but the two have a fair aesthetic for music we will talk about in the next post. One thing is for sure, early Bathory is essential listening for fans of Black Metal and Viking Metal, those first five records plant the seeds of so much music to come. On a personal level, it was really fun to get back to these records, rediscovering some fascinations from my youth and getting a much fuller picture of a patchy career with ups and downs, ultimately ending on a high note!

Rating: 8/10

Carcass "Despicable" (2020)

I was eagerly awaiting a new Carcass album. It has been seven years of silence since the reunion record Surgical Steel. Disappointment struck upon learning this release is simply a four track tie over to the full length pushed back by the ongoing pandemic situation. Despicable's four songs apparently "didn't make the cut". Considering these are pretty darn enjoyable numbers, I'm now even more excited for Torn Arteries, now delayed and set to drop sometime next year.

Returning again with their defined textural flavor of Melodic Death Metal, seasoned musicians Jeff Walker and Bill Steer craft warm, inviting strands of extreme music. Residing mostly within the mid-tempo, even temperaments of aggression and melody play out mostly from an approachable middle ground. The drums rock steady grooves with fractional forays into challenging blast beats and dexterous sequences. Distortion guitars churn out sturdy power chord arrangements with exciting iterations on the fretboard, mostly manifesting into dazzling sparks of color as the lead and rhythm guitars work in tandem. Its only notably "extreme" in brief moments.

Its the raspy, whispering shouts and screams permeating all of the music that anchors the edge down. With a snaky serpentine flavor, they slither over these songs with severity. Not to get too hung up on the Extreme Metal angle but if you strip out the vocals, this record is basically an accessible set of adrenaline charged songs with gorgeous melodic entanglements and great song writing. Everything comes together wonderfully, even with a catchy hook or two. On Slaughtered In Soho, the slaughtered lyric is cried out, wrapped in a brief reverberation after the lovely unraveling melodic refrain from the lead guitar. Its leads are continuously sublime.

Everything about this record feels measured and in balance. Some of the more creative, tempo breaking riffs come with a keen sense of quality over going "full throttle". The breakdown riff on Manchester Morgue makes great use of deadening the power chords on path to the next. Small details and moments like this are illuminated when a guitar solo wails over top. Its great writing, over exploiting techniques. Despicable has a fine production, crisp, bright instruments get to dance in the forum of aggression underpinning the overall mood. My only annoyance is the use of cowbell. It forays into the music on occasion but something about that instrument never feels right to me.

Rating: 6/10

Havok "V" (2020)

 

Slow to the take up this fifth installment from revivalists Havok, It perhaps found me at the perfect time, an apatite Thrash Metal brewing and certainly satisfied as my recent spins of V have been nothing but fun and exciting! The faithful four piece outfit from Denver, Colorado tow a difficult line in resurrecting a style from the 80s with the glory of modern production. Originally is not their main aspiration but a consequence that could derail the vision. Subsequently they walk a tightrope in the shadow of great bands that came before, utilizing all the song writing constructs, techniques and aesthetics of the arguably most pivotal era in the history of Heavy Metal.

In its opening tracks just about every melodic refrain, chugging palm muted riff and cutting drum pattern reeks of that which came before. Distinct echos of early Metallica rhythm guitar and Megadeth's technical innovations are at the root of musical intent. Only the bass guitar strays with the occasional discordant harmonization more reminiscent of the Technical Death Metal to come. Riffs, arrangements and song structures are all potent! Each track feels fiery and intentional, written to pivot through its ideas with powerful impact, almost reminiscent of the momentum in a Slayer classic with its keenest of headbanging passages.

If it sounds like high praise then allow me to restrain myself. V tends to lack in stand out moments but instead deploys its music like a consistent revolution of familiarity. Executed with exceptional ability and flushes of dazzling, dexterous fretwork through its guitar solos, Its a dose of excellence devoid of originality or surprise. Front man David Sanchez seems to have fully embraced the politicization of his music, first appearing on Conformicide, V is also loaded with social-political commentary of a particular leaning. Like last time, his lyrics seem close to the pulse of podcast culture and the discussions of our time with Panpsychism and the coined term "Post-Truth Era" making its way into the topicality. Expressed with bold statements, it leaves little room for the same discussions that may have inspired his words.

As expressed in my opening remarks, an album like this ultimately boils down to personal preference and temperament. It's brilliantly executed revivalism with a strong political inflection that may put some off. The forging of Thrash Metal may of had similar sentiments within the scene but listeners today are of a broader variety. Personally, I don't take it all to seriously but it is very much in a similar spirit to the anti-war stance from the 80s. Fortunately for me its elements clicked into place. A stellar production and aesthetic fidelity plays well into the hands of the riveting Thrash energy these songs conjure! Its been a blast.

Rating: 8/10

Kataklysm "Unconquered" (2020)

 

 The appeal of purchasing this record was mostly to "check in" with a band from the years of youth. Unconquered is Kataklysm's fourteenth in a steady flow of albums spanning over twenty five years, a competent yet routine production of modern Metal by seasoned musicians with not much in the way of something new to offer. Initially known for their "Northen Hyperblast" take on Death Metal, only a resemblance of the shocking rattle of drums on overdrive that defined them remains. The songs are of course intense in nature, however only one track stood out too perpetuate that distinction, Defiant. Its opening hailstorm of machine gun snare blasting makes for an intensity wall of sound relieved by brief glimpses of dizzying fretwork from the guitars. It tho break to the mid-tempo, a region most the record spends its time within.

Getting onboard with the times the group utilize seven, or even eight string guitars with a brutish tone set to dazzle with a textural indulgence of low and meaty distortion. Its a great sound fit for the groove, bounce of low strings and groan of pinch harmonics wrapped up in the Djent guitar style. It actually came as a shock to hear the embracing of riffs with less of that Death Metal flavor, however there is no polymeasures at play. In all fairness it does not dominate, most songs tend to come with a mix of tonal noise abuse and a shredding of chords more akin to their tradition. The balance keeps Unconquered entertaining on its thirty eight minute stretch.

Luckily for me, Iacono's throaty shouts of forceful anger have a temperament I enjoy. Many of his lyrics that I managed to decipher, however, felt all to chest pumping and shallow. Triumphant threats and statements of violence ushered in with simplistic use of language. Little too ponder on but maybe something to cling to if you can relate it to personal grievances. The lyrical dimension gave me little to enjoy but with a crisp textural production, the barrage of battering drums and brutal guitars timely laced with melodies made for enthralling extreme noise music listening experience that is hard to put down. The record lacks distinct songwriting to stand beyond the norm and given my immersion in metal music, nothing here will root itself in my memory. Perhaps with one exception, the ending to Underneath The Scars has a pretty sick breakdown. The rapid pedals firing in the silence between slams of guitar noise is wonderfully executed. Unconquered is a fun one for fans of extremity but offer little new.

 Rating: 6/10

Bathory "Octagon" (1995)

 

 

 Our lengthy Bathory journey now embarks to the eighth installment, hence the Octagon title, supposedly the low point. Following on from the polarizing Requiem, Quorthon's DIY spin on Thrash Metal takes another nose dive into a pale abrasion the ears do somehow adjust too. The snare rattles and bites, piercing at all times among the clatter of symbols and smothering of bass pedals. Distortion guitars make headway with a narrow band of fuzzy mud, just fractions shy of masking the tight riffage at work. He tones down his vocals to a more manageable degree of horror and again we have a disastrous formula you can't just outright dismiss.

For the year it would seem that influences from the emerging Groove Metal scene make subtle marks on the swing and bounce present in some compositions. Most remarkable is track two, Born To Die. Smelly angsty acoustic guitars open up what retroactive ears can only describe as a prototypical Nu Metal song. Getting past its initial thrashy opener, the music pivots to a syncopated sway of Drop D styled riffing an atypically generic trait. The delivery of anger fulled snarls and shouts are just the icing on the cake of this forecasting, bizarre oddity.

 

 Glimmers of this moment teeter throughout but from this point its a downward trend. With exception to its keenest power chord arrangements and the blazing lead fretwork, the quality gives off local band vibes. Especially the lyrics, a lot of which caught my ear for sounding smart but often not saying a lot, just blasting phrases and social political words. Quorthon is a talented musician but the production is dreadful, stripping out anything inviting the songs offer. Its a bit like St. Anger, you're not sure what part is actually awful about this because it can produce some enjoyable moments. Despite confusion, in this eternal form it is a stinker.

 

 Rating: 2/10

Metallica "S&M2" (2020)

 

Twenty years on from their now iconic S&M performance with The San Fransisco, the two reunite for an experience both recreating the original and throwing in some new elements with underwhelming takes on Classical Music and of course an inclusion of new material from Hardwired and Death Magnetic. Although it is impossible not to enjoy a Metallica set list, this project feels inferior, cast to the shadows of its former glory with some flaws present throughout that just let you know the original was a magnitude better. Ironically it is this release the press seemed to have gotten onboard with, heaping on praise where the first one was often misunderstood.

 

As the band age so do their performances and all too often can you hear Lars struggling to keep pace, Kirk's solo's become a little scattered and sloppy and James too struggles with his voice infrequently. At the live show, its hardly an issue given the immersion and event but taken to wax, its all too noticeable. What is also very apparent is the often meager and timid nature of the symphony. Its either the mixing or composition but these numbers feel far more like a Metal songs with some added sparkle. I wasn't keeping tabs on if the symphonies were identical for songs that were featured again but overall it just felt quiet and less involved than before.

That being said one delight to behind where the new songs. They sounded fantastic! After a couple of years its proven they fit in alongside Metallica's many hits and the symphonic gloss worked ever so well, even if just a complimentary element. S&M2 is hardly a bad experience but it really doesn't offer anything more bar the newer songs. There was also an opertunity to take the two Classical songs and spice them up with some Metal but the one track they did this on was simply a disappointment. Its hardly surprising that retreading old footsteps hasn't yielded anything special here.

 

Rating: 5/10

Bathory "Twilight Of The Gods" (1991)

Twilight Of The Gods represents some truly new territory as a part of my nostalgic journey. Bar a couple songs, most of the record was fresh and thus had a challenge in the face of all the praise I heaped on Hammerheart. Its temperament is similar, more of this heathen viking Metal but with a duller edge. Its title track and Song Of Blood have a gloomy tone. They make up twenty one minutes of the record as the pair steady the ship for slower tempos. It shifts focus from guitar to its choral voices that conjure rural life of this inspired era of history. In a few rare moments of gusto, the guitars feel held back by the production which doesn't give them enough punch. Its very much an atmospheric affair and that gloomy feel does subside in parts but mostly these two have a burdensome vibe that drags on.

That temperament is felt throughout, however the middle tracks get to embellish their themes and stories with rocking riffs and choruses that bring some much needed excitement. The tone is dominating though, even Quorthon's excited explosions of lead guitar seem dulled. If its composition or production, I can't get away from this moody tinge, its almost indulging but mostly for me lurches in the shadows of the mythic, heritage charged music that came before it. This time around the vision of culture lost to time is distinct but lacking an enticing energy.

Blood And Iron gets a nod for its stunning glossy acoustic guitars that ring out metallic chords. Its a gorgeous compliment to the driving song beneath, breathing much needed colour into the icy, cold and stiff production that I'll say again feels a fraction away from being an endearing quality. The album ends on a high though, the Hammerheart song an anthemic out poor of triumphant singing that works in some of Gustav Holst's timeless music from The Planets. Its an epic conclusion to an otherwise disappointing record that is a little to self indulged in its droning tone and off-key singing, which again feels a fraction away from something great in its pursuit of authenticity. The bellowing call of the hard life of vikings resonates with that same hardship. A flawed record which has Its moments, I am doubtful it will grow on me.

Rating: 6/10

Metallica "S&M" (1999)

 

With S&M2 out and on my playlist, I wanted to relive again this remarkable collaboration between Metallica and the San Fransisco Orchestra. My impression of it today comes with more appreciation than ever. How has this record not become a yearly ritual. Between the Metallica binges, it would bring a whole new dimension to their arsenal of classic songs. More so, I think its the newly found adoration of what the band attempted with Load and Reload that lifts a fair portion of the record from depths I once skimmed over.

Symphonic Metal and the like may have been in relative infancy but to this late 90s period its no stranger. However the collaboration doesn't even resemble how strings and orchestra instruments had been paired with Metal music to date. The San Fransisco group orchestrate on their own terms, acting as another layer of musical identity with in songs already brimming with stature. The music is embellished, a real treat for those who appreciate a union of style often perceived of opposite despite many emotional similarities.

The album's opening is brilliant, Ecstasy Of Gold followed by the instrumental Call Of Ktulu gives ample time to take in the added dimension before ripping pace with Master Of Puppets, possibly the best way for James to bring his iconic voice in. From there the record ebbs and flows with refreshing changes of pace and also involvement from the orchestra, not every song and moment requires a layering of symphony and it too breathes with the set list. One thing to say, there is no fear in getting right in the weeds of some of the bands most iconic music.

There are many favorites each listener will find, among them a couple originals, Human and the adored No Leaf Clover, two fantastic songs, the last before St. Anger. No foreshadowing there. S&M is not without its flaws though. The seventeen minute passageway of Wherever I May Roam and Outlaw Torn drags its feet a little with the plodding repetitive baseline reminding me of a festival jam session giving the crowd ample time to take a trip to the bar and refuel on booze before the closing hits.

Being one to continuously move forward with music, a few nostalgic trips to old records have had me worried of magics left behind. I knew S&M stood in great stature among fans and myself, not so much critics at the time. Listening to it again, its almost as if I forgot about the endearing sparkle the whole experience has, especially the goosebumps educing enthusiasm from the crowd who James lets sing on the record with him. Must of been one heck of an unforgettable experience to have been there!

Rating: 8/10

Bathory "Hammerheart" (1990)

Ones body will be scared by age but so shall the mind! It seems almost criminal that the brilliance of Hammerheart has faded in reputation. Diving back into the Bathory records of youthful years I had somehow lost memory of this masterpiece. Thinking I was on the cusp of unearthing a new glory to enjoy, every track rang echos of a decade past by. Songs unearthed with their etchings still eternal under the dust.

This was the moment Quorthon embraced his heritage and forged a new, remarkable path. Somehow, I remembered this record as a drop off point but in fact these are all spirited songs keenly remembered, including the mighty One Rode To Asa Bay, the only Bathory song to ever be made into a music video if I recall correctly.

Leaving the ferocity of Blood Death Fire behind, slower tempos, brooding atmospheres and heathen choirs accompany a tamer Quorthon who channels his energy into roaring battle cries and off key singing. He conjures the viking spirit with this hard pressed voice that should turn the nose up in theory, yet the genuine passion in his voice pushes the Nordic spirit of the music into a vision coming to life.

Its the final piece solidifying this inspired music of mythic heritage fit to conjure candle lit halls and mighty landscapes of rural natural beauty. Although now a common thing to experience in Viking Metal, this must of been something special at the time of its release. The album opens up with two lengthy epics, Valhalla crashing with lightning strikes into a mountainous passage of drawn out power chords and thunderous drum pounding that sounds practically lifted from Call Of The Cthulhu.

Its a recurring section that elevates the music but also feeds into claims of plagiarism against the band. Something I had yet to touch on but much of the early material is akin to Venom yet Quorthon often claims to have not been influenced by them. It is however a moment of power from the percussive battery and throughout the album tumbling strikes of tom drums help propel these epic and heathen calls to the gods.

Moving into Fire And Ice and Father To Son, sections of dense distortion guitar singularly erupt with a keen parallel to Groove Metal, a genre yet to unfold at this point in time. Its not often the riffs are thrusted forth to the light as they mostly meld with synths to conjure the distinct atmospheres. That measure of fretwork is often subtle but a keen feature throughout. The surprise is these eruptions of meaty groove.

This is a pivotal album for Bathory, being at the forefront of one movement and in one stride to the next, forging and mastering an entirely new sound for the Metal umbrella of sub-genres. Where his last two albums showed flashes of this genius and reveled in a little diversity, Hammerheart is a very unified sound from stand to end that is near impossible to deny as a classic. I am so glad to have found my way back to it!

Rating: 9/10

Mushroomhead "A Wonderful Life" (2020)

 

  What words to muster for this record? Its been tough to find them. Almost twenty years on from XX there is little stylistic evolution beyond the general trends of modern Metal. Keeping their unique balance between distorted guitars and Classical toned keyboards the band offer up a heaving bulk of mediocrity at seventy minutes. If you cut the runtime by over half you might have something reasonable but its biggest downfall is how interspersed the projects better material is.

A Wonderful Life sounds like it has an arching theme with some recurring lyrics of pain and struggle, so neatly packaged it feels hard to relate with. Its inline with the tone of "light" European Metal, often female fronted, that puts emphasis on clean singing and routine reductions of intensity. A couple tracks stray right into this territory and others linger nearby sticking to their distinct style. There is nothing wrong with that sound but its a temperament that fails to stir emotional resonance with me.

A couple of songs in the mid section play up big theatrical themes with slow unravellings and a sense of grandiose story telling with the music. Its reasonable but far from being remarkable. Again the lyrical themes seem to play up suffering with a lack of resonance. It ties in to the opening barrage of intense operatic singing which rears its ugly head again towards the end and on the closing track. Again, nothing wrong with this but it feels so out of place, a rigid attempt to compliment the theme.

Overall its been a few sluggish spins with some moments of intrigue but mostly dull and drawn out songwriting dressed up by the bands aesthetic and intensity which is enjoyable. Its a competent production so listenable but hardly a memorable one.

Rating: 4/10

Fellsilent "Fell Silent" (2004)

 

  To round out the nostalgic dive into a legendary local scene band, I managed to scrape together two of the three songs that made up their first demo! I'd never heard this these songs before and initially they sounded stylistically different from the Djent beast they would become. The tone of Metal at play was surprisingly really fitting of the local scenes of the time, getting away from the shadow Nu Metal and reinventing the wheel with a strong Metalcore influence. I even have some CD-R demos that sound not far from whats at play here.

Yet to master the Djent tone, the group have a shorter measure of polyrhythms in the guitar riffing, playing out stomping grooves with tightly picked riffs often dizzying around single notes and bends. After an analytical listen one can see the path they took. At this stage their songs are strong, decent but yet to be exceptional. The Meshuggah influence not so obvious. They do however have the songwriting to lead their collection of choppy riffs to climaxes as both the songs led to a satisfying conclusion.

Singer Neema Askari has yet to knuckle down that bleak forceful tone in his screaming and so sounds rather amateurish in that typical feel of local bands. His cleans however are far more emotive and expose a chemistry that prevails to their later work. Both the songs I heard are fantastic and grow fondly with many repetitions. It may not have been obvious at the time the potential this group of young lads had but all the pieces are there in one form or another.

 Its really uncanny just how much it all reminds me the other bands in the scene of this era but perhaps not so given how in the early naughties we were still mostly geographically defined, even though the internet culture was starting to blossom. Such a treat to enjoy but more so for personal reasons. This demo is a fine starting point for the band and on a final note, very well produced for a scene demo! Its a great listen, wish I could just find that third track!

Rating: 4/10

Bathory "Bathory" (1984)

I was listening to Scandinavian Metal Attack, a compilation of Heavy Metal released earlier the same year that the Swedish one man band Bathory featured on, when I realized its been well over a decade since Id last dived into these classic records that influenced the shape of Black Metal to come. Venom coined the name two years earlier but Quorthorn took the cheese out of the equation, sharpening the axe of evil with an aggression, keenly influenced by Motorhead. This self titled debut pushed the pummeling sound further whilst taking the occult seriously, laying foundations for a whole new musical scene to arise, inspired by the taboos of evil.

 With a brittle angular distortion guitar tone and shrieking howls, this dusky record and its simply awful audio fidelity presents an initial challenge. Much of the tone is pushed into the mid to high range with the low ranges being a muddy mess of bass resonance. All instruments have there sloppy moments with riffs falling off beat, drum strikes inconsistent and collisions of noise. Despite this the music overcomes the technical aspects, Quorthorn's throaty shouts and groans are sufficiently menacing for his evil themes of all things occult and taboo to have a sense of seriousness.

For a primitive and somewhat embryonic record the songs hold up well all these years later. The punkish riffing slogging power chords and melody interwoven picking rhythms stand on their own two feet. Without chasing the gimmicks of speed and extremity for extremities sake, Quorthorn uses his guitar to forge a genuine direction often illuminated by the shrill eruptions of lead guitar that dazzle the songs with speedy tapping arriving through a difficult to decipher whirl of low fidelity sound.

Its Intro and Outro songs make light use of thematic soundscapes to embellish the tone. I can't comment much on the origins of such integration in Metal but its almost no surprise to hear it here as many pioneering ideas have roots in Bathory. Another being the abrupt ending of tracks on two songs, something Darkthrone would get a lot of credit for later. Not all the songs are great, a couple drone with repetition but it has its moments. Many year from my last dive into this world, its clear the songwriting prevails and so its aesthetic elements fall into place given the uncomfortable topicality. The influence is obvious, the nostalgia magical but the best is yet to come!

Favorite Track: Raise The Dead

Rating: 7/10

Trivium "What The Dead Men Say" (2020)

Having spent over a month with this record my dissatisfaction perhaps stems from a case of fulfilled curiosity with their previous effort, The Sin And The Sentence, being a proper introduction to the bands identity. What The Dead Men Say feels like a total rehash of the same summery anthemic festival Metal spun with the same craft, intensity and almost cheesy lyrics poised with a tone of might, honor and glory. Matt Heafy's wording and delivery bares it formula, making for a rather predictable string of songs that summit the same emotional struggles over and over again.

To give the record some merit, its a very credible romp of melodic tinged aggressive metal. Soaring its way through turmoil with streaks of grooving riffs neatly composed, the songs carry a constant sense of epic struggle and overcoming odds as the temperament tends to follow the lyrical narrative. The longer tracks carry some variety with breaks from the normative structures but despite regular creative shake ups the whole thing feels like an repeating echo of what just came before it.

It leaves me with not much to say. Its opening track IX creates quite the anticipation with its darkly acoustic but once the metallic guitar kick in with an appropriately crisp, octane production the music swiftly fits the cast its molded for with all the verses, choruses and hooks feeling so normative. Even if this Is all I focus on with my writing, its an enjoyable record, a fun ride of proud fist pumping Metal precisely in the anthemic style Trivium have mastered over the years.

Rating: 6/10

Frank Klepacki & The Tiberian Sons "Frank Klepacki & The Tiberian Sons" (2020)

Alongside the remastered music of Command & Conquer, soundtrack composer Frank Klepacki has teamed up with VGM tribute band The Tiberian Sons to deliver twenty two performances of his iconic music as a Metal band. Its undoubtedly a treat in this exciting and nostalgic time for the game and its fans. Haven listened to it back to back over the last few days, I find myself reaching a more "objective" take on the music, going beyond my adoration and feverish enjoyment hearing these favorite songs of mine through a new lens.

Most, if not all, of the original music is stripped out. The synths hold onto the original tones in many a place but much of the nuance and detail is lost to the band performance. With crisp, high fidelity modernized production, the music has a spacious vacuum where the crystal clear punch of each drum strike, plucked bass line and rattle of distortion guitar tend not to cross paths where some much needed "mud" would give it density. Its a case of being a little to clean for its own good.

I say all this with a grain of salt, its an enjoyable project but I can't help but hear all the missing elements where layers of synths colliding now feel sparse as minimal synth carry things forward with some compensating guitar riffs laid underneath. It all ebbs and flows, some songs carry this burden more than others and leave a listener desiring the richness of the originals. Prepare For Battle being a great example where the song goes through utterly bare sections of just bass and drums alone.

When the band deviate from the purity of original songs, it rarely gives more. The Primus inspired slap bass licks, guitar shredding solos and drum fill barrages to send off songs don't sound particularly fresh or exciting, just that typical theatrical Rock thing to do. On the flip side these distortion guitars shine bright. The crisp and bold tone resonates well and brings a lot to compliment the original compositions.

The non metallic cover of Dusk Hour is a reminder of just how many games Frank wrote great music for. Some tracks from Red Alert 2 make it in with a pair of medley songs adding elements from further along in the franchise I was unfamiliar with. Overall its a huge treat to enjoy but for the most part I'll be continuing with the remastered songs as only a handful of songs here elevate the original music.

Rating: 6/10

Loathe "I Let It In And It Took Everything" (2020)

Its my first record with the Liverpool based five man outfit. Six years together, their sophomore album gave me an initial impression that hasn't shook after a plethora of listens. I Let It In And It Took Everything strikes me as the collision of three bold ideas converging with little cohesion on behalf of its heaviest aspect that cuts with a blunt soreness I'm yet to along with. Disjointed barrages of dirty guitar distortion, pounded in through bleak Hardcore grooves and Djent polyrhythms make a despairing gap open between the beauty on the opposing side. I'm sure its conceptual but not for one moment does it feel like a natural progression for me, the listener.

Its key counterpart is the sombre yet blissful, soaked in beautiful sadness uplift of melodic tinged Metal, deeply in the vein of Deftones and Fightstar. Its a gorgeous execution of moody Shoegazng guitar noise and soaring vocals that is a pleasure to indulge with. Its arrival often comes parallel to the third axis, serine and meditative temporal synths, brilliant tonal work on the keys that have an uncanny resemblance to the spiritual magic of Steve Roach. They often slide into play with ambient environment sampling, building a curious tension for the next thread to unravel.

The album plays with a jarring sense of pace, routinely lunging from a warm, flowing, wall of melodic noise into upheavals of dispersing rhythmic tension. Slabs of gritty guitar, Industrial noise and gristly shouts interrupt routinely. On occasion it does have merit, finding a groove or weight to deliver, its just rather inorganic. A track in the middle, New Faces In The Dark, is perhaps best suited to melding these opposing sounds, finding some elasticity between sides where its more often, simply abrupt.

My take away from the many spins Ive endured is a record that feels like two simultaneously hashed together. I enjoy both aspects however they don't meld well. The colossal abrasiveness of the metallic ambushes dispels the sombre magic of Chino inspired vocals over colorful Metal and in a way, vise versa. Perhaps it is my own expectations that get in the way but I just wish it would stay in one place when I'm listening. Despite being hung up on all this, its got cracking songs and plenty to return too but as an album experience its a mess!

Rating: 7/10

Favorite Tracks: Theme, 451 Days, Scream, Is It Really You, Gored

The Black Dahlia Murder "Verminous" (2020)

These darlings of Deathcore from back in the day have fallen far from my radar as I intentionally avoid the less appetizing bands within the plethora of Metal Ive listened to in decades past. The American outfit always had a stronger leaning towards traditional styles of extremity, however in current form it seems they have shed all Metalcore influence in favor of a classic reminiscent of old school and Melodic Death Metal. 

Verminous is a fair, thirty five minute ride, clocking ten tracks all around the three to four minute mark. Its fast, momentous and too the point. A clattering of technical and intense drumming gives it a gritty edge alongside the singers snarling howls and throaty gasps of aggressive shouting. The guitar and bass have a solid warmness, consistently throwing in melodic inflections and tunes from the flavorful lead guitar. They provide much of what is memorable as bursts of color give these songs identity.

It resonates well over a rhythm guitar which leaves much to be desired. Its arsenal of power chords and palm mute chugging fails to excite. Shifting into grinds and moments of intensity, its mostly the hammering of blast beats and double pedals that carry the music forward to the next melody. The records best songs come in its closing, drawing out some serious Carcass vibes in moments but with little original going on here it could remind you of plenty of bands from within the scene.

Favorite Tracks: The Wereworm's Feast, Dawn Of Rats

Rating: 5/10

Ocean Grove "Black Label" (2015)

In light of whats to come on their debut record The Rhapsody Tapes, the Australian group can be heard here at the crossroads, steadily shedding their Metalcore roots and bringing about the Nu Metal elements to their sound. Black Label strangely parallels this trajectory as some Deathcore elements in the opening tracks gets weened out as more Nu Metal ideas inch in. Guitar tones, vocal stylings, syncopated riffs and the classic creepy Korn high pitched guitar noises all tend to mirror the genre that peaked twenty years ago. Although Ocean Grove pull it off with an enjoyable presence of expression, at times some of these ideas undoubtedly pull from the smellier side of Nu Metal, which there was a lot of back at its peak.

They are yet to land on the right arrangement of elements that will forge the gold to come, however Luke Holmes unleashes his clean vocals for the first time here and they are fantastic, pretty much the best moments by far. It feels a little uncohesive with the downtrodden glumness this breed of Nu Metal has baked into it and the arsenal of riffs, the booming slams or quirky melodies, fail to reach any particular summits. Its descent into this sound even has some classic DJ scratches cropping up in the final song, something I'm glad they didn't pursue in the same vein. An interesting record, really glad they were able to work out all the kinks reviving this old style.

Rating: 5/10