Type O Negative "Dead Again" (2007)

 

 I'm under the impression that front man Steele was responsible for much of Type O Negative's musical writing. It blossoms again in refined directions on this final record. His passing a few years later sealing the groups fate, them choosing not to continue on without him. From the offset, Dead Again bestows a different intensity. Distanced somewhat from the Gothic tonal cheese, always orchestrated with emotional connection, Steele leans into certain inspirations present since their inception.

Kicking off with dense guitars lunging into burly Doom Metal groans, followed by a sudden energetic drive of hurried Hardcore aggression, the metallic, mainly Black Sabbath inspired focus makes itself known. Equally split with The Beatles influences and Pop Rock ideals from decades back, many songs beautifully journey through lengthy non-linear song structures. It gives the record a perpetual sense of excitement, as more gratifying compositions seem to lurk around every corner.

Now entirely stripped of prior flirtations with crass humor and noisy aesthetic interludes, their collective eclecticism flows focused and gratifying. Barely a wasted second goes by, Steele leans into his vision and delivers a plethora of intriguing arrangements. Personally its clearly cathartic, channeling catchy lyrics over grabbing melodies, they frequently skirt easy conventions, offering truly distinct music.

Some songs stick to one of its three main styles, others easily chop through wildly different intensities as Doom Metal, Hardcore and Pop Rock get a fascinating salute from these brooding Gothic oddballs. Its seems with age came maturity and the hunger of expression never faded. Dead Again has a notable shift yet with it an awe and fascination as to how the odd mix of chemistries could emerge again as exciting as ever! Despite the remarkable impression October Rust left on me, I get a sense this could be my favorite given more time to sink in.

Rating: 9/10

Gothminister "Pandemonium" (2022)

 

With age comes a diminishing pace. Now five years apart from The Other Side, Gothminister makes a meager return. Seemingly stuck in their ways, this seventh outing suffers its own lack of inspiration. Pandemonium breeds business as usual. A deck of songs, recycling their Gothic brooding theatrics, still tinged with clubbing Synthwave aesthetics and built on the triumphant march of chunky Industrial Metal.

Guitar leads brazenly assail stomping power chords chugging below, a militant syncopation by the rhythm section. With darkly drive, each song lunges forth with a cadence Bjørn Brem has performed before. Lyrical themes echo past musing of outsiders embattled against all odds. Both sentiment and delivery fit an unchanged mold. Lined by rhythmically oscillated synths, both aesthetic and music is expectant.

Getting off to a rocky start, Pandemonium's opening title track toys with an experimentation. The percussion drops convention in favor of unsettled grooves, attempting polyrhythms but seemingly out of step with the rest of this music. Its an odd impression for a record that has absolutely nothing new up its sleeves. Despite being of my liking, a lack of anything fresh lands this one as a disappointment. Although its a fair execution of the Gothminister sound, I'm left with little reason to return again.

Rating: 5/10

Machine Head "Of Kingdom And Crown" (2022)

Flying on the spirited shoulders of front man Rob Flynn, Machine Head's one soul surviving member, a renewed lineup embark on a mission of defiant intent, to reaffirm their iconic demeanor boldly again. Pulling no crafty surprises, Of Kingdom And Crown rekindles the throttling metallic edge explored over their now lengthy history. Sadly, it arrives on shores of apathy. as my diminishing interest in the Metal treadmill grows. Its song writing may be cunning, the attitude ripe with passion and riffs as intoxicating as ever but a lack of originality breeds only serves a familiar serving.

Its one defining encroachment seems fitting to fail. The "woah-oa-woah" chorals, intentionally epic in shape and crudely catchy in execution just happens to be a cliche I'm not keen on. More commonly heard among cheery Electronic tinged Indie Rock of the last decade, Rob weaves it well into the aggression. As for everything else? A typical assemble of Groove and Thrash, woven in with iconic obnoxious fret harmonic abuse. It serves to paint its climaxes in a stale familiarity, fun but lacking freshness. Although wonderfully directed songs, catchy with steady progressions, the satisfying structures assemble an arsenal of riffs thoughtfully. Yet they blunder, as rehashing classic riffs from past records sours the potency of these peaks they strive for.

Where the record crumbles is in its mediocrity. Only a handful of tracks partially navigate these momentous intentions. Its darkly interlude muster little excitement and Rob's political resentments seem contrived, emerging as stiff frictions between words and the musical attitude. Of Kingdom And Crown may have octane aesthetics and lively execution but its contents are bamboozling, a case of deja-vu intent on a frothing urgency dulled by a lack of something new to say. Sure, one can have a good head bang and enjoy the energy, but ultimately its the same old Machine Head.

Rating: 5/10

Slipknot "The End, So Far" (2022)

 

Breaking from lengthy absences between their prior two efforts, Slipknot storm back onto the scene with haste and inspiration afoot. Reestablishing themselves on We Are Not Your Kind, the nine mature into comfortable territory, able to deliver the goods and encroach on new ground. Adderall beautifully misfires the record start, a torturous lyrical piece on drug abuse juxtaposed by gentle melancholic pianos and Post-Rock guitars. Uplifted on the march of its warm baseline, a pivot into bluesy gospel chorals tinged by shimmering, wailing guitar texture states intent for something different.

One has to await these finer wines as swiftly we crash ashore on maniacal aggressive batterings Slipknot are known best for. A smattering of triple percussionist force punches out classic grooves on uncanny familiarity with The Dying Song and The Shapeltown Rag. These are the crowd pleasers, with bite and vitriol at the ready, the hounds of frightful frustration are unleashed among bouncy infectious brutality.

As the record matures, so do its broody atmospheres and textural treats between the swaths of metallic onslaught, mostly cunning guitar riffs and stomping drum breaks to headbang along with. In this expressive space, Slipknot thicken the fabric of their identity, exploring the creepy, unruly dimension that blesses their distinction. Cracking crates ajar, unlocked are new depths of this mid-tempo, mood led focal point. Explored in degrees, an overlap with convention yields quite an enjoyable variety.

So far, The End, So Far, has been spun without a single skip. It ebbs and flows, leading to a grand conclusion with De Sade and Finale. The former proposes gratifying links between ends as texture, aggression and Corey's clean emotive singing unites different extremes. Venturing then into a string of exchanging classic Metal guitar solo stylings, the fiery energy deconstructs itself, dissipating into silence.

It sets the stage for a grand bow out, Finale offers sombre strings and graceful pianos on slight unease to brood into an emotional climax as Corey declares emotional attachment to his darkness. Its expressed through catchy wordings, to get stuck in the mind. Again, a textural experience. The song breathes alongside its creepy choral chants. Expanding and contracting, it feels like a link to the albums opening.

Consistently does one feel a sense of expression and inspiration. Perhaps loosening the shackles of expectation, Slipknot gracefully venture onto new lands. The production is sublime, a typical modern marvel, managing to cram in nine loud voices in its loud onslaughts. Best of all, I felt Sid Wilson's input was made visible. Often you can hear the turntable textures working in a little extra magic at no expense to anything else. This has been a delight. The best since Volume 3 as it stands.

Rating: 7/10

Sabaton "Father" (2022)

 

 "Father of toxic gas and chemical warfare", no surprises here, more plain faced descriptions and tunefully cheesy lyrics. Sabaton have returned with additional songs from this World War I themed era of theirs, which I have enjoyed immensely. Its the first of a few EPs to be packaged with additional tracks from The Great War and The War To End All Wars. Although only hosting one new song, the grouping of relevant tracks is a niche touch, another reason to their music once again.

Father is dedicated to Haber Fritz, a figure well worth learning about. Creator of synthesized crop fertilizers and chemical weapons he has brought about both suffering and flourishing for humanity on a grand scale. He is given a somewhat ambiguous reception by the band. The song has a soft lurching darkness and sinister tone as its guitars take a subdued roll, letting its symphonic tones roar. It pivots to quite an uplifting reprisal, led on by a brief guitar solo, the vocals roll into a brief swooning. Perhaps these contrasts are reflective of the scientists contributions to humanity. Weight is certainly put on the suffering he caused. Its a reasonable song, fitting snugly into their current focus. Can't wait to hear more on the coming EPs!

Rating: 4/10

Damageplan "New Found Power" (2004)

 

"We are Damageplan and we have a plan for damage". A cheesy pun and awful introduction to this wrangle of young Metalheads who imidiatly turned up the nose. That's all I remember of my friendship groups stance on the Paul brother's then latest band. With the recent enjoyment of Reinventing The Steel, it occurred to me, the late, great Dimebag had more in the arsenal that I was yet to experience.

Uniting with vocalist Patrick Lachman and bassist Bob Zilla, the Paul brothers embraced a then rapidly fading Nu Metal approach to Metal. Although received to lukewarm receptions at the time, age has served it well. New Found Power embraces the cultural accent fondly and injects a smoky southern flair. Vinnie eases off the gas with percussive might focusing on syncopation with his brothers power chord grooves.

As repeated spins made their craft known, it became clear that much of the Pantera persona remains with Dimebag. However, he aptly slows his playing, a shift in tone and easing of pace re-texturing his style, a subtle disguise but the southern steel is still their. His shrill squeals, bouncy bends and slick slides are all among the architecture. Dynamically, he flexes between simplistic Nu Metal alike grooves and lunges of guitar manipulation, fleshing out a soft aesthetic madness to indulge with.

Patrick Lachman does a fine job upfront, a powerful voice, one perhaps singing from the shadows. The likes of Layne Staley, Jason Popson, even Anselmo on occasion and Corey Taylor who features on a track too. Essentially, he brings a fine sound for the times but lacks his own identity. Because of this, much of the record fits the mold without breaking form as its character nails the downtrodden tone of the time.

Damageplan play the sound well but on occasion they drift into another lane. Blink Of An Eye has an unmistakably Korn distinction to its mimsy lead guitar melody. Even though New Found Power lacks a strong distinction, its execution is excellent. Very interesting to hear Dimebag nail another scenes guitar sound so well. There are even dense moments that felt as if a DJ's adding a layer of noise to the mix. Its actually Dimebag wailing on his strings. Glad I checked it out, a fun record for rocking out!

Rating: 7/10

Soulfly "Totem" (2022)

 

 Four years back Ritual failed to make a lasting impression with me. Prior to its release Max had caught my ear again with Cavalera Conspiracy's Pyschosis, a powerhouse of a record. Tuning in once again, I find a lack of distinction for why this should be called Soulfly, in comparison to Max's other projects. Long gone are the bounce riffs and Nu Metal hallmarks that defined the name. All that's left now is the distinctive cultural sounds of its twelfth self-named instrumental track Soulfly XII.

Totem is in essence another fiery sprint of razor-wired metal dashing across the danger fields. Foaming at the mouth with rage, Max roars forever youthful. Intense, ceaseless drums chase along a dense wall of thrashing guitars that pound out beastly riffs. Its a riot of energized aggression. A veteran pulling out the old stunts with renewed vigor and an infectious spirit. Little is new, novel or even surprising but the execution is hounding, throbbing with attitude. A lot of fun when in the mood.

Like with Pyschosis, its the production that raises the bar. These riffs and atypical arrangements could be rather stale in a different environment but the dense, smothering tone simply engulfs all in its path. Max churns through the motions with Death and Thrash riffs leaning on chunky stomps of palm muting and chugging, occasionally drifting into a bouncy groove, although these are always short lived.

Rot In Pain and Ancestors have flashes in the pan textures, hailing Sepultura's Roots record. They are among a string of competent songs firing with firm intentions. Then Soulfly XII offers up its dreamy acoustic flavors and the tone is reset for Spirit Animal. Its the albums best song, soaring in with tribal entanglements and going out on a high as it unravels into a weary mess. Not Max's best output but consistent and fun to spin.

Rating: 7/10

Pantera "Reinventing The Steel" (2000)

With a so called Pantera union on the mind, my attention naturally wandered to the legendary Texans final output. Reinventing The Steel is the one record I'd never payed close attention too, despite knowing all its songs from parties and good times with friends. Among fans and critics alike it maintains a mixed reputation, one of the reasons I'd rarely give it a spin. If I recall the lore, its creation was born as Phil and the Paul brothers were drifting apart with Anselmo continuing to prioritize side projects.

 Its easy to see why a mixed reception came about, a soft sense of autopilot, or formulaic writing permeates its mood. These songs shuffle out all the Pantera tricks we love in just the way we know. Despite the lack of flash in the pan, a romp of fist pumping, head banging metallic bangers play out with spirit. Phil rocks a plethora of catchy lines and hooks to get stuck in your head and the whole thing plays cohesively through an arsenal of stomping groovy riffs and Dimebag's electrified signature solos.

In a departure from the trajectory The Great Southern Trendkill's offered, the group ease off the gas when it comes to extremity. Hellbound may kick off with dense guitar grinding, pummeling drum beats and the harshest of screams in its chorus but much of what follows leans on smart song writing, putting curated hooks and riffs front and center with Vinnie and Rex housing the wild spurts of catchy, groovy aggression.

Its a real riff fest, Dimebag clearly not slowing on ideas and inspiration as he chews through all iterations of axe grinding. This is however, the first time new ground isn't broken. No surprises are in store as all its components have a link back to prior songs and ideas. Vinnie Paul does stand out with a stiff, hard hitting presence. His unsubtle performances lacking variation in velocity, pounding away like a machine set to max.

This percussive style may also contributes to a somewhat sterile production. All the instruments miss an acoustic ambience. Lacking depth and reverb, a sense of environmental texture is absent. Despite this, the talent of all personal thrives. Although Reinventing The Steel may not have the youthful vitality or spark of urgency its predecessors had, the attitude is still present. This is a matured band, still capable of performing their stunts, something which may of tired had they routinely pumped records out after this but sadly, this would be their final works together.

Rating: 7/10

Exhorder "Mourn The Southern Skies" (2019)

 

If anyone had a claim on Pantera's era defining sound, these neighboring Louisiana's had the framework for a new metallic approach locked in years before Cowboys From Hell. Having disbanded in 94, I was shocked to hear them in rotation on Spotify with new material decades later. More so was the similarity to the "Phil Anselmo" breed of groovy Southern Metal. With a foggy memory I returned to Exhorder's debut, Slaughter In The Vatican. A brief reflective listen had me in awe. Kyle Thomas's cunning vernacular a blueprint for Anselmo to emulate. It's been quite the historical reminder and undoubtedly I'm gonna have to dive into those old records again.

Mourn The Southern Skies is a ripe affair. Reviving classic groove oriented, fist pumping power and might, the southern swagger scales atop fiery momentous. Kyle rides the waves of crushing guitars and battering drums with attitude as they burn through iterations on the arsenal of techniques accustom to this sound. Its secret weapon is quality. With little in the way of innovation, the band churn through sludgy stomping rhythmic grooves. Baked by southern humidity, it oozes style and persona. Guitar solos dazzle but unsurprisingly, can't charm like a Dimebag. Reasonable in theatrics, a couple leads take a more dynamic roll in musical direction, a niche touch.

 

A competent production aesthetic serves its purpose with a touch of rawness, possibly brought on by budget constraints. Exhorder have never been a big name in Metal. Its kind of remarkable to hear they have been sitting on such talent and inspiration. However this return has influences in reverse as the last twenty plus years of Groove Metal's legacy can be heard throughout. A great record but it can't claim originality this time out. Final thoughts? Listening to this record feels like stepping into an alternate reality given the back story. Looks like I'm adding nineties Metal to the playlist next!

Rating: 7/10

Municipal Waste "Electrified Brain" (2022)

 

I may be mistaken but I believe Municipal Waste were among the first of this modern nostalgic Thrash Crossover "revival". Its no new trick nowadays, the access and availability of music today has inspirations run amuck in all directions. I was introduced to the American thrashers at Download Festival 2008. Despite a fantastic live show full of mad mosh pits and crowd surfers armed with surf boards, I never brought into their studio records. Having forgotten the mediocrity of Slime And Punishment, It was only a passing curiosity that brought me here.

Electrified Brain had me in its grasp from the first spin. Unlike prior efforts, its crisp, clear and cutting production aided its mission. Along with a fully fledged arsenal of classic Thrash and Crossover riffs, the two push the bands ideals to about as good as it could get. Pulling no unsurprising punches, the galloping speed and chugging chops of 80s Metal was set to to strike a nerve. With filtered cuts rarely exceeding three minutes, the fourteen tracks get to rattle wall to wall off five years of curation.

The main distinctions felt like variety and lead guitars. Although operating within a strict blueprint, the rotating shouts, screams and gang vocals kept things fresh and exciting as the rapid rhythmic abuse was electrified by periodic guitars solos. A handful of song endings struck me as having some momentary but keenly distinct riffs woven in. Perhaps an intentional nod to their eighties Thrash Metal influences? I definitely heard Metallica on more than one occasion.

Despite seeming excellent, its gravitas has dwindled. With frequent spins, my initial excitement has politely dulled. This however feels like a symptom of nostalgic Metal, always competing with your appetite as its novelty wares off. Either way, in times of growing metallic lackluster, it was good fun to head bang again!

Rating: 6/10

Favorite Track: Grave Dive, Crank The Heat

The Gathering "Nighttime Birds" (1997)

 

Shrouded by the swift abrupt judgements of youth, my initial contact deemed Nighttime Birds unfit for consumption. Supposedly not cut from the cloth as Mandylion, one of my all time favorite albums, it has sat snugly in the shadows, patiently awaiting me all these years. Like a broken record, past judgements have failed me once again. At this point, it might just be worth conducting a list of all prior dismissals...

Nighttime Birds is the broody matured brother of a band once ripe with color and youth two years prior. With a touch of restraint and a seclusion of craft, the band withdraw their eternal melodic delight to initiate songs with darker morose tones. Heavier guitars lean in shadowy chromatic, luring Anneke's sublime, luminous voice to a weighty pensive reflection. The duality explores a beautiful and burdensome contrast. Its a measured friction that compliments, coming to fruition with increased exposure.

Where its synths once adventured with bold punctuation, the keyboards now withdraw to a subtle, powerful role. Lurching behind steely distortion guitars, they await a turn to chime, often guiding the music from its beautiful gloom, soaring to blossom its hidden hues. Each song journeys to blushes of sequestered warmth. Familiar simplistic lead melodies gush from guitar and keys with their classic, distinctive personality.

Comprised of mostly lengthier tracks above five minutes, the album locks in a mood and explores it in beautiful increments, each exploring this darker chemistry. A union of thick power chords and cold acoustic guitars is explored early on. The May Song introduces a powerful, emotive organ tone to set off one of Anneke's most delightful performances. She wails sublimely, ascending with spirit much like that of Leaves. In fact, I'd go as far as to say its this albums equivalent, given the familiar guitar solo.

The following songs invoke soft computerized effects expertly, characterizing synths with subtlety. Later on a soft violin can be heard too. Each song finds subtle shifts to define them. The band fire on all cylinders. The shuffling contributions from its instruments explore so many ideas within a snug sound. Even moments of heavy metallic groove emerge in climatic beat downs and sluggish power chord brooding.

Nighttime Birds promptly made itself apparent as a lost classic from my youth, one I would have adored. However, I persisted. With my love of its saddened tone growing, I couldn't put it down. Weeks turned into months and that emotional evocative magic kept oozing. I feel so fortunate to have discovered it now. The Gathering's spell is truly eternal with me. Although a fraction behind the charm of Mandylion, this record has a clear sense of maturity and direction locked in by a fruitful yet cold concept.

Rating: 10/10

Chaosbay "2 Billion" (2022)

 

With surprise struck off, the stakes were high. As a result, 2 Billion had a harder time leaving its mark. As one of my favorite discoveries this year, Chaosbay swept me up with conviction through their prior Boxes EP. This following four-track fits the mold set earlier in the year, possibly all material for a future album. Rock-steady on the same path, another round of blows is exchanged as high octane Djent Metal explores the dynamics of bow wrapped, polished brutality and bright melodic gleams, present in both glossy synths and through the energized emotive vocals of Jan Listing. Once again, I'm immensely impressed with the song writing and breezy flow of these songs. They swing from hard chugging grooves to soaring tuneful lines with class. Sadly, its all still mostly in the shadow of Periphery who came before them. That lack of originality may explain why they are yet catch a viral wind within the Metal scene.

If there is any distinction to be drawn, the mechanical nature of tight metallic chops and slick production imbues many of the slamming chugs and tightly gated riffs a real sense of "computerization". The bass pedal stomps with precision, in unison with "on off" guitar grooves. Being rigidly syncopated, they sound almost glitched like a record skip. Its satisfying tho, a treat that moves sweetly with the momentum. Furthering this industrious precision, the rhythm section sits up front in the mix, dominating. The magic, in my opinion, mostly stems from the electronic tones layering in an airy ambience and the acoustic guitars that weave in the luscious melodies. Hard to fault, as it works so apparently. I do wonder if more emphasis on this calmer, more uplifting side would serve them well. Either way, they have both aspects locked down.

Rating: 6/10

Kirk Hammett "Portals" (2022)

 

If your as surprised as I am to hear of a Kirk Hammett solo record, then you're probably keenly aware that Metallica have had a strong no side projects policy. This attitude of total commitment played its part in the rift with then bassist Jason Newstead, leading to his departure. Times change and so do people. Unaware of any official policy chance, I think its fair to assume that in their age, attitudes have subsided. The result? The unleashing of a talent only previously heard through the Metallica lens. Kirk going solo is a delightful difference where Metal meets Classical for a cinematic experiences, four short portals into the realms of imagination.

As one might expect, you can hear the echo's of Metallica in its steely riffs and blazing guitar solos rocking Hammett's distinct style, the latter being quite a treat at times. Its not what stuns me about these songs tho. The instrumentation between metallic stints, strings, violin, horns etc. Its all orchestrated with vision, painting vivid dramatic scenes that emote, brood and evolve alongside Kirk's licks. How much of this classical composition is his own genius? A curiosity to wonder upon as it is quite adept.

 Much of this is said with Maiden And The Monster in mind. The whole composition is fantastically dynamic, gently building to climax with big chunky riffs, icy guitar solos, all built with chilling acoustics shimmering of The Call of Ktulu. The Jinn continues on trajectory but midway into the song, sketchy riffs on a brittle guitar tone disconnects from the subtleties of its cinema with an unfavorable Death Magnetic flavor.

High Plains Drifter reclaims glory, a Western piece echoing The Ecstasy Of Gold. Truly wonderful and immersive but then The Incantation leans on classic Sabbath vibes without success. Its an attempt at something broody and devilish that only Hammett's remarkable, epic solos can elevate. To be fair, its the main riff that leaves a sour taste. The rest of this exquisite instrumentation is again both remarkable and fascinating. Ironically Portals shows their is much more to Kirk than just a lead guitarist but its not rhythm that is his game. The unique blend with orchestration is class. His "big" metallic riffs play stiff and sadly muddy the waters, but its brief at least.

Rating: 6/10

Sum 41 "Chuck" (2004)

 

Initially, the Canadian Pop Punk outfit Sum 41's fourth outing was supposed to be the most exciting! Hailed as their most metallic release, I was keen on seeing how their Pain For Pleasure and Reign In Pain tributes to classic Metal would manifest with a prominent roll. With their warm, poppy personalities stripped out, replaced by a glum tone looming over the record, the music isn't as appealing without that bright, upbeat streak of Skate Punk. Softly depressive, gently downtrodden and moody, the metallic pursuit leads the music to an angsty self-defeatist tone I failed to vibe with.

Given previous manifestations in the spirit of Judas Priest, Iron Maiden and Metallica, I was expecting more of that! The latter of which you do hear on occasion. Oddly, its the then dead Nu Metal genre that has its influences. The catchy lyrical cadences of Chester Bennington is obvious at times. More so Papa Roach of all bands. Many distinctive arrangements from Infest, both vocal and guitar driven, make themselves known, as well as a riff from System Of A Down. When turning to Metal, originality clearly is lacking and the chopping between contrasting styles is far from fluid.

Disappointed by the glum tone of Nu Metal influences, the Punk leanings get dragged along in that dreary spirit. The riffs are not as bright and chirpy, lyrics lack an emotional resolve once heard before and ultimately its mood is a drag. Of course it has its merits, catchy choruses and the occasional riff but I found myself pulled into those hopeless teenage moods id rather forget. You could say its personal bias however I'd defend how naked some of their musical compositions are in the shadows of others. It drowned out originality and left a sense of disappointment with me.

Rating: 5/10

Sum 41 "Does This Look Infected?" (2002)

 

I've had nothing but fun with this cheap and cheerful record! Following up on a massive breakout with All Killer, No Filler, the Canadian Pop Punk outfit keep things simple and straightforward with a fraction of polish around the edges. Fast and fiery, the forty minutes of Does This Look Infected? storms out the gate with all energy intact. Keeping one foot on the gas, the band blaze through the motions with moments of dazzle and creativity as crafty vocal cadences, harmonies and interchanging guitar arrangements seem to frequently add spice to the mold these songs are cast from.

Lyrically, a similar sense of unrealized maturity emerges. The youthful angst, anger, adrenaline and notions of identity expressed get caught in a web of casual language. All to often does a streak of self awareness seem to offer a subtle antidote to teenage woes. It perhaps something I could of done with myself in those painful years. The only cheese I smelt came through their fun Beastie Boy raps, taking shots at the conformists suits! An amusing topic but one that seems far more relevant in youth.

The group have a streak of Heavy Metal adoration best pronounced with their Pain For Pleasure tribute. On this outing, Reign In Pain, the "Heavy Metal Jamboreee", follows this up and extends the style shift with World War 7 Part 2 to close the record out. These are significantly unpopular songs acording to Spotify but on the popular tunes, Still Waiting, No Brains, Mr.Amsterdam Billy Spleen, one can hear injections of classic Thrash Metal guitar riffs swiftly sliding into the solid Pop Punk structure.

Obviously, this is a delight to me. I do find it interesting how blunt of a Metallica riff they can just push into the albums biggest song... and it works! A lack of familiarity has aided greatly with this one, the lack of knowing and detachment of youthful memories was a breath of fresh air. I am sure this journey will get more exciting with the next installment, Chuck. I'm told it takes a much bigger shift towards Metal.

Rating: 7/10

Puppy "Pure Evil" (2022)

Sophomore albums can be tricky and after soaring high on their debut The Goat, the trio return with a mixed bag of treats. As the Pure Evil name suggests, one can find a through line of esoteric themes prying into witchcraft, occultism and nightly mischief. With the tone of their music, the lyrics comes across with a toying playfulness as they avoid all the cheesy exaggerated tropes usually associated satanic oriented music.

Opening with the sludgy, brooding Shining Star, the band establish the doomy aspect of the records tone, only to curtail it swiftly with The Kiss. The song alone is a masterpiece unto itself. Capturing rays of sun through shapely, hazy riffs, a summery Smashing Pumpkins magic is birthed again. Its quite the contrast as a uplifting song peaked by groovy pinch harmonic riffs and a delightful gleaming guitar solo.

My Offer and Wasted Little Heart continue on, subtly darkening the path, the later offering up some beautifully crafted moments of space for a chunky guitar palm mute to inhabit with its delightful texture. Its from this point on that Pure Evil starts to wain as the moody, brooding side of their sound takes a stronger presence. With less flash and flair from the guitars, the tone increasingly focuses on its own colorful gloom.

 

This feels emphasized by the vocal harmonization of Norton and Michael, the duo have an interesting chemistry built on honesty and a strained sincerity which excels when the music is bright and colorful. Being slightly off key and raw, they provide an exciting contrast but as the record shifts into a darker string of shadowy, nefariously themed songs, its potency ends up drained and sucked into the rainy tone.

Despite this, there are plenty of exciting riffs, evoking nostalgia for 90s Alternative, Grunge and Metal, always standing on there own legs. Sometimes their ideas don't quite land. The tempo pivot on Wasted Little Heart throws hails to Thrash Metal but doesn't go anywhere. They try a similar trick on Spellbound and land it wonderfully with an epic but brief wailing guitar solo. Its a minor blemish but there are a few two many musical ideas that don't seem to follow up on the shown potential.

All in all, for this listener the theme wasn't enough to spark some magic out of the gloomy tone this record explores. When luminous and bursting with energy the music is captivating. Its dreary side, although wondrous in patches like the dreamy, ethereal, acoustic gloss of Dear John, gets a bit tiring. The riffs stale, the existing chemistry gets stretched. Far from terrible but a half step back in my opinion.

Rating: 7/10

Judas Priest "Painkiller" (1990)

Lets set the scene, the Heavy Metal landscape is changing drastically, Thrash and Death Metal are on the rise with Grunge and Alternative set to grip the mainstream in the coming years. Metallica are the genres new juggernaut and Pantera have brought forth a new identity for Metal. Surely a band like Judas Priest are on the way out? Well no, the intensity of Painkiller arrives as the apex of their "heavier than heavy" sound priest always embodied. It goes toe to toe with any contestant and holds it own. Quite a remarkable bow out after twenty one years as it would be Rob Halford's last for now.

The album will always be overcast by its lead and title track, Painkiller, a thrilling frenzy of adrenaline inducing metallic might thats hellbent on thrusting the listener through a seemingly never ending amping up of intensity. Molten hot guitar solos ooze, Rob's screams pull down the heavens and its string of riveting riffs and battering drums seem to keep turning up the heat. And then there is the end of the song... just as you think things are starting to wind down, somehow they go at it again with another eruption, a raging inferno of guitar blazing madness. Tipton and Downing have somehow outdone themselves yet again, as does everyone in all reality.

Its an exceptional song, an unforgettable track, but the shadow it casts can't deter the rest of the record. Although that devilish intensity isn't reached again, you couldn't expect every song to pursue the same goals. What follows is Priest exploring wonderfully brutish themes as the Heavy Metal universe takes a turn down a dark nightly alleyway. In a ways It feels like everything has been leading to this point, Priest at their hardest, leanest, fastest and on A Touch Of Evil, they go epic and anthemic when the tempo shifts. Every track is a celebration of their attitude, style and personal, all embellished through this stunning mastery of intensity as they push on.

Much credit is owed to Producer Chris Tsangarides who finds a powerful aesthetic for the band to plow through. Most notable is the drumming of Scott Travis, his bass kick is given a lot of deep tone and shape, the snare has a thunderous snap. It takes up a lot of attention but never drowns out the guitars. The two tandem wonderfully when double pedal rhythms pound alongside razor sharp riffs. In general, its all immaculate, a crowded mix of intense instruments somehow not overpowering one another. Rob's chords are fiery as ever, the lead guitars blazing wild and cutting like a knife.

As good records do, the shifting song writing approaches Priest inhabit are wonderfully performed. A keen detail that grabs me is the subtle use of cheesy synths or drab organs. Bold and brash, whenever they drop in, its always enhances the spectacle of the song itself. It should also be emphasized that Downing and Tipton's lead guitar work is not just exceptional on the title track but throughout the record. That exhilarating rise of dexterous notation, luminous and unhinged returns often. They sail so many extremes of fret-board manipulation, its a gift that keeps giving.

Having reacquainted myself with this classic, It should not be understated, the "heaviness" in aesthetic is not its sole trick. This really is Priest at their best when it comes to song writing too. The themes ditch the fun and cheese of Ram It Down and the result is a serious flag wave for Rob's fantasy Heavy Metal lifestyle. There isn't a dud here and you'll be hard pressed to figure out your favorite tracks bar the title track itself, a never ending sequences of adrenaline shots. For the decades I've experienced it, still blows my mind till this day! He... Is... The... PAINKILLER!

Rating: 9.5/10

The Gathering "Almost A Dance" (1993)

 Released between two of my personal tens, the musky symphonic gloom of Always... and the warm, youthful ascension of Mandylion, you'd think I'd know Almost A Dance well right? Sadly, what turned me off back in the day, still revolts me now. Niels Duffhues voice has a piercing nasal shrill so off beat and indifferent from the music, it deafens its beauty. So to does his cadence and shaping of words feel totally out of step. He would be more suited to some played out Arena Rock, Glam Rock local act. Truly not to my taste or The Gathering at all, thank goodness they found Anneke!

The difference now is I've learned to listen past the elements of music that turn you off, and oh boy can that be a task. In no measure has Niels grown on me, tolerance is not the word, quite the opposite. He masks wonderful instrumentals that bridge the bands transition from dingy Doom Metal to the Symphonic driven Alternative Metal that dawned with the eternally stunning voice of Anneke van Giersbergen.

The chemistry bonded between distorted power chords and cheesy Casio Korg synths, perusing basslines and plucked acoustic chords, is here as found on both the other records. Its arrangements often abridges the two, brightening the gloomy temperament and finding emotive chord progressions. It moves to the light alongside a blossoming lead guitar that sails into the sun of glorious gleams of melancholy.

Mostly it holds that middle ground, showcasing the journey the band where on, steadily progressing their ideas, but so to do reworkings of techniques and tropes from Always... arise, as well as some arrangements that would be preformed again on Mandylion. If my words don't make it obvious, I'm astonished I didn't find my way in decades in. The sad reality is though, for all the instrumental wonder, Niels is a blight! That being said, Marike Groot lends her voice again on a few songs and in those moments a blessing is bestowed to know what could of been!

I'd love to hear Almost A Dance without Niels, however now more accustom with the album, I get a sense of a band in a rush. The production is a little loose and sloppy which can be forgiven but the difference in song quality has its dips with the nine minute Her Last Flight and the god awful Nobody Dares. The chemistry can simply drop off on some songs, losing that magical nightly ethereal melancholy. Given that Niels was recruited right around its recording and release, I'd guess some external pressures stained what could of been quite the rendition of one bands moment in time I simply adore.

Rating: 4/10

Ocean Grove "Up In The Air Forever" (2022)

 

Highly anticipated and warmly received, Up In The Air Forever is a spirited return to the modernized 90s mania of Flip Phone Fantasy. As my favorite record of recent years, a new batch of catchy ear worms are more than welcome. With this new chapter comprised of ten songs, the Australian group rework the formula through the wall of sound aesthetic for a true part two. I couldn't of asked for more, clearly there was more fuel in the tank as this sound simply does not tire on this adoring listener.

With glimmers of Nu Metal in groove and vibes akin to Grunge and the late 90s Pop scene, Ocean Grove get laser focused on catchy hooks and simple song structures. With grabbing guitar riffs and a dense, slamming production that channels all the instruments into a wonderful aesthetic stream, their three minute songs burn through inspiration thick and fast. Every track has its own flavor, most often a keen nostalgic throwback too. Its either Dale Tanner's breezy singing or some distinct guitar riff but everything has its roots in the past yet feels completely fresh and fun.

The one moment where the band reveal their hand all too abashedly is on the brief two minute HMU. Its dreamy intro cuts into a 90s/00s Pop / Hip Hop crossover track. Jiving percussion and punchy guitar grooves set stage for flirtatious lyrics. For me, its practically a flashback to days on the couch after school watching MTV. I couldn't finger the exact song but perhaps something by No Doubt would be a close call?

Fortunately its a great track. The band understand that period well. To drop some more names, Nirvana and Oasis are two other bands I frequently pick up vibes on. Especially the vocals, I frequently hear that arms behind back Gallagher singing. Even more so, I get a keen sense that the best of 90s Pop Music had a stronger influence on these musicians as the hooks, lyrics and cadence just seem to fit snugly with my memory of that era. Nostalgia aside, the group bring a strong sense of identity, wrapped in the spirit and moment of being a youthful band in their prime.

Musically its the production, handled by drummer Sam Bassal, that has their stamp of authority. The most simple elements hit hardest. The bass kicks like a dance floor thud. The snare snaps through the intensity, the pair power every track a strong groove. The shape of riffs and catchy melodies reach to the forefront with a bold emphasis. Its simple to digest at first yet giving more attention, a web of details, textures and electronics feel wedged into the engulfing sound too.

Having binged the record for a week, I can barely decipher my favorites. One great moment flows into the next and the vibrant energy rarely ceases, cooling off with the title track drifting off into a dreamy Etheral Rave of sorts. A lot of my adoration resists the analysis I try to bring to the experience. This band genuinely remind me of first falling in love with music where bands could do no wrong and anything you could get into was wonderful. I just want to soak in their vibes and enjoy every moment.

Rating: 9/10

Ozzy Osbourne "Diary Of A Madman" (1981)

Rolling back the years on this Heavy Metal journey, we arrive near the decades start with a noticeably shabby rawness gracing the production tone. The music feels a little unhinged with this rugged aesthetic and its stark irruptions of jarring synth. The bold instruments collide occasionally and the baseline rides high in the mix. Yet it all serves the attitude and Metal spirit, what was back then possibly considered extreme music. I'd love to learn more of its historical context when it comes to advancement.

Rough around the edges, Diary Of A Madman is mostly a spirited venture into the Rock n Roll rebellion. Its opening track Over The Mountain is quite the hard hitter, kicking things off with its fast chugging guitar riffs and dangerous melodies, it sets a strong tone where the following songs open up to warmer moods. Randy Rhoads quickly marvels alongside Ozzy's singing as his roaring guitar solos and lead licks illuminate parts of the songs over and over. They unpack that hard hitting start and delve into more musicality with many anthemic vibes fit for the big stage.

The duo are well suited but to be frank they compete with one another on a handful of songs, pulling with different intensities. As the album grows its songs wavier, the ballad Tonight sounding decent but so out of place. Ozzy has a remarkable charm that suits the song style but the change of pace from roaring guitars to emotive piano surges seems to stiffen the flow. The symphonic closer and title track is a great example of experimentation that comes together. Randy and Ozzy elevate the climatic journey with their contributions as the song blossoms with choral voices that turn to gripping chants. Its a powerful ending to a mixed record with many ideas circulating.

 

Rating: 7/10