What's coming up?

Over the next week we hope to have out reviews from Ghoul,3,a new single from Band Of Orc, Charred walls of the damned,Hand Of Doom, As you drown,Truth Corroded and Noothgush. Plus an Exxplorer interview, Heavy Metal Thunderdome and hopefully some October Fright Fest horror movie reviews.

***Have a great week!

Michael Schenker-Temple of rock

MVD
2011

Legendary guitarist Michael Schenker decided to put aside the MSG for this time and just go by his name. Schenker has been hot and cold on albums over the past say ten years, but there is no denying his talent from his many past successes. Fortunately Temple of rock is very much a return to form and Schenker certainly draws on the type of songs that have worked so well for him in the past. This is melodic hard rock that's big on melodies and most of the tracks are quite focused. This was one of those albums where I play it once and right away it clicks. The writing isn't anything new, but it's very tight. I have heard some differing views on the vocals of Michael Voss. Count me in the positive group because I think he is a fine fit for this style. The best part of this album and really makes it is not that Schenker just rips it up (he does), but rather he shows restraint when needed as well. This is very and album that relies on the strength of all of the songs and all of the musicians. I am sure this was Schenker's choice to go that route and the result is one of the best albums in years that he has been involved with. There are ton of guests on this album and normally I get nervous when an artist does that because it makes me think they don't confidence in themselves to sell this album so they added some names just sell a few more units. However that is not the case here (I hope) because Schenker his band certainly did enough on their own to create a very likable album. For those who want to know who the guests are on this disc I listed them below the band line-up.

Michael Schenker - Guitars
Michael Voss (Mad Max, Casanova) - Vocals
Herman Rarebell (ex Scorpions) - Drums
Pete Way (ex UFO) - Bass
Wayne Findlay (MSG) - Keyboards

Guests:
Rudolf Schenker (Scorpions) - Guitar
William Shatner (Captain Kirk from Star Trek) - Intro Vocals
Leslie West - Guitar
Doogie White - Vocals
Robin McAuley - Vocals
Don Airey - Keyboards
Chris Glenn (ex MSG) - Bass
Neil Murray (ex Whitesnake) - Bass
Paul Raymond – UFO (ex MSG)
Simon Phillips - Drums
Carmine Appice - Drums
Chris Slade (ex AC/DC) - Drums

Morkobot-Morbo

Supernatural Cat
2011

Italy's one and only avant-garde/post-metal/ experimental stoner metal power trio Morkobot certainly march to the beat of their own drummer. This highly unusual band (no doubt taking their name from the idea of a robotic Mork from "Mork And Mindy" LOL) is giving us their forth full-length album of what they describe as "getal". An interesting description of their sound for sure. This new album, "Morbo" followings in the footsteps of the albums "Morkobot", "Mostro" and "Morto". As mentioned they are a three-piece band made up of Lin - Bass, Lan - Bass (Viscera///, Klown) and Len - Drums. That's right no guitar to be found anywhere on this album although Morkobot seem to get by just fine thank you very much. While the whole thing comes of as one long experimental jam session these three certainly do have their own style. Almost metallic in nature the music on "Morbo" is straightforward, heavy and made all the more interesting without a hint of vocals. I learned a long time ago that bands do not need to be confined to just guitar, bass and drums. We've seen plenty of bands play without bass players (hello Doors!) and sometimes two bass players/one guitar but rarely do you see just two bassists and a drummer. It makes you wonder why after hearing Morkobot. It isn't like they don't sound good and offer a lot of mixed emotions even without someone slinging an ax. They do and then some. I'd argue a band like this would not be anywhere as effective with a guitar player on board. If your in the mood for something a little off the beaten path try this album out. Morkobot could just be the ticket for those tired of the normal run of the mill metal bands and looking for something to scratch that creative nerve.

French Metal Friday: High Power

Devil's Records
1983


Formed in 1977 High Power were a French heavy metal band who would release a stellar debut album and then seemingly implode. Released in 1983 High Power's s/t full-length debut put them in the spotlight with other French bands of the day. Along with Blaspheme and Sortilege this Judas Priest inspired band had the makings of legends. High Power (the album) is incredible heavy metal. The only draw back this album has is the production that sounds very 80s in nature. While not bad it does make the album feel slightly old. If you can look past that small point then what you have on display here is a stunning heavy metal release. Lead by the powerful voice of Patrick Malbos the band also featured heavy riffs & amazing solos courteous of guitarists Thierry Sorondo and Eric Pouey and and a rythm section (Jean Michel Dietsch - bass and Georges Moreau - drums) that could rival the heavyweights. Even with the lyrics written in French you can still make out the intensity of High Power. The music is just so captivating. Now the band should have been able to build on the success of that first album. For their follow-up though the band tapped the talents of Dieter Dierks (known for his collaboration with the Scorpions which had turned them into superstars) but the end results were so bad that the band would eventually split up. While there was material that would eventually follow 1983's self-titled affair none of it every matched the power of that one album. The album would be reissued CD by Brennus. It is also available on Itunes. As a side note any hope of the band reforming as so many other great 80's bands have recently was sadly crushed when Patrick Malbos died in 1991. A powerful force behind the mic he help created a underrated classic that deserves more than to be buried under the mound of other 80's metal bands.

Giant Squid-Cenotes

Translation Lost
2011

San Francisco based post metal act Giant Squid's latest offering is a five track EP. Even though it is an EP it still runs around 35 minutes. One of the aspects of Giant Squid's music that makes them a little different is the use of the cello. Cellist Jackie Perez Gratz (also of Grayceon) frequently gets some chances to lead the melodies.This may seem like an odd concept at first, but Giant Squid not only make it work but have the instruments working off each others. The opener Tongue Stones is a fine example of all of the band members contributing in this massive assault. Mating scars is far more subtle and take real patience, but it's a strongly constucted track with plenty of interesting moments. Snakehead is a true monster with sick riffs and rolling melodies. Figura Serpentinata is rather low key comapared to the other songs. Perhaps the under four minute time limit has something to do with that. It still has a deep riding melody that grab your focus right away. The title track wraps up the album in incredible fashion. The vocals have a mellow quality yet they race along with the surging beats. It's an odd approach perhaps yet it takes just a few seconds for it to work it's magic. Probably my favorite track. Definitely an EP worth checking out.

Bless The Child-Unveiling Retribution

Self-Release
2011

What we've got here is a death metal band from Columbus, Ohio. And when I say death metal I mean "kick you in the balls, rip off your head and splatter your guts everywhere DEATH METAL". Bless The Child are not for the faint of heart. No, this is some heavy and brutal metal. At slightly over 30 minutes this one is short on length but long on terror! Do yourself a favor and track down a copy of this one kids. You won't regret it.

http://www.myspace.com/blessthechild614

Thin Lizzy-Live in London 2011

Four Worlds Media
2011

The question is can you have Thin Lizzy without Philip Lynott? While founding member Brian Downey has every right to use the name it just doesn't seem right. Hell you don't even have the excellent guitar playing of John Sykes on this live disc. Ok, so joining Brian Downey are Scott Gorham and Darren Wharton (who did play in Thin Lizzy with Phil Lynott at one point) along with Def Leppard's Viv Campbell (guitar), bassist Marco Mendoza (Whitesnake/Ted Nugent) and The Almighty's Ricky Warwick on vocals and guitar. The problem is that even with all these heavy hitters "Live In London 2011" doesn't sound like a Thin Lizzy album. Instead these 20 tracks here sound more like a glorified cover band than anything. I wanted to like this and I gave it a chance. Without Phil though it sounds hollow and the magic is gone. If your a casual Thin Lizzy fan you might enjoy this. If your more of a die hard fan though you'll want to pass this one over. And finally if your reading about Thin Lizzy for the first time and have never heard them other than their "hits" I'd suggest working your way through their back catalog. It's well worth your time and money. Thin Lizzy are so much more than just "The Boys Are Back In Town" and "Jailbreak". They are a classic hard rock band who should have been laid to rest after Phil's passing. He was the heart and soul of Thin Lizzy and playing without him is like having the Rolling Stones play without Mick Jagger or Led Zeppelin playing without Robert Plant. It simply does not work. Don't even get me started on The Doors playing without Jim Morrison or Queen carrying on without Freddie Mercury. Some things just shouldn't happen.

NWOBHM Wednesday

Andy says-
Let's get something straight here. Any band that would choose to name themselves after Vincent Price's classic low budget 1968 British horror film deserves special consideration. By classic I mean a film that has a huge cult following in much the same way this doom/NWOBHM band is still looked at. Despite being such a huge influence on the doom metal genre Witchfinder General are still not as well known as other NWOBHM acts. Formed in Stourbridge, England in 1979 by vocalist Zeeb Parkes and guitarist Phil Cope Witchfinder General were different from the word go. Very few bands of the NWOBHM movement opted to build their sound around early Black Sabbath instead of bands like Judas Priest. In contrast to the uptempo metal that was all the rage at the time Witchfinder General played a brand of low tuned doom. Even though they recorded only two albums (the classic "Death Penalty" and the killer followup "Friends Of Hell") the band would create a lasting legacy. With Witchfinder General you have another classic example of a group that was short-lived and yet their small outpouring of music speaks volumes. Despite the fact that over time both albums would influence a whole generation of doom acts sadly it seems that for too many people all they know about Witchfinder General is the infamous album covers. Featuring a topless model (Joanne Latham who was a friend of the band) in scenes where supposed witches were tortured by men of the cloth the albums were considered controversial and have as such out shined the actual music. Sure they created a legacy for the band it is just that unfortunately few bothered to to take the time to listen to the actual music which would prove to be some of the best of the NWOBHM era. Even though the band was well received by fans and critics alike their career was short-lived and by 1984 it was all over for the band. Like other great bands of the era Witchfinder General would not stay down for long and by 2006 (with three core members on board) they reformed. Their comeback album "Resurrected" was released in 2008 and by all accounts the band is alive and well. Both of their classic albums can be found on CD as well as on Itunes and are a must for NWOBHM fans and doom collectors.

Metal Mark says-
My introduction to Witchfinder General happened at a great record store called the Music Machine. It was 1988 and I had money burning a hole in my pocket. I saw picture disc of "Friends of hell" for about $10 and grabbed it right away. I had been in a doom phase at the time listening to Sabbath, Pentagram, Saint Vitus, Candlemass and others. So I took to Witchfinder General right away. The early 1980's were certainly an odd time to be playing style in that very few others were making the same kind of music. From a historical perspective they hit after the early-mid
70's when Sabbath and others played slow sludge and they hit a few years before a couple of other bands like Candlemass and Saint Vitus would unearth doom again. Even though Witchfinder General didn't get mobs of fans during their first run they certainly served as an influence for doom/stoner bands of the last twenty years or so. I am listening to Death Penalty as I write this so I can soak in what made they tick. Even though these guys were influenced by the likes of Sabbath they still put their own mark on the style. The staggered drums, the flurries of riffs and their ability to knock out some varied tempos at unexpected moments are all elements that Witchfinder General brought to the table. These guys didn't just copy early doom, but instead they added to it and even progressed it a little as well. I have always found Witchfinder General to be a band that I can listen to at any given time.

Killing Joke-Live at Hammersmith Apollo

Four Worlds Media
2011

English post-punk act Killing Joke were formed in October 1978 in Notting Hill, London, England. Either that or in early 1979. Different sources suggest different origins. All that really matters though is the fact that in August of 1980 Killing Joke released their self-titled debut album. From that point on a generation of bands have cited Killing Joke as an influence. Bands like Metallica, Nirvana, Foo Fighters, Tool, Soundgarden, Ministry, Front Line Assembly, Tool, Nine Inch Nails, Melvins, Faith No More, Godflesh, Napalm Death and Primus have all mentioned Killing Joke as an influence and it is no wonder when you consider how their music mixed in elements of punk, heavy metal and industrial rock. After a life-long career and album upon album of stellar post-punk we come to the album of the moment for Killing Joke. Live at Hammersmith Pollo sees founding members Jaz Coleman (vocals, keyboards) and Kevin Geordie Walker (guitar), alongside Martin Youth Glover (bass) and Paul Ferguson (drums) live in London’s landmark Hammersmith Apollo (obviously with the title!). With the selections spanning the band’s thirty year career you get a little of everything over these two discs but for me the best material here is cuts like "Wardance", "Bloodsport", "Requiem" and "The Wait". It's on these early cuts that you can still sense the razor sharp edge these guys have after thirty plus years. These cuts alone make this package worthwhile not just for Killing Joke fans but those who have a desire to be part of something worthwhile. Killing Joke have always been about the cause and in this live setting they sell it with fire and rage.

Iron Lamb-The Original Sin

Pulverised
2011

Let's see here you have a Swedish band that features metal veterans Johan Wallin (General Surgery, Scurvy, Bombstrike, ex-Repugnant), Grga Lindström (ex-Repugnant), Thomas Daun (Dismember, ex-Repugnant, ex-Insision) and Daniel Ekeroth (Tyrant, ex-Insision, ex-Dellamorte, author of Swedish Death Metal) within it's ranks. A press release from the band claims that they are a 'bastard son of early Motorhead and G.G. Allin" and the band even covers "Poison" by Motorhead (off of their 1979 album "Bomber"). If that isn't enough hint then how about song titles like "Dubious Preacher", "I Don't Like You" and "I Don't Wanna Be Like You"? Sure enough this is gritty punk rock and roll here. Imagine taking parts of early Motorhead, early Dead Boys, Eddie and the Hot Rods, Iggy Pop, early Descendants, early Rancid and early Bad Religion and mixing the whole ugly mess in a keg of the cheapest beer you can find. Iron Lamb is what you would come up with. Now, "early" being the common word there as that is obviously what Iron Lamb aim for. They want that gritty, sweaty garage rock that was heard everywhere in the early eighties. Let me tell you they do capture that vibe while at the same time sounding modern enough to draw in today's so called "punk" listeners. This is 10 tracks of old school punk rock/metal that while not groundbreaking is at least a crap load better than most of what passes for "punk rock" these days!

Cyco Miko-The Mad Mad Muir Musical Tour

Suicidal Records
2011

In 1983 Suicidal Tendencies released their debut album and in no short time they managed to gain both critical response and immense controversy. One of the greatest debut albums of all time it put a hardcore band from L.A. on every one's radar. We were all waiting to see what they would do next. Over the course of several albums they went from hardcore/metal to thrash and then before anyone knew it Mike Muir changed course and gave the world Infectious Grooves. Nothing ever touched that self-titled album for me and while some people embraced the change it seemed like some rage was lost along the way. Yes, Infectious Grooves proved to be popular with some. However there were others (like yours truly) that cringed at the idea of another funk rock/metal band. Well, over time Mike Muir has kept both bands going in addition to starting a solo career. This new album features new, original and previously unreleased tracks from Infectious Grooves and Cyco Miko. Some of the obvious Cyco Miko sounds a little like lite Suicidal Tendencies which isn't bad. With guest appearances from Robert Trujillo (ex-Suicidal Tendencies, Metallica), Fletcher Dragge (Pennywise) and Brooks Wackerman the music is interesting at times. "Alone" for example has a beautiful arrangement with (if I'm not mistaken) Spanish guitar. And the opening number "MMM" is tight electrified rock/metal. "Slightly" sounds like Black Sabbath worship mixed with electronic drums. These moments were interesting. For me the problem was the Infectious Grooves numbers. While at times they were decent funk and slightly enjoyable there were other times (most of the time really) when it made me remember why I stopped listening to bands like the Red Hot Chili Peppers. It just blurs together and like fingers on a chalk board gets annoying quick. So, if your like me and those first 4 or so studio albums by Suicidal Tendencies were good outlets for rage then you'll most likely find this one a chore. Infectious Grooves fans though will smoke this up like a crack addiction because it is prime funk. As an end note is it too much to ask Mike Muir to get the old Suicidal band back together one last time? I'll even settle for 2nd generation Rocky George and company. Now more than ever the world needs old school Suicidal Tendencies as everything is crumbling around us as we speak.

Evergaze Eternity-Uninvolved

Spider Rock Promotions
2011

“Uninvolved” is the debut album for Gothic Metal project Evergaze Eternity.
The band is made up of two members with Giovanni (keyboards) and Valeria (vocals). This is a female fronted gothic metal with some alternative, doom and electronic rock mixed in. Some times I come across an album that works on one level, but doesn't totally work as a whole due to the lack of another element that is very much needed. That may sound confusing and you may be thinking "come on, Metal Mark either it's good or it's not". Let me see if I can narrow it down more. Musical skills and the ability to create and blend different sounds and styles is something this band achieves quickly. I can't fault them on a technical level. The playing is tight and frequently to the point. What they is a enough punch to sustain the music. I understand a subtle approach and that work. However with this album it's like there's all this fabric spread out waiting to work, but they don't have the skill to complete the songs and make you really notice it. Instead what I felt left with was some nice music that I got bored of before the running time of almost every song. Diehard gothic metal fans may be accepting of it, but for me it lacked enough force to really keep my interest.

Clash of the album covers

It is...


Mastodon-The Hunter

vs.


Misfits-Devil's Rain

***Which cover do you prefer?

Craft-Void

Southern Lord
2011


Swedens Craft return with their first release since 2005's Fuck The Universe.
After a brief intro the track "Serpent soul" explodes with swirling riffs and deep tones. I was overwhelmed and impressed byt the mass of sound. "Cone resonance of doom" begins with an attack of noise and slows down to an almost subtle march. Yet both parts are impressive. "The ground surrenders" is a more traditional style track that roars ahead gull steam. "Succumb to sin" starts with a sick riff and never lets up. Although the vocals are used sparingly they are still very effective."Leaving the corporal shade" is a thick crawling monster that slowly makes it way along.
"I want to commit murder" emerges with a flurry of bent riffs and a deep thudding rhythm."Bring on the clouds" trods along with the riffs slowly being squeezed out
The title track wraps up the album with a deep sound like a tired army marching on the their last battle. Craft are simply are masters of sound on this album because they mold, twist and command their music on every track. Definitely an album that took a few plays for me to really absorb it all, but it was worth it.

Ear Danger-Full Blast At Last

Self-Release
2011

Dutch heavy metal band Ear Danger was formed in 1981. By 1982 they would issue their first recording, a four-track release entitled "Demo 1". Two more demos followed in 1983 and in 1984 they were part of a four-way split with Atomic Rock, Scum and Anwar called "Metal Power II". The band's last demo, "Shock & Awe", was (by all accounts) well received (as were all the demos and their appearance on the split) and yet Ear Danger was never able to secure the services of a proper label contract. It certainly wasn't for lack of trying or (for that matter) lack of talent. Ear Danger's brand of heavy metal was well written, played and extremely potent. It was traditional heavy metal of the highest from. And above all else it was fun! So, what happened to this Dutch act that they are just now releasing a proper full-length recording? Perhaps part of the problem might have been that Ear Danger was plagued by an ever changing lineup. For whatever reason they were never able to nail down that one perfect line-up that might have put them over the top. Even though the Netherlands had produced quite the lot in regards to good heavy metal (off hand bands that come to mind are Hammerhawk, Dark Wizard, Bodine, Angus, Highway Chile, Allied Forces and Martyr), one of their best in Ear Danger remained unsigned and sadly mostly unknown. Hopefully this new LP will show the masses why Ear Danger did and still does deserves more recognition. For those in the know Ear Danger were Dutch heavy metal legends so this album is long overdue! This vinyl only release contains 9 tracks of enjoyable heavy metal in it's most pure of forms. If memory serves me correct it is limited to just 300 copies and the material in question is collected from their demo period as well as brand new material recorded just for "Full Blast At Last". As a sign of just how good this band is the new material blends together nicely with the older material giving "Full Blast At Last" this absolutely perfect flow. For those who are curious here is how the album breaks down, track by glorious track, and I must give special thanks to my friend Strappado for providing me with all the proper information needed so that we can all see where everything fits in the grand scheme of things.

1. Belzeebubs Friend (originally on the Demo #2, 1982)
2. Assassin (originally on Shock & Awe, Demo 2007)
3. The Battle (not on any other recordings)
4. Thousand Days In Sodom (originally on Demo #3, 1983)
5. Hellish Wings (originally on Shock & Awe, Demo 2007)
6. Children of the Sun (not on any other recordings)
7. Burn at the Stake (not on any other recordings)
8. King of the Midnight Fire (originally on Metal Power II, Split EP 1984)
9. Shock & Awe (not on any other recordings)

With the line-up of Ivo Metz (guitar), Leon Lohmann (guitar/vocals), Dick Vijgen (drums) and Matt Verschoor (bass/backing vocals) perhaps now Ear Danger can finally get the proper press and respect they duly deserve. If there is a down moment to be found in "Full Blast At Last" it is the limited quantity. While I can understand how the cost of producing CDs verses the actual profit to be made from sales is slim the fact remains that here is an album that should be heard by more people. This one is every bit as good as the new releases by Hell and Bitches Sin if not better! At only 300 copies though it is sure to sell out and then how will a new generation of heavy metal fans get a chance to listen to this killer classic? Maybe with luck it will eventually be re-issued to CD or offered as a digital download. In the meantime if you want to own a piece of heavy metal history in the making then I'd highly urge you to pick this one up a.s.a.p! "Full Blast At Last" is another album of the year contender. Yes, it is that damn good! Even if it does sell out (and frankly I'm sure it will) and they don't re-release it then let's at least hope that "Full Blast At Last" encourages some label to pick up Ear Danger so we can get more new material from them. How great that would be! Find out more about the band and how you can pick up this killer heavy metal album at the link below.


http://www.eardanger.com/

UPDATE!

It turns out that "Full Blast At Last" was released on CD and is now available as a digital download! May the gods of metal be praised!!!!!

What's coming up?

Over the next week we hope to have out reviews of albums by Ear Danger, Craft, Cyco Miko, Giant Squid, Thin Lizzy, Noothgrush, Killing Joke, Evergaze Eternity, Michael Schenker and Iron Lamb. Also Forgotten Gems, Clash of the album covers, French Metal Friday,Heavy metal thunderdome, an interview with Exxplorer and an Alice Cooper giveaway.

Forgotten Gems: Not Us (Natas)-Think What You Want

Wild Rags Records
1989

If your a little "older" like Mark and I are then chances are might remember seeing ads for Wild Rags Records in heavy metal magazines like Metal Maniacs back in the eighties. Based out of Monticello, CA the record label Wild Rags seemed to have a rooster filled with bands like Not Us who would appeal to both punks and metalheads. Based solely on the awesome hand-drawn album art I knew "Think What You Want" was a must have. For whatever reason though I never got around to picking up the original vinyl although years later I would get a chance to hear it from a guy I knew in college. This Chicago, Illinois band was formed in 1984 originally under the name Natas (Satan spelled backwards). After several demos the band changed its name to Not Us. More than likely this was due to the fact that numerous punk bands in the early eighties went by the name Natas. Along with the name change came a slight change in their music. While the band's early demos were heavy thrash (almost primitive death metal although not quite) their later material was hardcore/thrash. Although the album has nine tracks this one is more like an EP since it's under 19 minutes in length! This three piece band plays the same early C.O.C/Cryptic Slaughter crossover thrash that was all the rage in the eighties and the fact that this killer EP (as well as their demos) has never been given a proper re-release is criminal. Not Us were the sort of band you'd see playing in small clubs or basements back in the mid to late eighties. In the days before heavy metal was watered down thanks to nu metal and metalcore there were tons of bands like Not Us that united punk and metal kids together. Under one roof kids were all united listening to other kids like themselves truly rage against the government and the lack of hope we all felt. While acts like C.O.C., D.R.I and Cryptic Slaughter deserve their fame I honestly believe Not Us would have been right up there with those greats and more fondly remembered if they had a larger record company behind them. Somehow though I suspect these three kids didn't care about all of that and just wanted to be heard. Since this one is rare and was never released to CD as far as I know I've included a link for the album. This one deserves more recognition.

MEGAUPLOAD Link: http://www.megaupload.com/?d=60VBVDRK

Margin Of Error-What You Are About To Witness

Self-Release
2009



The concept was promising enough. Having a record based on the thought process of a serial killer did intrigued me. Even if it isn't anything new between the imposing album cover and the opening cut “Time to Suffer” (a forty-second track with static interference where you can hear a woman screaming in terror in the background) there was hope. The tone had been set and this concept album was off to a good start. How quickly that changed. Now their first album "Create.Destroy.Repeat." was rather good for this Cleveland, Ohio band. Margin Of Error began life as a goth rock/industrial metal act and even if they did often draw comparisons to Combichrist and Hocico they had a strong following and were off to a promising start. So, what happened between then and now? Now let me be honest and say for the record "What you are about to Witness" does have it's good moments. When they strive for it they really hit the ball out of the park. “We Are the End” starts off promising before collapsing under it's own weight. And “What you are about to Witness” features this haunting choir and has a somewhat chilling effect. That shows real thought about creating a atmospheric sense of dread and impending doom. The problem begins though on tracks like “Cut the Throat”. A perfect example of wearing yourself too thin "Cut the Throat" tries too hard to be Suicide Silence but ends up as watered down Hatebreed. While the band strives to be effective deathcore (the high screams of vocalist/songwriter Travis Meyers bare witness to that) far too often it just all blurs together. Keyboards, synthesizers, drum beats and electric guitars get buried in a poor production job. I understand that the band has adapted a DIY outlook and that could explain why the record sounds less than profession. Without the help of a record label they have had to go it alone and for that I do give them credit. The thing is there are hundreds of other Ohio bands doing the same thing with better results. If only their new sense of direction had as much conviction when it came to the actual music. For all the hype surrounding "What you are about to Witness" I was anxious to hear it. In the end though instead of being a step in the right direction the new album finds local heroes Margin Of Error wasting their talent. Here they are drowning in a sea of 2nd rate bands and they don't even see it. You want so bad to throw them a life vest and scream "enough of the Suicide Silence/Hatebreed/Ministry modern metal guys you can do so much better!". It sounds like a million other synthesizer crazy local industrial metal acts and that sense of individuality that was present on their debut album is buried under layers of generic heavy rock. I wanted to like this one since despite all of their past theatrics (such as dressing up like Marilyn Manson) here was a local band doing their own thing. With this record though they sound far too common and will unfortunately get lost in the pile of "what could have been" bands unless they change back soon.

The House of Capricorn-In The Devil's Days

Swamps of One Tree Hill
2011

What in the name of all that is holy is up with that record label's name? Anything with "One Tree Hill" in the title is just wrong on so many levels! With that out of the way let's talk about New Zealand's own The House of Capricorn. Formed in 2001 (yes the promo says from "swamps below One Tree Hill", Auckland, New Zealand) these doom/cult rockers would release their first demo in 2005. The demo (The Rivers And The Rain/Old Redhook) was the first sign that the New Zealand stoner/doom rock scene was starting off with a bang. Now six years later and following an EP (The Rivers And The Rain - 2006), samplers (Solis Hail Summer Sampler - 2007, Sign Of The Cloven Hoof - 2009) and the debut album, Sign Of The Cloven Hoof we have before us In The Devil's Days. Themed around "a spiritual pilgrimage into Hell to meet the Lord of Flies" the new album picks up where Sign Of The Cloven Hoof left off. Stoner rock, doom and death rock mix together to give us a dark look into the fires of hell. Like Sign Of The Cloven Hoof the new album is heavily invested in the occult making In The Devil's Days sure to be a hit with all the death obsessed kids out there.

Gloominous Doom-Cosmic Super Ghoul

DRP
2011

Let's the band name has the word doom in it, but the cover seems to imply some of skate punk theme. However if you went by either of those to try and judge what this band would sound like you would be wrong. Gloominous Doom are basicly a thrash band only they blend in other classic metal influences which is not surprising. What is surprising is that they do blend in some splash of surf music. Now surf music combined with punk has been done with some splendid results over the last say 15 years or so. However metal and surf don't seem to meet nearly as often. So are Gloominous Doom any good? Well, yes and no. The thrash parts vary from typical to decent. What makes the music of any interest is the surf parts. On a song or two the different styles just don't work together primarily because they done in such a flat manner because the stick with basic sounds and they don't gel together. However on the majority of tracks the parts work at least well enough to show some real potential. I can definitely say that the album got better as it went along. Unfortunately the vocals are what really limits this band. The vocals are the growling cookie monster variety with very little change in pitch or style. So while the music tries to offer up a multi-dimensional sound with different influences the vocals stay very one dimensional. It's a shame I would get into the music and then the vocals would kick and I could feel my interest fading. There is some promise to this band, but a lot of work to be done as well.

Voyager-The meaning of l

Sensory
2011

Progressive rock/metal is one of those kind of sketchy styles for me. By that I mean that I don't take to every or even bands that play style. That is particularly true over the last ten or so years. That's not a threat or a boast, but just the way it is. Many bands that play this style have the technical aspect down. They can play their instruments and pour out tons of winding passages with multiple tempo changes. To me their is more to it than just technical side. If they do not manage to hit upon the rock aspect of the music then it just tends to slide off into self-indulgent wakery. Well, most progressive music is self indulgent, but having the rock or metal elements helps to give it a direction and that is what I expect and want from this type of music. So I have spent several line blathering on about my general views or progressive music. If you are wondering what this has to do with with Voyager's new album then just hold tight I'm getting there. The melodies come flying out almost as soon as the album starts and they don't really let up. If you are looking endless tones and pace changes then you will be in paradise. There certainly some beautiful parts here. Plus the way they are played makes it sound like it's the easiest thing in the world for this band to knock out. However there were certainly moments where the music just left me a bit cold. Every member in the band knows so bunch about speed and tones, but as a unit they didn't always raise the emotional or intensity levels. That's where I felt gaps come into play and I even bored some. I am sure there are prog junkies who may gasp at that, but be that as it may the music had times where it bogged down in itself. Now overall the album is far impressive than not. Fans of progressive rock will likely be pleased, but I felt slightly disappointed.

A Band of Orcs-WarChiefs Of The Apocalypse

Grimpire Entertainment
2007/2010


Frankly this release is a hair older than I would normally do. That said in the spirit of heavy metal (and the fact that if someone says pretty please) I'll review whatever is thrown my way. Forgive the release date as different sites give different release dates and my promo only gives a description of the band. So with that what to make of a band that dresses up like Gwar and Lordi and plays like a cross between Slayer, Morbid Angel, Amon Amarth and Canibal Corpse and draws influence from Dungeons & Dragons, World of Warcraft and Lord of the Rings? Well, first off this is listed as an EP but honestly it is long enough to qualify for a full-length. Not that it really matters just pointing it out. I suppose it is of some relevance since the pummeling goes on for some time and by the time it is over your left wondering "what just hit me?". Close your eyes for a moment and imagine a vicious band of mutant metalheads breaking down your front door and proceeding to play music that would wake the dead. They destroy everything in site and when the police eventually do show up they devour them leaving nothing behind but their badges for identification. That sums up the sound on this EP. It's brutal and fast and I suppose it borders on grindcore at moments. Not quite as heavy as Brutal Truth and Napalm Death but certainly as devastating in it's approach. Sure the costumes and lyrics might seem gimmicky but the music speaks for itself and it speaks in a loud and scary voice! Now the band has just released a new single in August entitled “Wyrd Of The Winter Wolf". I hope to post a review of that in the next few days. If you haven't already be sure to check out the band.

RWAKE-REST

Relapse Records
2011


Rest is album number five for Arkansas’ backwoods atmospheric hardcore/
sludge/doom metal/experimental act Rwake. Seeing as this is the first new material in over four years expectations have been high for "Rest". First things first though and a bit of history on the band. Rwake was formed in 1996. First conceived of as a jam band (and originally going by the name Wake) there first real gig was in Batesville, Arkansas at the Landers Theater in March of 1997. The group released a demo in 1998 called "Xenoglossalgia: The Last Stage of Awareness" before issuing the self-release album "Absence Due to Projection" in 1999. In late 2001 the group began to tour on a steady basis. 2002 saw the release of "Hell is a Door to the Sun" with "If You Walk Before You Crawl You Crawl Before You Die" released in 2004 and "Voices Of Omens" released in 2007. All of their albums have received positive reviews and Rwake has developed a healthy following. In "Rest" Rwake has created another complex album that is so much more than just sludge/doom. Vocalist C.T. and company mix in melodic moments on tracks like "The Culling" (the build up on this 16 minute plus track features wonderful lead guitar work that is melodic and technical) while the track "Was Only A Dream" is sinister sludge at it's finest. The contrast between the two works on many levels. Terms like heavy, vile, ugly, black and evil mix with terms like beautiful, epic, soulful and deep to make "Rest" an album that warrants repeated listens. The four years off seems to have done the group well as "Rest" is a superb album from start to finish.

Wolfpakk-Wolfpakk

AFM Records
2011


Wolfpakk is the new project of guitarist Michael Voss (Silver, Demon Drive, Casanova, Bonfire, Mad Max) and vocalist Mark Sweeney (ex-Crystal Ball). Having always planned on working together on a project in one form or another things finally came together in 2009 when Voss was producing the 2nd solo album from Sweeny. After deciding to gather together musicians from all over the world (30 in fact!) Voss and Sweeney took the name of Wolfpakk and away they went never looking back. While the goal was to cater to each vocalist's particular style mostly this album falls into Iced Earth territory. The ten tracks were written by Voss and Sweeney so you can see where a common theme could emerge even with such a wide variety of musicians on board. Alongside the pair you have on vocals: Paul Di'Anno (ex-Iron Maiden), Tony Martin (ex-Black Sabbath), Jeff Scott Soto (ex-Yngwie Malmsteen, Talisman), Rob Rock (Impelitteri), Mark Boals (ex- Yngwie Malmsteen), Tim "Ripper" Owens (ex-Judas Priest), Paul Shortino (ex-Quiet Riot), Mark Fox (ex-Shakra), Michaela Schober (Tanz der Vampire), Jean-Marc Viller (Callaway), Pearl and Molly Duncan. Quite an interesting cast of characters to be sure. Bass duties were handled by Tony Franklin (ex-Blue Murder, Robert Plant), Mat Sinner (Primal Fear), Matthias Rethmann (ex-LeeZ, Silver), Nils Middelhauve (Xandria), Neil Murray (Whitesnake)and Barend Courbois (Vengeance) while the guitarists (in addition to Voss) were Igor Gianola (U.D.O.), Marco Wriedt (Axxis), Andy Midgeley (Power Quest), Ira Black (ex-Vicious Rumors, Lizzy Borden), Torsten Koehne (Edens Curse), Doc Heyne (Biss), Tommy Denander (Dan Reed, Paul Stanley), Nadja Kossinskaja (Peter Maffay), Freddy Scherer (Gotthard), Olaf Lenk (At Vance) and George Solonos (Tommy Lee). Again an interesting mix although with no line-up listed per song who knows who plays what on which song. The promo dosn't give you that info so while its all good I'm not sure where to give proper dues. Anyway keyboards were handled with ease by Alessandro Delveccio (Glenn Hughes, Ian Paice), Ferdy Doernberg (Axel Rudi Pell, Rough Silk) while drummer Gereon Homann (of Eat the Gun fame) lays down the beat. So, with all that in mind Wolfpakk's debut album is full of great metal numbers like "Dark Horizons", "Lost" and "Slam Down The Hammer". "Let Me Die" and "Ride The Bullet" are just nice slabs of serious hard and heavy classic metal with a wonderful modern touch. Now mind you in no way will I say this album is groundbreaking or brilliant. But considering how these type of collections always seem to turn out a mess Wolfpakk rise above the normal and release a damn fine heavy metal platter.

Afterlife-Dying alone

Dying alone is a single from the forthcoming album by Afterlife. I was asked by the band to check it out so I did."Dying alone" came flying out with a scorching riff then settles into a midtempo march. Around halfway through the song picks up again with some swirling riffs and an impressive solo. Finally we get back into melodies before the end of the song. Actually they surprised me along the way by switching up the tempo more often than I figured they would. The vocals were a little rough at firest, but quickly settled in to a style that suited the music. I enjoyed the track as a whole and look forward to seeing what they accomplish when they release their full length album.

Name game-80's edition

Name an 80's hard rock/metal album that you think is better now than it was the first time you heard it.

Name an 80's hard rock/metal album that you think isn't as good as it was the first time you heard it.


Name an 80's hard rock/metal album that you never get tired of listening to.

Heavy Metal Thunderdome

Going with second or third tier 80's thrash bands this time around. Remember you are judging the music on this one. It is...


Death Angel-The Ultra Violence

vs.


Nuclear Assault-Game Over


***Which album do you prefer?

Cynic The Old Man-Various Lyrics

Yes, you read that caption right. For the first time since I started writing for Heavy Metal Time Machine I have been approached to do a lyrical review from a band. I suppose this really wasn't the first time I had been asked to do something like this. Back in my college fanzine days a spoken word/ free form jazz/post-punk act asked me to comment on not only their music (which was weird even for a college town like Kent, Ohio) but also their various ramblings. The whole thing was rather surreal and as I approached this article I'm reminded that words can be a powerful force. Whether they are wilded for good (Martin Luther King) or evil (Adolf Hitler) words alone can inspire and change our viewpoint of he world. Now while I don't expect Cynic The Old Man to have such an impact on the world around us I will give them props for working outside the box with their lyrics. The worst thing in the world is to hear great music and be let-down by insipid lyrics. Great music and great lyrics should go hand in hand. Sure there are plenty of songs from everyone from singer-songwriters to grindcore bands that the music is grand and then when you read the words your left heartbroken by the seemingly lack of effort on the part of the artist to challenge you. The opposite is true also when you hear great lyrics and then the music leaves you scratching your head. So it cuts both ways honestly. With Cynic The Old Man I haven't had a chance to listen to their music. They asked me to review their words so that is what I am going to do. Sure enough as I stated earlier here is a group that writes outside the box. The lyrics are often surreal and somewhat stream of consciousness in their output. They capture dream like qualities where anything and everything can happen as they shift from odd objects to even more odd segments. In a way it reminds me of the way R.E.M. would create a song only with more of an LSD slant. I love the openness to explore a part of subconscious where chaos reigns. Sure for many the seemingly strange way in which the words roll around will be a turn off. For those that like their lyrics all neat and pretty Cynic The Old Man are not going to sit well. But for those that see the world as a magical landscape of different colors and shapes and live with a sense of adventure at all costs then Cynic The Old Man should be moved to the top of your list of acts to look into. You can read for yourself just how interesting their lyrics are at the link below.
http://www.negb1.com/profile/CynicTheOldMan

Exmortus-Beyond the fall of time

Heavy Artillery
2011

Exmortus returns with their follow-up to 2008's In Hatred's Flame. It's a shame we had to wait three years for another album, but this one was worth the wait. This is pure throwback thrash/early death metal only with sharper production values than was given to the albums that Exmortus are influenced by. Slayer, Possessed and numerous other mid-late 80's will come to mind the second you pop this disc in your player. Once the short intro "Bane Forthcoming" wraps up we get trampeled by "Kneel before the steel". The lyrics are rather cliche and the music is fairly simple, but know to rip out the riffs and keep plunging forward and that sells it for me. Black XIII is a tad slower and gets bogged down by a not so clear direction, but the heavy beats and venomous vocals still propel it along enough. "Beyond the Nile" is a short and fairly slow instrumental that never quite does enough to make it memorable. "Entombed with the Pharoahs" is a slightly sloppy yet heavy early-Slayer inspired track. The vocals really make it worthwhile. "Destroy" begins a smack in the mouth type attack, but slows down some towards the middle. The tempo changes help keep this one interesting. "Crawling chaos" rides on the drums for much of it's length. They keep the speed going full throttle on this one. "Left to die in the paradox of time" attempts to put some more tempo changes in and honestly they are done pretty well. This might be the most focused song on the album. "Khronos" is a slower track with just a little bit of vocals tossed. It's okay, but seems more like a space holder than something that adds to the album although I repsect the attempt to try something different. The closer "The gathering" comes on sounding like a thrash band covering Maiden with a pinch of Helloween tossed in. Some diehard thrash fans might stewing in their high top Nikes over this one. However I think they do an admirable job mixing melodies with pure adrenaline. It ends the album on a powerful note. Exmortus definitely took some chances this time around and not all of them work, but there is certainly enough to make it worth checking out.

Eliminator-The One They Were Waiting For

Obskure Sombre Records
2011


According to the fine folks over at Encyclopedia Metallum there are currently five bands using the name Eliminator with the majority of them playing thrash metal. I personally would have thought there would be more than just five bands to be using that name. It seems somewhere in the back of my mind (hidden away in all those cobwebs) that there use to be scores of unsigned bands using that name. Maybe though it isn't as common as perceived. So with that what gives New Jersey's Eliminator a chance of sticking out? Sure, the band has recently made a bit of a name for itself thanks in no small part to their excellent covers of Slayer's "Angel of Death" and "Altar of Sacrifice/Jesus Saves". Those two songs have been making the rounds online lately and have opened doors for the band. That said cover songs are one thing though and covering Slayer of all bands will certainly win you brownie points any day. Can you stand on your own merits though? Formed in 2006 the Eliminator in question is made up of Warchild - Vocals, Guitar (Mutiny Within) and Samus (Sam Paulicelli) - Drums (Norwegian Birthday Cake, Mutiny Within, Suspyre, Abysmal Gates, Dark Empire (USA), Rising Phoenix, Abigail Williams). Following a pair of well received demos (both released in 2007) Eliminator released their debut album in 2008. "Breaking the Wheel" was meet with mostly positive reviews and now we come to this current album to see what's what. Those two previously mentioned Slayer tunes seemed fitting after listening to opener "Atish". Best described as a extreme blackened Slayer "Atish" left me satisfied about the perceived direction this album would take. After the follow-up spoken word "Calm Before the Storm" I fully expected to have my eardrums assaulted. From everything I had heard about these guys sick and twisted thrash was what I expected and so I figured the rest of the album would follow suite. Boy would I ever be proven wrong! My jaw just about hit the floor when the number "Me and the Devil Blues" came rocking in. Blues thrash? Somewhere between BB King, Danzig and crusty black metal this song resides and man what a place that must be! "The Man In The Picture...To Become What One Is" is progressive tinged metal with moments that recalls Master Of Puppets era Metallica before shifting into extreme death metal. "Answers Left Behind" is another spoken word piece and what follows is a highlight in "Honey Sacrifice". This genre blending number is both technical and riveting. When Eliminator lets loose things really click. As a blackened thrash/experimental metal band these New Jersey headbangers know how to write music that hits all the right notes. Another spoken word piece breaks the album up with "He Who Laughs Best Today" before "Goodness Is Dead...Enter The Black Hole, Fucker!" rolls out. Over the sounds of German inspired thrash (Kreator/Destruction) the band lays some S.O.D./M.O.D./Gwar humor. Mostly the song seems like an excuse to just thrash out and as such it works. The last cut on the album features a beautiful violin piece. "R.I.P" is an unusual way to end things but by now it should be fairly obvious that this Eliminator is anything but your usual everyday thrash band. Mixing it bits of Slayer, Danzig, Volbeat, German thrash and hardened black metal Eliminator has unleashed an album sure to turn heads. If variety is the spice of life and death for you then be sure to invest yourself emotionally in this act. Not just another 9-5 thrash band here. Simply put there is so much more going on here and it would be a shame if more people didn't hear this. Now more than ever I am curious about Eliminator's back catalog and will have to spend some time checking it out. Be sure that you yourself check out "The One They Were Waiting For" though. With the mounds of thrash bands that all sound alike when a band does come along and breaks out of those shackles it can easily get lost in the shuffle if someone doesn't point it out. Consider this your personal invitation then to check out a different shade of heavy metal.

What's coming up?

In the next week we hope to have reviews out from albums by Serpentcult, Voyager, Tormented, Craft, Tormented and Brand New Sin. Plus a a review of the new single by Afterlife and lyrics reviews on lyrics by the band Cynic the old man. Plus NWOBHM Wednesday, Clash of the album covers and Heavy Metal Thunderdome.

***Have a great week!

French Metal Friday: Demon Eyes

Demon Eyes was born in 1982 in the small town of Sannois. Formed by the brother's Masson (guitarist Thierry Masson and his brother Philippe who originally played drums) the group would be rounded out by bass player Remy "Serpent Glenn" Bertelle and second guitarist Philippe Chastagnol. Eventually after failing to find a suitable lead vocalist Philippe Mason decided to step out from behind the drum set to lead the band. Renaud Espeche would briefly fill the spot left open before Bob "Sortilège" Snake joined on drums. Sometime in 1983 a 5-song demo was recorded (who played drums on it I'm unsure of as what little information there is to be found on the band is in French) before the label Ebony Records came calling. After giving them the opportunity to record a song for their compilation "Metal Plated" the band signed with Ebony and in 1984 "Rites of Chaos" was released. Unlike the majority of French heavy metal bands at the time "Rites Of Chaos" found Demon Eyes playing a fast and furious style of speed not unlike a cross between early Exciter and early Running Wild. Singing in their native language might have limited their appeal some but if anything Demon Eyes were the perfect marriage of speed, melody and aggression. It would take the band three years before the follow-up "Garde A Vue" was released on New Musidisc. The album is noted for containing a interesting cover of Metallica's "Seek And Destroy", sung mostly in French. A single came out in 1988 called "Fantomas" followed by the full-length "Out of Control" in 1990. By this point the band had gone through another shake up with Gil Morvan handling lead vocals. Following the album Demon Eyes disbanded. It wouldn't be until 2006 that the Masson brothers would reform the group although as of this typing no new music has been heard from the band. For those who like there metal fast and furious "Rites Of Chaos" will appeal on many levels. Hopefully given time the new line-up will put some new material to tape and like so many other great bands from the eighties have a proper second chance at fame. Demon Eyes slipped through the cracks the first time around although they have another chance now to make it right.

Livin Fire-Demo 2011

Self-produced three track demo
2011

Livin Fire is a band that formed in Kraków,Poland who are strongly influenced by hard rock and metal.The band in present form exists from more or less the beginning of the year 2010. Founded by a vocalist and also a guitarist Alda Reï and a guitarist Szreder (Kuba Kurek). After a long searching of suitable people, the band was joined by Mateusz Bernat on drums and Alvaro on bass. This is a three track demo so it's probably best to break them down track by track. "Explode" is a thin mid tempo track with a strong beat. The main guitar rhythm is subtle yet memorable.
"Nightmares Night" is powerful head nodding song. Alda Reï's vocals really shine on this one. I like how they maintain their energy all through the track.
The final track "Thunder" comes on with a blazing burst of guitar licks for settling into a medium fast pace. Another tightly crafted track with some solid hooks.
Livin Fire's style reminds of bands like early Lizzy Borden, Bitch, Witch and others. It's hard to judge a band from just three tracks, but I like what I heard on this demo. All three songs are strong and you can tell the band have their musical direction down. Definitely check this one out. Here's hoping they keep at it, get signed and get the chance to show what they can do on a full legnth album.

http://www.myspace.com/livinfireband

East Of The Wall-The Apologist

Translation Loss Records
2011

East Of The Wall is made up of members who killed time in acts like The Postman Syndrome, Day Without Dawn and Dangerous Cowboy. This new album from Translation Loss Records finds the one time instrumental act flexing all of their creative muscles to unleash an album made up of layers upon layers of post-metal goodness. Actually the band combine experimental rock, post-metal and progressive rock into something truly beautiful. Imagine a hybrid of Isis, Cave In, Into Another and Cynic only a bit more other-worldly.Recorded by Andrew Schneider at Translator Audio in Brooklyn (Cave In, Pelican, Keelhaul, Unsane, Rosetta) and mastered by Nick Zampiello and Rob Gonella at New Alliance East in Boston (Converge, Cave In, Junius, Keelhaul, Red Chord) The Apologist is the next logical step for East Of The Wall. It's an album that should be manditory listening if only as a means to show you just how amazing this is and so you can understand and can get the full idea of just how interesting and iventive it is. Not only is this the next step of East Of The Wall as far as their career goes but also another shinning example of just how good metal can be despite not fitting into any one's neat little package. By the way the album's artwork was handled by Eric Nyffeler at Doe Eyed Design and is just a good example of how this band thinks outside heavy metal's box.

Clash of the album covers

It is...


Alice Cooper-Welcome 2 my nightmare

vs.


Ted Nugent-Freeforall


***Which cover do you prefer?

Heavy Metal Thunderdome

Remember in this one you are judging just the music. Here you go. It is...

Black Sabbath-Heaven and hell



Black Sabbath-Heaven and hell

vs.



Ozzy-Blizzard of Ozz

***Which album do you prefer?

Ugly Kid Joe- "Love Ain't True" Single

Self-Release
2011


California's hard rock band Ugly Kid Joe found some success in 1992 with the single "Everything About You". Along with their cover of Harry Chapin’s "Cat's in the Cradle" the song allowed the band to make a bit of a splash on the radio and with MTV in the mix Ugly Kid Joe was a joke band made good. Despite the early success the band disbanded in 1997. 13 years later rumors began to swirl that the band was refroming and in mid-2010 Ugly Kid Joe made it official. Having recorded a 6 track EP the band are now looking for a new label. The new single "Love Ain't True" is their first new track in ages and this EP will prove to be their first new recording since 1995's "Motel California". While I have always had a soft spot for Ugly Kid Joe's mix of hard rock, glam, punk and heavy metal I find this new track to be quite lacking. "Love Ain't True" sounds hollow and rather limp. Never mind the production job which is itself somewhat thin. The new song just sounds uninspired and quite frankly lame. Let's hope it isn't a sign of the new direction of Ugly Kid Joe because I know first hand that their are a lot of people excited about the prospect of new material from Whitfield Crane and company.

Ordo Obsidium-Orbis Tertius

Eisenwald
2011

Due to hit stores on October 10, 2011 (just in time for Halloween kiddos!) Orbis Tertius is the debut album from the Bay Area's Ordo Obsidium. Creepy, mysterious and atmospheric black metal/doom is on display here in all of it's gritty ugliness. Featuring 5 tracks of pure evil this album is sonically unlike anything I've heard in awhile. With little information to be found on the web for this band I must turn to their promo which states that the band's sound is a "mix of early Emperor, Mortifera and early Katatonia". I'd say that is more than a fair starting point. While it might draw from those particular influences this is no carbon copy act. In fact if I might again quote the promo this one "is not a carbon copy of a carbon copy of a carbon copy". So very true as Ordo Obsidium seem to inhabit their own realm. Upon repeated attempts to wrap my head around this album I'm left with the distinct impression that the band seems to be infected with utter darkness. That said while it is certainly a dark, depressing and dreary listen it is also hopelessly addicting. A promising start for this mysterious outfit.

Root-Heritage Of Satan

Agonia Records
2011


After an opening number ("Introprincipio") that sounded like free-form black metal jazz I wasn't exactly sure what to expect from this odd band from the Czech Republic. Having formed way back in 1987 this band has been kicking out "interesting" albums for a long time now with some good, some bad and some where your like what the heck is that all about. Musically these guys pull in black metal, doom, goth, power/thrash metal and a little bit of everything else all under the cheesy banner of Venom-inspired lyrics. It can be a real chore to sit through an album full of pro-devil sentiment that would make Cronos seem like a moderate but these are the things we are called upon as reviewers. So, what to make of this album then? By my count this is their 9th full-length and if anything vocalist Big Boss (Jirí Walter) and company have created a album that musically is quite a novel release. Actually it is Big Boss that keeps things interesting with his theatrical baritone making him one of the more unusual lead vocalists out there. Whether he is singing in a clear voice or shrieking out black metal rasping noises he captures your attention that is for sure. In the end this is as stated an interesting listen. It's just a shame that the lyrical content is so over the top that it made it hard for me to take that aspect serious. If that sort of thing is your....well, thing then Root should make it's way into your collection.

Single Bullet Theory-IV

Goomba Music
2011

Formed in the year 2000 (by onetime Pissing Razor's guitarist Matt DiFabio) the band's name comes from the theory of a single bullet used to kill John F. Kennedy. Originally the band (musically at least) were in the same category as Pantera or Exhorder. Over time though they have evolved picking up new tricks and twisting their version of metal into the hideous form we hear today. With new members John Ruszin III (guitar), Jeff Kalber (bass) and Acacio Carvalho (drums) IV finds Single Bullet Theory flexing their creative muscles even more by bringing in elements from black metal, classic heavy metal and European power metal. As odd as that all might sound it works on many levels allowing Single Bullet Theory to really experiment. The creativity on display here flows in and out giving off this ever changing musical landscape and allows the band to play at such a high level that IV takes on an epic feel at moments. If there is a draw back to be found it is in the production which seems thin at times and rough at others. In no way does it distract from the overall enjoyment of IV. From the brutal onslaught of opener "Diabolical" on through track after track this record is not only quite diverse as I've mentioned but also quite simply finely crafted.“Auctioneer of Souls” for example boasts that it contains "guitar solos from twenty of metal‟s finest axe-men and is destined to become a heavy metal classic" and one probably shouldn't doubt it. The first half of the album with cuts "What Have I", "The Wake of Betrayal" and "Hands of the Wicked" provides killer cut after killer cut but the album gets better onward. "Letting Go" for one mixes hardcore vocals and riffs with a power metal edge and punk rock like drumming. How can you not get down to that? This album is just a neat reminder of how interesting heavy metal can be when you choose to just let go of your inhibitions and lay down wicked jams. As a bonus the album also contains tracks from previous sessions, including a guest performance from Matt Thompson (of King Diamond fame) on a cool cover of Death’s “Spirit Crusher. It seems fitting as you can hear a lot of Death's influence on the band. Track closer "The Hurt That Never Ends" has a gritty feel to it. Insane aggro-thrash metal in the realm of Pantera it is a heavy and wicked way to end things. Single Bullet Theory have been around now for sometime. Who knows if this will finally be the album to push them to the top but it is a good start.

Brutal Truth-End Time

Relapse
2011

Brutal Truth are probably known for two things, one that they play blazing grindcore and the other that they feature in their ranks former Anthrax/Nuclear Assault bassist Dan Lilker. Brutal Truth knocked out several albums in the 1990's and stayed active during that decade, but then the members went their own wasy for a while. Then a new version was formed a few years ago and this year's "End Time" is their second album since reforming. It's everything you'd expect from this band which is mostly short tracks focusing around quick blasts of noise and fuzz. In the mind-numbing world of grindcore the difference between a quality product and pointless noise relies not so much on speed but rather on the various sounds and layers that tossed in the middle of the chaos. Brutal Truth know to put a lot into a brief time frame and then send the whole thing swirling around like a nasty tornado on a devestating path. Like most grindcore this is something I have to be in the mood for but these guys are still one of the top bands in their field.

Hair Metal Hell: Tryx-Tryx

Andy says-

If ever there was an album cover that just screamed "Just put this down and walk away now for your own good man!" this 1991 album by Tryx is it. Formed in 1986 (first in Fort Lauderdale, Florida before moving to New York, New York before finally taking their "act" to Los Angeles) Tryx released a handful of demos, a EP and this full-length abomination. When people look back at glam metal and snicker you just have to believe that bands like Tryx are the main cause. Where to begin. Well, the album cover is truly awful yes. I get that you want to look the part guys but man it's like a convention of the world's ugliest Poison imposters. Sounding like a poor man's Poison is bad enough let alone dressing like them. Strike that you sound like a dying version of Poison that has been left to die in a gutter somewhere. The production job is awful. It sounds as if the album was recorded in a closet. The music is dreadful. It isn't that it lacks life it actually sucks life out from everything around it. Meaningless and hollow this is not just bubblegum pop metal. No, that would be an insult to both bubblegum and pop not to mention metal. This is more like turd rock. When you do a cover of "Sugar Sugar" and you make The Archies sound not only good but heavy by comparison well...that takes things to a whole new low. The fact is that try as I might I couldn't find one instance where you could justify actually paying someone money to lay this garbage to tape. The fact that they might have actually had a record company interested in them makes me shudder for all those bands who never made it. In Hair Metal Hell there should be a special place for PR people that signed crap like this.

Checklist
Out of tune vocals- 4, There is out of tune and then there is this guy. "Singing" must be a foreign idea in his world.

Wanna be rockstar guitars- 5, Every time I think I've heard some of the worst guitar playing of my life some new band comes along to amaze me. Tryx has opened my eyes to just how much a guitar solo can be tortured.


More hairspray than bass- 5, Where's the bass? I don't think they actually had a bass player. Either that or he never bothered to plug it in.


One dimensional drum beats-4, Tin can drummer wanted. No experience necessary.


Make me wanna puke ballad- 5, I'm not sure these songs even qualify as ballads. That would make it sound as if they were even slightly well crafted "songs".

Metal Mark says-
There were quite a few hair metal bands going in the mid-80's, but between about 1988 and 1991 the floodgates really opened up and tons of the bands were popping otu everywhere. Unfortunately quantity doesn't always mean quality. Hair spray, eyeshadow and bright spandex didn't always mean a band could play their instruments or write anything worth hearing. There are plenty examples that support that theory. For today Tryx will be the example. I can just imagine these genius wannabe rockstars sitting around the breakfast table trying to come up with a cool band name and they looked no further than their breakfast cereal. One of them said "We should call ourselves Trix" and another Einstein in the band "Dude, it would super cool if we change the spelling so let's be Tryx". The rest of them agree and they began doing the important things like designing the logo and put minor items like rehearsing on the back burner. Anyways in the mid-80's I think a number of glam/hair bands were influenced by acts like Motley Crue, Ratt and Twisted Sister which was fine, but things changed in the mid-80's. I don't hate Poison per say, buy even at their best they were so basic. When their debut hit in 1986 it became an influence for a lot of bands who cared more about making a quick buck than they did about trying to become better as a band. So this long winded rant is leading to the fact that Tryx try hard to sound like Poison plus there's some Warrant mixed in too. There are lots of sugary songs and the singer likes to say "baby" a whole lot. This is horrible fluff with little of value. Their ballad "Hold on" will have you throwing up your lunch and then you'll run to get your old Maiden and Priest albums out to cleanse your ears. I'm with Andy about "Sugar, sugar". Don't do a cover if you handle it and if you struggle to cover the Archies then you probably shouldn't be in a band at all. At some point during the recording of this album someone should have said "this is wrong, just put down those instruments, back away, leave and never think about recording again in your lives".

Out of tune vocals- 4, The singer is way off and he just keeps trying to hold onto those notes making my eardrums scream for mercy. Even the back-up vocals were limp.

Wanna be rockstar guitars- 5, This guy wasn't just poor and pathetic but he was actually struggling to get up to being poor and pathetic.

More hairspray than bass- 5, I am guessing the bass player was the guy with the biggest hair because I don't know else he was here.

One dimensional drum beats-3, This guy was playing very simple stuff and he wasn't that good. However given how worthless the guitarist was if you listen closely at least this guy managed to keep the "music" going. And anyone who helped advance these songs to their end deserves a little credit.

Make me wanna puke ballad- 5, What's worse than a terrible power ballad? Two terrible power ballads. What's worse than two terrible ballads? Being stupid and cruel enough to put them back to back on your album.
Scorecard-
Andy gave them a 23
Metal Mark gave them a 22

So the final word should be avoid as in take our words for it and don't go near this one. Oh and don't think that their EP might be better because I heard that one too and in this case the EP should stand for "extra pain".

Rogue Male-Liar

Remember Rogue Male? You may remember them for their post-apocalyptic stage attire or the praise given them By Kerrang! magazine. I remember them for their debut which was a solid blast of metal while their sophomore effort was decent, but not quite as sharp. Well, singer guitarist Jim Lyttle has a new version of the band back in action. Rogue Male will play three exclusive UK shows as they continue to write their new album, which is scheduled for release in 2012. Tour dates are as follows.

29 September: London, Purple Turtle
6 October: Birmingham, Roadhouse
8 October: Saltash, Livewire

Their brand new single "LIAR" is now available as a free download exclusively from the band's website http://www.rm2kmusic.com/ and the video to 'LIAR' will also be released shortly.

I listened to "Liar" a few times that I was quite impressed. It's similar to material from their 1985 debut "First Visit". There is a definite Motorhead influence just like on most of that album. It's a real charge ahead type of song with a heavy rhythm section chiming in. In fact if there is one major difference between this song and the band's 80's material it's that "Liar" is heavier. Plus the production is quite spectacular. I didn't know what to expect from Rogue Male at this point in their career. However if the rest of their next album will be as god as this then this will certainly be an album to look forward to in 2012.

Bitches Sin-The Rapture

Self-Release
2011

London's traditional heavy metal/NWOBHM act Bitches Sin were formed in 1980. While a early incarnation of the group featured the Toomey brothers on guitar, drummer Bill Knowles, vocalist Alan Cockburn and bassist Pezcon the band would be plagued by line-up changes through-out their career. In 1981 the band contributed to two separate compilations. The track "Down The Road" was added to the Neat "Leadweight" compilation tape but they would become more well known for their "Heavy Metal Heroes" compilation appearance where they had one of the greatest NWOBHM singles of all time in "Strangers On The Shore". By 1982 the group made their full-length debut with "Predator". Despite the hype and momentum created with the track "Strangers On The Shore" Bitches Sin's debut album bombed. Between the poor production job and lackluster songwriting critics and fans were left less than impressed. An EP arrived in 1983 called "No More Chances" before the band began work on a proper follow-up to "Predator". Even though 1986's "Invaders" was a better album by that point the group's core fans had moved on. After disappearing from the public eye for some years (during which some members formed the rock band Flashpoint) the band finally released a new album in 2008. In between their last album "Invaders" and the 2008 album "Uduvudu" the band would release three "Best Of" compilations. Also during this time the band hooked up with producer Chris Tsangarides who not only helped out behind the scenes but became an official member. While "Uduvudu" got mixed reviews the band soldiered on. Now in 2011 we finely have a new album in the self-released "The Rapture". Yet again the band has had a shake up as "The Rapture" features a new vocalist in Dave Mills. The shake-up seems to have done the group some good as other than "Thanks for the Memories" (in which Dave sounds as if his voice is harsh from straining) Mills is a more than capable replacement for the departed Anthony Tomkinson. "Don't Let Go" opens the album in thunderous fashion with a sound that takes the best parts of modern metal and tweaks it with heavy power metal. The choice of a cover was interesting with "Sounds of Silence". Honestly hearing it made me think of Metallica and their choice of covers. Bitches Sin does a interesting take on the Simon & Garfunkel classic and the more times I've listened to it the more it grows on me. "Save Me" and "Never Forget" are good metal tunes bringing Bitches Sin into the modern age. "The Rapture" is a pretty intense power metal cruncher and sums up what I like about this album. The band has managed to craft a real heavy metal album with pounding anthems highlighted by the lead guitar work of Ian Toomey. There really isn't a bad cut to be found here. "Love and Faith" is a number I really enjoyed the more I listened to it as well. Following with the track "You Want Paradise" is a good move as here is another truly fine heavy metal tune. "You Want Paradise" and the rest of the album's tracks are some enjoyable heavy/power/thrash metal. As a Bitches Sin album it is really good although honestly if you did not know who this was I think you'd be (pleasantly) surprised to find out it is a NWOBHM band. Sure there are some hallmarks of the movement thanks to Ian Toomey's guitar work but unless you really knew your history you wouldn't know this was the same band that created "Strangers On The Shore". It's good to see the band not only grow and mature but seemingly click as a band. Let's hope this line-up manages to hang on for longer than just one album because Bitches Sin are onto something finally. Welcome back guys.