Current Playlist

Here you go...

 Andy-

Listening to:
Banshee-Cry In The Night
If Only-Destiny
Brocas Helm-Black Death
Cowboy Mouth- Mix CD
B.O.C.-The Essential Blue Öyster Cult
Tygers Of Pan Tang-Live at Nottingham Rock City
Holocaust-Spirits Fly
Tygers Of Pan Tang-Live At Wacken
Blitzkrieg-Theater Of The Damned
Nitro-Lethal + II

Watching:
No Blade Of Glass

Reading:
Various Gluten- Free Blogs and Blogs about strengthening weak knees

Metal Mark-

Listening to-
Dr. Know- This island earth
Argus-Boldy stride the doomed
Blue Cheer-The original human being
Bell Witch-s/t
Black Uniforms-Splatter punx on acid
DOA-War on 45
Soho Roses-Whatever happened to...
The Avengers-s/t (the Pink album)
Starcrash-soundtrack
Znowhite-Act of god

Watching-
Brother from another planet
Burn Notice season four
White Collar season three

Reading-
The happy herbivore
Sly moves


***What are you listening to, reading and watching?

Trancemission

Pure Rock Record
2012

Maybe it's too early in the morning (6:34 AM? Maybe? I was up late talking to my girlfriend Carrie so yeah, maybe it is just that) or not enough coffee, but this is just strange stuff. Since we start off with a number that is post-Black Sabbath meets hard rock meets spoken word I'd say that was slightly off kilter. For the record Trancemission were formerly known as Trance. Yes, that is the same Trance that released "Break Out" and "Power Fusion" back in the early eighties. This German band was formed back in 1979 and for legal reasons eventually had to change their name to Trancemission before they went back to Trance and then back again to Trancemission. Now, I have not heard either of those two early early albums in a long, long time so I don't recall off hand if they were as "different" as this album is. The promo does mention that the album is "an exciting new adventure between Heavy Rock and melodic Metal." Grant some songs do sound normal enough in a hard rock/heavy metal vibe like "You" and "House Of Love". The things is though that with numbers like "Sex Me Up" I was left scratching my head trying to figure out exactly what they were aiming for. Of course their was cuts I enjoyed so it wasn't all bad. "Thanks God I'm No Fool" resides somewhere between classic blues rock and a Lordi/Gwar mentality and it works. There is no real reason it should, but there it is coming out of my speakers and it all fits. I strongly suspect that the reason these few songs do work is because lead vocalist Lothar Anton does his best to come across as fellow German native Udo Dirkschneider. A ballad like "Susi 'n' Mape" does kind of remind me of solo Udo which makes it an easier number to get behind. Overall though this album is so hit or miss. The songs go everywhere which is just offsetting. Fans will probably enjoy this, but if you were to randomly run across this album I suspect you'd be left wondering what the ultimate point was too.

Witchcraft-re-issues-s/t, Firewood and the Alchemist

 

 

Metal Blade/Rise Above
2012 re-issues/originally released 2004, 2005, 2007

I was listening to the Alchemist not so long ago and wondering why Sweden's Witchcraft hadn't done any new music in  years because the last I know they were still together. Then I see that their three lps have gotten re-released. Okay, it's not new material but it will have to do although the latest word is their forth album will be called Legend and it will come out this fall. Which might mean it's a perfect time to explore their back catalog again. Witchcraft formed back in 2000 and by 2004 their self-titled release came out. They are often labeled as a doom band and that's not incorrect. Although they owe far more to early 70's proto-metal bands than they do to 80's doom acts like Candlemass or Saint Vitus. The influences on all three of these albums include Pentagram, Jethro Tull, Sabbath, Dust, Bang and other pioneers. The 2004 debut is probably the most primitive album and the one I would say could be considered the most straight ahead doom in it's approach. Unlike other bands that just draw on influences Witchcraft instead try to sound like they came from a different era. They have the sound, the production and have frequently recorded on vintage equipment in order to get their music to sound like it was done in the early 1970's. The debut has more tracks than either of the two follow-ups. It definitely has a sound like a bunch of guys jamming in a basement or a garage, which is likely what they were aiming for.  My favorite tracks on the debut are "Lady winter", "No angel or demon" and "It's no easy".
A year later the sophomore album "Firewood" was released and that's when I first hear Witchcraft. The sound and the approach was still along the same lines as the debut, but something had changed and for the better. Their control of the pace and their ability to change up the tempo showed a marked improvement.  They had gone from sounding like a rough tribute band to almost being masters of the style. Although the Pentagram influence was possibly even greater. I remember playing this album a lot when it first came out. Despite the obvious influences they were just so catchy. Favorite tracks on  "Mr. Haze", "I see a man" and "Chyld of fire".
Then two years went by before "The Alchemist" came out in the fall of 2007. The style is still similar to the other albums but once again they made another leap forward with their writing and playing. What they really developed on this album was the ability to launch into non-traditional song structures and just run with them. This approach kind of goes back to jamming skills they showed on the debut except this time around it's far more refined. By refined I mean that everything seems very automatic but they still have those rough and heavy images that defined many of their songs on all three albums. They were definitely coming into their own with this album and I was actually surprised by the amount of progress they showed on this album. My favorite tracks here are "Hey, doctor", "Remembered" and the title track.
Thanks to Metal Blade and Rise Above for re-issuing these albums and reminding me how much I enjoyed Witchcraft. I am looking forward to the new album in a few months, but with the line-up changes and the amount of time since the last album I do wonder how the new album will compare with their previous work.

Enemy Reign-Between Hell And Oblivion

Independent
2012


Since I have not been listening to a lot of death metal lately I thought I would take on (as it were) Denver death outfit Enemy Reign. I'm glad I did and I'm glad I was somewhat awake when I hit play because this is brutal kiddies. Recorded at Flatline Audio by Dave Otero (Cattle Decapitation, Cephalic Carnage, Martriden and Cobalt) this album serves as the debut of vocalist, Stevie Boiser who replaced former lead singer, Sherwood Webber (Skinless), last Summer. This is 11 tracks of guttural death metal (with bits of grind thrown in) from a band that knows how to offer up crushing and gut punching riffs. This is the follow-up to 2008's "Means To An End" EP and shows a band that sounds as if they have been crafting this sort of extreme death for years and yet they are young having only formed in 2008. With the way these guys are going it would not to high of expectations to see them really crank out a masterpiece in another album or two. Death metal freaks will love this one trust me.

Forgotten Gems-Sgt. Roxx-Push and squeeze and Weapon of miss distraction

Frequently I have come across some message boards and blogs where some hair metal fans will claim numerous small budget or self-released albums to be some overlooked gem. Frequently those people are wrong and easily pleased. One band I heard about some years ago on blogs and message boards was Sgt. Roxx who played around the Chicago area. They self-released an EP in 1990 called "Push and squeeze". The few people who had claimed to have heard sang it's praises. There were reports of copies of this CD going for hundreds of dollars of eBay. Well, of course that's just nuts even if it were good it couldn't be worth that much. However eventually Eonian records released Weapon of Miss Distraction which contained the six songs from the Push and Squeeze EP plus 12 other songs from demos and live recordings that were done between 1992 and 1994. I didn't run after it because I still expecting them to be run of the mill, but I was sent a copy to review. Hey, I was wrong those hair metal fans were right for once. These guys were legit, a real solid hard rock act that everything together. The sound is somewhere between Ratt, Cry Wolf, a heavier Poison and maybe a less bluesy Tora Tora. Nothing out of the ordinary, but almost every song out of the 19 are very likable. Particularly when I think of some the bands that got signed back then it's sad that a band who had their act together like this never made it. They recorded a demo for CBS records in the early 90's but didn't get a record deal. My best guess is that hailing from the Mid-west and being a year or two late to hair metal flood worked against them. They sure had the talent to get a deal. I listen to this album quite frequently. When I first heard I expected the song after the EP to be leftovers, but if anything the band got even tighter after the EP. Eonian records also included a booklet with a band biography and plenty of pictures. It's a nice package and you don't have to pay a bundle for six songs.

Warchest-Aftershock

Madness
 2011
 This was released last year, but is showed up in my mailbox this month so I gave it a shot. Hailing from Chile this is the debut from Warchest. They formed back in 2008. The influences are obvious, it's a mix of late 80's and 90's metal including Pantera and Metallica. They often alternate from galloping Bay area style thrash to crunchier, but very simplistic metal attacks. What I enjoyed most about this album was they played it rather straight-up. No long introductions just a lot of going straight forward and sticking to a basic, buy heavy enough route. I probably prefer the thrash oriented tracks more and they tackle those with a fair amount of skill. The downside for this band is that although I enjoyed the music for half the album or so it was getting old in the second half and my interest was fading down the stretch. The reason for that is their basic style can only last them for so long. By the end I was hoping they would take a chance, mix it up or do something a little bit unpredictable. That never happened and they just stuck to simple patterns and closed out the album. It's not a bad album at all in fact it's good, but it's far from spectacular. It's decent for what it is but they don't deliver anything that makes me think they can progress beyond this level.

Metal On Metal Records:Compendium Of Metal Vol. 5

Metal On Metal Records
2012


Since the day I first stumbled upon, and then bought, my first heavy metal compilation (the excellent K-Tel release "Rising Metal"-see link below) I have loved these sorts of sampler releases. Chances are you do too. For the price of one album you can get a great sampling of different heavy metal bands and then, should your heart desire, hunt down the ones you like most. They have not always been great (yes, I'm looking at you "Metal Massacre Vol. XII"!) and, let's face it folks, in this day and age where digital media is at the push of a button many simply feel there is no longer a need for these sort of release anymore. I'm an old school guy though and always will be. I'm going to be 39 next month so I'm pretty set in my ways (or at least when it comes to metal) so there will always be room in my heart for a good collection. Especially like this one. Having reviewed Mortalicum's "The Endtime Prophecy" (link below as well) and, having decided to pick up a copy from Metal On Metal Records themselves since I found it to be cool 70's hard rock meets doom, and Skelator before I was curious to hear more from this label.
Honestly, having heard that there was a new Heretic track on here two didn't hurt matters much either. So, we start off this compilations with Skelator's track "Agents Of Power". Simply put this is fun, old-school metal. Iron Maiden, Judas Priest, etc. Just cool stuff. Next is Sacred Gate who also play a nice brand of traditional heavy metal (same thing, link below) followed by Mortalicum. Moving right along we have Frankenshred with their Exodus meets Metallica number "Hard, Fast And Loud". This track is due to be on the band's new album and if you love old thrash then you will love these guys! Heretic's "Betrayed" was the reason I wanted this compilation so bad to begin with and it didn't disappoint. These walk the line between US power metal and thrash without so much as a blink. Killer stuff. Arkham Witch sound promising (said to be a mix of heavy/doom metal and NWOBHM), but I didn't care for their track "For Metal". It came across like a bad attempt at making a eighties heavy metal anthem. After Oblivion (death/thrash) and Heathendom (dark power metal) are both good in their own right even if nothing to lose sleep over. Wishdoom (a name I find frankly kind of strange) give us "Zeus The Thunderer". Normally I'm not sure a would go for a band like this (who are described as epic heavy meets doom metal), but there was just something about the number that clicked. "Downward Spiral" by Catch 22 is good and solid power metal/thrash while I am always excited to see a Meliah Rage number on a compilation. "Awaken Sorrow" find these guys attempting the same kind of heavy power metal/thrash as the early days and pulling it of without too much of a fuss. "Burning Bridges" by Bitter End was take or leave for me. They sure sound like they have the talent and all, but I just didn't take much away from the final result. Thankfully I thoroughly enjoyed the last three cuts with Battlerage's "Return Of The Axeman" being the best of the bunch. This is another true blue heavy metal act the way heavy metal used to be. Outrage gave the cut "Black Metal Attack" which I liked and then doom metal outfit Nomad Son finished things off with "Can’t Turn The Tide". All said this is over 70 minutes of metal running the gamut from old school metal to black metal/thrash. As such there is something for everyone here so I highly recommend this compilation. This certainly makes me want to track down the label's first four compilations if they are anywhere as solid as this latest one is.


http://metalmark.blogspot.com/search?q=rising+metal



http://metalmark.blogspot.com/search?q=Mortalicum-The+Endtime+Prophecy

http://metalmark.blogspot.com/search?q=sacred+gate

Asia-XXX

Frontiers Records
2012

Anyone else remember how good Asia used to be? Whatever happened to that? Well, it turns out that "XXX" is not that bad...or as bad as I half expected it to be. I know, crazy talk right? Maybe just maybe since this is the third album by Asia since the reunion of the original lineup (Geoff Downes, Steve Howe, Carl Palmer and John Wetton) they might just start to get things right?.
Well....yes, and no. Not sure yet which one though. Sure, you can be forgiven for being confused about the album. Is it supposed to be old school British rock or just melodic rock? Or both?. For the record everything sounds good thanks to the Mike Paxman (who also worked on the band’s latest effort “Omega) and his production work. "XXX" finds keyboardest Geoff Downes in fine form and Steve Howe plays some wonderful post-classic rock solos. Just not enough guitars shine through though to make this really click. Carl Palmer (drum) and John Wetton (bass, vocals) are fine here too. What it comes down to it is. When the band looks backwards to where they started off then this is a good album. When they try to emulate modern melodic rock it doesn't do anything to make me want to see it stick around. Is it worthwhile? Asia fans who have followed them through thick and thin will love this album if only for the fact that it seems as though they are getting back to their roots. Casual fans might want to wait a few albums though to see if they can work all the kinks out.

The seven best hard rock/metal bands of the last seven years

Okay, to celebrate the seventh blogiversary I commited to coming up with a list of what I think are the seven best bands of the last seven years. So that allows us back to mid 2005. My task is selecting what seven hard rock metal bands have produced the best music since then. There were some bands who started that time period well, but have since broken up and that ended their chances (Ogre and Byzantine fall in this cateogry). There were the bands that did something great in the early part of the seven year time period, but  have not followed it up (Acid King, Celtic Frost). So here are my final choices in no real order.

 Ufomammut-This Italian outfit plays a combination of experimental/doom/stoner/noise and they have just gotten better and better with each album. They released my favorite album of 2010 and their current album is my favorite of 2012 so far.

Sigh-I have trouble thinking of Sigh as being a veteran outfit, but with more than 20 years in the business they are. Their sound hasn't as much changed over the years as it has evolved. I enjoy their earlier material, but I am mesmerized by their more recent efforts.

Between the buried and me-A prog band? What was I thinking? Sure, these guys have the technical skills, but the important thing is they put the rock into progressive rock and they are heavy to boot. It's also possible that they have not yet reached their peak.

Admiral Browning-Yes, I know you've probably never heard of them. They are a Maryland trio who play doom/stoner/progressive instrumentals. They are amazing and really mix up the tones and sounds.

Iron Maiden-What? This isn't the 80's, what kind of suck-up fanboy are you, Metal Mark? Stick with me here. Now granted Maiden's output isn't as frequent as they once were. This seven year period has seen them release A matter of life and death (great, one of their best and best album of 2006), The Final Frontier was a top five in it's year plus add in Flight 666 and En Vivo! and you see and hear a band that's still one of the best going.

Hibria-Come on, Metal Mark the list is almost over and not one younger retro-thrash or retro-classic metal or retro-something. Okay, how about Hibria. Unfortunately their "Defying the rules" album falls about eight months before the cutoff, but their other albums are just as good. I could pick someone like Municipal Waste or Enforcer who have done a good job of channeling the vibe of old school metal. However Hibria do that plus they combine classic metal and power metal plus they manage to develop some of their own identity as well.

Gypsy Pistoleros/Gypsy Pistolero-What no glam bands on this list? Easily the best glam band in recent years. Creative, energetic and catchy. The only downside is they have really suffered from being unable to keep a stable line-up.


There you go. Love it, hate it, add own list.

Current playlist

Andy-

Listening to:
Carrie-Secrets
Midevil-Thee Almighty
Saigon-One Must Die
Mortalicum-The Endtime Prophecy
Wizz-Crazy Game
Flashpoint-No Point Of Reference
Cobra-Warriros Of The Dead/Back From The Dead
Wichfinder General-Friends Of Hell
D.D.T-Let The Screw...Turn You On

Watching:
Raw Force
Get Mean

Reading:
N.W.O.B.H.M. Encyclopedia

Metal Mark-

Listening-
Obsessor-All three seven inches
The Trashmen-Great lost album
The Legendary Invisble Men-Who's sorry now?
Bomboras-Savage Island
Sacred Oath-A crystal vision
Alice Cooper-Goes to hell
Mighty High-Legalize Tre Bags
Volture-Rulebreaker
Down by law-Champions at heart
Holocross-s/t

Watching-
Friday the 13th the series season one
Galaxy Invader
The Mummy's Hand

Reading-
Weird Maryland, Weird Kentucky, Weird Ohio

***What are you listening to, reading, watching?

Million Dollar Reload- A Sinner's Saint

Frontiers Records
2012Million Dollar Reload are a five piece band that hails from Belfast, Northern Ireland. The band is made up of vocalist Phil Conlon (who sounds like a cross between Bon Scott and Michael Monroe) guitarists Andy Mackle & Brian Mallon, bassist Kie McMurray and drummer Sean McKernan. This is the follow-up to the band's 2008 debut album, "Anthems Of A Degeneration", which (from most accounts) was very well received. If it is anything like this album then I can see why it would attract legions of fans. This is dirty & sleazy rock and roll my friends. Break out the cold beer and smoke em' if you got em' because Million Dollar Reload are a real (yes, I said real!) living/breathing rock and roll outfit! Let's just cut through the smoke and do the list already shall we? There is plenty of AC/DC, Guns N' Rose, Aerosmith, Hanoi Rocks, Faster Pussycat, Motley Crue, Buckcherry and Thin Lizzy love to be found here so you know this is dirty barroom rock/hard rock and one of those albums that you want to play loud and drunkenly sing-along too. Nothing more and nothing less that killer rock and roll.

Municipal Waste/Toxic Holocaust-Toxic Waste (split)

Tankcrimes
2012
Sometimes you get splits albums where you wonder why the two bands were paired up. This time around the two acts in questions have always fairly similar to me. Both Municipal Waste and Toxic Holocaust play retro-thrash, both have risen to the top of that scene, both have been around for just over a decade, both have released a crap load of material, both frequently have horror themes tossed in and both have seem to have a fondness for hazardous material as well. So what we get here is two tracks from each band. Municipal Waste contribute "Trapped in the sites" and "Mourning Sex". The first is rather typical for them as it's a Nuclear Assault style thrasher with two speeds but it has some decent thrash bits. The second track opens up a little more with the speed although it's fairly one dimensional track. They still call upon enough grinding old school thrash/crossover moments to make it worth while. Toxic Holocaust offer up "We bring 'em hell" and "Altar-ed States". The first is lead by some seared throat vocals and followed up with early thrash/death that just flies on and only slows down briefly. It's only around a minute and a half, but it still felt like the song was losing momentum before the end. The second track fares better as the energy is up a notch and they switch up the tempo some and the heaviness level helps a great deal. Overall this is both bands doing the same styles they have been doing. I admit if asked I have always much preferred Municipal Waste over Toxic Holocaust. Both follow old styles of thrash, but Municipal Waste follow a less tread upon style. I always wished that the prime of crossover had lasted longer. However at least I am not alone in that opinion as this band has embraced that sound. Fans of these bands will definitely enjoy this release. It will be released as a picture disc and on glow-in-the-dark vinyl. Also the kind people at Tankcrimes have a free download available now. Link for free download. http://downloads.tankcrimes.com/album/toxic-waste

7th blogiversary

That's right this blog has somehow lasted seven years today. Thanks to all who read and comment here. Also thanks to all the bands, labels and PR people that send us stuff to review. We couldn't gone this long without you. Hope you keep dropping by, reading, and commenting.

Forgotten Gems: Carrie-Secrets

For this Forgotten Gem piece we have more female-fronted metal love with Germany's own Carrie. This album was originally released in 1985 on Earthshaker Records and, other than an appearance on the 1985 split release, "Metallic Bunnys" (with such acts as Holy Moses and Fact), this seems to be the only material the band ever managed to release. The band was formed in 1983 (hailing from North Rhine-Westphalia) and featured in their ranks two former members of Mad Max (drummer Uwe Stark and guitarist Wilfried Schneider) Carrie was lead by the very talented Annelen Middendorf who, believe it or not, reminds me of a more metallic Pat Benatar!. Melodic heavy metal/power metal is the name of the game with fellow female Steffi Melz keyboard playing only adding to the excellent nature of this release. The rest of the band is filled out by bassist Jürgen Slavin and second guitarist Oliver Hermanns. What I really like about Carrie is how they could pull in influences as different as the NWOBHM sound and classic hard rock/traditional heavy metal. Think along the lines of a band that mixes parts of Warlock/Doro, Acid, Bitch, Vixen, Mad Max, Childhood's End, Original Sin, Scorpions and Chastain with original ideas and your close to what is in store for you with Carrie. The downside though is two things. First off the production is only so-so. It seems flat to these ears. Now, the copy I have is the original one which consisted of 10 songs. Its reissue on CD by Keltic Records (which includes nine more songs-instrumental/alternative versions of the original songs) might have corrected that but I cannot be completely certain of that. The second downside to Carrie is that some of the material (just some mind you) starts off well enough before it just kind of wanders off and loses focus. Thankfully the bulk of the album is well-written and makes up for these weaker moments. Overall despite the average production and some filler material this is just a nice traditional heavy metal release that should really appeal to female-fronted metal fans as well as those out there into acts like Warlock and Acid. CD copies (and even though my copy came by way of a trade and was originally bought off of Ebay with the assurance that it was an "official" release from what my tape-trader friend tells me it looks like a bootleg) are reasonable on the wallet and online you can find download links for "Secrets" so there shouldn't be anything stopping interested parties from getting this little gem.

Titans Eve-Life Apocalypse

Self-Release
2012

Vancouver, BC act Titans Eve made some noise with their 2010 full-length debut release "The Divine Equal". It was not their first release (that honor belonged to 2009's "Into The Fire" EP) , but it certainly set the ball in motion by getting some rave reviews. In fact it was named album of the month (Sept 2011) by Metal Hammer Magazine (Germany). Not too bad an acknowledgment for such a young act. Now, just like the group's last album this new release is a concept album. Also, just like "The Divine Equal" it is based on themes from The Books Of Genesis and the poem "Paradise Lost". Like it or not that is some pretty heavy stuff there, but nothing compared to the physical heaviness Titans Eve lays down on the 11 tracks that make up of "Life Apocalypse". While the story is all people experiencing life changing events (and their stories of courage in order to survive overall disaster) the music is straight out of the cage brutal modern metal. Oh no! Did I just dare to say "modern metal"? Well, yes I did. Don't run away yet though com-padres. When I say modern metal I don't mean "toss everything in and see what sticks" metal. This is more or less (frankly more) just thrash with some excellent rough and ready/raw lead vocalist sprinkled on for crunch. Speaking of crunch, Titans Eve have that in spades. The crunch factor has been turned all the way up and then some. There is going to be some people drawing comparisons to early Pantera in addition to Cavalera Conspiracy and even Motorhead. That is not a bad thing to have I suppose. Some where inside Titans Eve is hardcore too. Sick Of It All and the Cro-Mags must have made an appearance or two on some of the band members turntables and tape decks. How else do you explain that bottom-end sound? Back to the thrash though and there is enough here to suggest that Titans Eve have listened to the golden oldies on this side (Slayer, Exodus, Metallica, Annihilator) and the other side of the pound (German thrash anyone?) but, just when you think you have these guys pegged they toss out the instrumental number, "A Wound That Never Heals". It is just so different sounding from the rest of "Life Apocalypse" that you have to double check your album. It's a real number alright and every bit as good as you could hope. You have to find out for yourself though. Don't pass this one up folks.

Obsessor-In fear of the end

Tankcrimes
2012

Dear Brandon "The Obsessor" Ferrell,

   I just listened to your new seven inch "In fear of the end" which is your third seven inch in a year. I am aware that you handle all the duties for this band and you do a great job. However, why do you continue to torture us by just giving us two tracks at a time? A new Obsessor release shows up for me and I get excited, then I listen and realize just as I am getting into it the music ends because it's just two short tracks. How could you do this to us? Teasing us with a mere two songs and that's it. Granted "In fear of the end" is a thick bludgeoning assault that that mixes early skull smashing hardcore like Discharge and the Exploited with early thrash. The vocals drip the appropriate amount of venom and anger as well. I admit the second song "Aftershock"  explodes after a short introduction. Yes it does plow straight ahead combining the relentless energy of Broken Bones with some charged-up metal riffs. Admittedly I played both songs four times in a row because they were so instantly memorable and addictive.  Furthermore....you know what, just keep doing what you're doing.

Sincerely,
Metal Mark
Heavy metal Time Machine

Volture-Rulebreaker

Tankcrimes

2012

Retro-classic metal act Volture are back so get out your leather jacket, come your hair down and get ready to feel like it's 1981 again with this seven inch. This began as a side project for Municipal Waste's guitarist Ryan Waste (who actually plays bass with this band). The band is rounded out by members who have been in the likes of Twisted Tower Dire, Immortal Avenger, Cannabis Corpse and others. So we have some veteran musicians channeling their love for old school metal into a pair of songs this time around. "Rulebreaker" begins with a furious riff and then settles into more standard rhythms. They draw in numerous influences including Saxon, Priest, Maiden and a slew of others. Their 2010 EP "Shocking it's prey" was pretty good, but it took me about of this song to know they have gotten even better since then. This song is tied together very well, I looked for weaknesses but other than not being highly original it's very good. The riffs are tight and the vocals are not afraid to go up high but charge when needed as well. The second track is a cover of Gotham City's "Killer Angels". Right away it's a fine choice. They do it justice and put enough of their own style into it to boot. Only two songs, but this band is quickly getting much better

Warhead-2012 Reissues

These two re-issues come courtesy of Mausoleum Records who initially released these two records in 1984 and 1986 respectively. This early eighties Belgium band a raw and dirty brand of speed metal. Quite honestly album number one (1984's "Speedway") is rather one-dimensional in nature although in small doses it is a fun listen. The LP is heavy and fast with a real dirty edge to it. "Speedway" is not perfect as songs do blur together and there didn't seem to be a lot of thought given to song development, but from some accounts the band members themselves were young when the album was written. Still it is a cool speed metal LP and it is especially fast and raw if you consider the year it came out in. Following a 1984 demo the band can back with an album that seemed more focused and had more potential. In fact, 1986's "The Day After" sounds more inspired to these ears as the band had tightened their sound and worked harder at crafting quality speed metal. The sound is still raw and dirty although the leads are better and the band had adopted a bit more of a technical edge. "The Day After" reminds me of a more underground Gravedigger if they had a rough persona and a vocalist who was more concerned with being loud then being good. Of the two albums I give the edge to "The Day After". Now, while the album was re-released already as a two for one deal with this re-issue there has been an attempt to fix some of the production problems that plagued those two albums. There is no bonus material on either disc and both are slim-cases with no information and just single pictures. But, the sound is improved. When I played it next to the copy I had sitting around home it was quite evident that thought was given on how to improve these two albums. Fans of early eighties speed who don't already own these releases should check out Warhead.

Virgin Steele-Life among the ruins

SPV 1993/2012 This was a rather different album for veteren metal act Virgin Steele when they released in 1993. The band had been on a decent roll in the 80's despite some gaps and pine-up changes. However 1988's Age of consent received very low distribution and was a failure sale wise. This lead to the band not playing for awhile. After changing bass players the band was finally back with another album after a five year absence. So here's a band who had played classic metal with many of their songs drawing on mythilogical influences. So what would their comeback album sound like? Well, fans (and I was one back then) were hoping for a follow-up on their 80's style of course. Instead they delivered an album highly influenced by...Whitesnake. Yes, MTV and radio darlings Whitesnake. How could this be? I guess the band thought they could up for lost time and money by going a more commercial route. However this was 1993 which means grunge was in full motion and it was nearly two years since hard rock had taken a serious hit on the chin from this change in musical trends. So even though Virgin Steele gone over to a style that had been in vogue a couple of years prior, it wasn't so popular when this album dropped. Of course they also confused and lost a number of their old fans with this album. Overall it's tight for what it is. The melodies are mostly decent, but it falls flat at times and they don't always know the best way to use their keyboards. More than that is just that it sounds very little like what this band sounded like before and that's where I lost me. Yes, I know that classic style metal wasn't in high demand either at that time. However, they had done that well in the past and that's what I expected them to do. Even putting the band's past aside it's a rather average album and I listened to this re-issue I realized that time been kind to this album either. Not one of the band's best moments but fortunately it wasn't the end of them either.

Reverence-When Darkness Calls

Razor Ice Records
2012

I'm not going to hold the fact that this new power metal group hails from Detroit, Michigan since I'm a Buckeye fan through and through. Instead I'll just mention that this young band (formed in 2010) offer up a killer album of Judas Priest meets Metal Church riffs with enough of an edge to knock the cobwebs out of the old and dusty power metal genre! Reverence is made up of some serious musicians and features guys who have paid their dues in bands like Savatage, Tokyo Blade and Jack Starr's Burning Starr. Not too shabby at all. Probably the best feature of Reverence is vocalist Todd Michael Hall (Harlet, Jack Starr's Burning Starr, Pulling Teeth) who really shines here. Granted, when your backed up by guys like guitarist Bryan Holland (Tokyo Blade, Arrest) and drummer Steve 'Dr. Killdrums' Wacholz (Savatage, Crimson Glory) that helps quite a bit as well. Filling out the line-up is guitarist Pete Rossi and bassist Ned Meloni (Burning Starr) and as a whole unit they gel together almost perfectly. This band has all the tools in place to be truly epic. The moment it feels like things might be settling in and getting too normal you get a cool Savatage or Crimson Glory moment. There is even a little bit of early Queensryche in the mix making "When Darkness Calls" one of those albums that screams for a repeated run-through only this time louder!

The Hangmen-East of western

Acetate 2012 The Hangmen formed back L.A. in 1987 and have always had a link to metal, but they have always gone down their road. These days singer/guitarist Bryan Small is the only member left from the band’s original lineup. The current line-up also includes former-Supersuckers Ron Heathman (guitar, vocals), Angelique Congleton (bass, vocals) and Dino Guerrero (drums). The new album features ten tracks that allow the Hangmen to merge the sounds of bands like AC/DC and the Stones in with some slick cowpunk. From the start of "Homesick Blues" it's obvious that despite time and line-up changes this group still manages to capture the spirit to really pull off this effort. This isn't a one speed machine either as evidenced by songs like the slow but twangy "Had a girl". This is a song that had me replaying it the second it was over on more than one occasion. "Railroad Man" is another highlight with it's western groove mixed with classic rock patterns and just enough of an odd tempo to make it a little different. The whole album is loaded with an attention to detail and enough swagger to keep it fresh. I have been spinning this album quite a bit lately.

The Other-The Devils You Know

Steamhammer / SPV
2012

The Other is a German act that was founded in 2002. It makes perfect sense that they started out as a Misfits cover band as this album reeks of Glenn Danzig and company. Well, not really. But, even if these guys are considered to be the best of the best when it comes to horror-rock in Europe their sound is still rather formula in nature. Looking online this seems to be the band's fifth release so maybe they have grown. Let's look at the positive things though. The music (even if derivative in a Misfits kind of way) is upbeat and well-played. It comes across as alternative horror-punk with somewhat of a...I don't quite know. I want to say AFI or something but my knowledge of that sort of music has faded with time (and way too many nights of listening to extreme black metal for review purposes). So, horror-punk meets alternative rock/metal with a ever so slight pop edge. Sound like your cup of tea?

Tank-War Nation

Metal Mind
2012

When you think of NWOBHM act Tank you may think of Filth hounds and Power of the hunter and the raw semi-Motorhead sound that they were so good and cranking out at levels of volume back in the early 80's. Well, the early 1980's was a long time ago. There are no original members left in this band. Long time guitarist Mick Tucker and Cliff Evans have seniority here. Joining them are jorneyman vocalist Doogie White, bassist Chris Dale and Steve Hopgood replaces Dave Cavill who played drums on the previous album "This means war". Speaking of 2010's "This means war", when I heard it I was immediately struck why how it sounded very little like the old Tank much more like another NWOBHM act-Saxon. Well, don't expect this album to be a whole different from the previous one. The sound is definitely like Saxon with some Dio sprinkled in and not much of the hard driving music that defined Tank during their early days. Now don't run off just yet, I said it doesn't sound much like their early material. I didn't say it wasn't good, far from it. This is some strong, well-planned out metal with no holes, waste or filler. It's similar in style to the previous album and 4/5 of this line-up played on that album plus it was a mere year and a half ago. Still "War Nation" is a much better album than it's predecessor. The band seems certain of their musical  direction this time around. Every song is tight and they control the proceedings with skill and confidence. I kept waiting for a clunker to work it's way in there because I certainly have my doubts about a band with no original members. However they put my doubts aside. This sounds very little like the Tank 28-30 years ago. Yet it's still classic style metal played by some skilled veteran musicians and that's why it's worth hearing.

Odium-Burning The Bridges To Nowhere

Year Of The Sun Records
2012

Walkerton, Ontario act Odium were founded in 2006 by drummer Joe Mullen and vocalist Tom Emmans. The pair were soon joined by guitarist Bo Louther, guitarist Andrew Fullerton and bassist Dale Burrows. Later that same year the group released the "Glass Barricade" EP and went on to share the stage with such acts as Alexisonfire, Moneen, Fairwell to Freeway, The Agonist, Beneath the Massacre, Divinity and many more. Fast forward a few years and that brings us to "Burning The Bridges To Nowhere" which, incidentally, is the follow-up to 2009's "At The Bottom". Now, previous to obtaining an actual physical copy of Odium's new album I had been sent a download link in advance. I much prefer to be given the opportunity to listen to a new release with lyrics in front of me whenever possible in order to full appreciate everything a group has to offer. The album's digital tracks had me in waiting in anticipation honestly. Most of the lyrics are easy enough to make out, but with both clear and rough vocals involved that line was sometimes blurred. Is the combination of clean and death metal singing played out yet? A fair enough question and one I'm not quite prepared to argue here (although I would love to hear others thoughts on this) as it neither adds nor subtracts from the impact of Odium. Music-wise it is hard to tell if this has more in common with bands like Soilwork, The Haunted and Scar Symmetry or acts like Killswitch Engage, As I Lay Dying and Bullet For My Valentine. There even seems to be some Protest The Hero progressive moments in "The Bridges To Nowhere". The band truly does mix in elements of melodic death, thrash, progressive metal and metalcore with any particular genre even achieving the true upper hand. What works best for Odium would be the guitar work. Simply put some of the leads are great. What does not work so well is when the metalcore starts to kick in a little too much. Otherwise I have to say I have truly been enjoying this album as it is well-written with a nice production job courtesy of Canadian producer Greg Dawson (The End, Moneen, Choke) . Odium's sophomore release is high on energy and features plenty of "impact is imminent" thrash moments that are easy enough for the listener to latch onto. "Burning The Bridges To Nowhere" is a recommended release.

Current playlist

Here you go...

Andy-
Listening to:
Saracen-Red Sky-Heroes, Saints & Fools
Black Sun/Dum Dum Buller Split
Warhead-Speedway 2012 Reissue
Warhead-The Day After 2012 Reissue
Carrie-Secrets
Demon Pact-Eaten Alive Single
V.A.-Eastern Front-Live At Ruthie's Inn
C.O.C.-Animosity
Faithful Breath-Hard Breath
Digger-Stronger Than Ever

Watching:
Amazing Stories
The Resurrection Game

Reading:
THE NWOBHM ENCYCLOPEDIA

Metal Mark-

Mass-Angel Power
Tank-War Nation
The Jackie Papers-I'm in love
The Aquavelvets-Surf Mania
Goatwhore-Blood for the master
Grim Reaper-Live at the Headbanger's Ball
Massacre -From womb to the grave
Shreadhead-Human Nature
T. Rex-Electric Warrior
Teeze-s/t

Watching-
Friday the 13th the series season one
Snowbeast
Galaxina

Reading-
Days of thrills and adventure
Vegan with a vengeance

***What are you listening to/watching/reading?

French Metal Friday: Dum Dum Bullets

For a long time there, even after my quest to discover as many new heavy metal acts as possible from France, Dum Dum Bullets were one of those bands that I would hesitate to invest any serious time, effort or money into. I had heard the comments (another French Motorhead) and read about them (second generation act that contributed very little to the scene, under produced album, yada yada yada) and sadly wrote them off. It took me far too long to find out the truth about this band (yes, the Motorhead part is true to a point-more on that later) and what they, briefly, offered the scene. First though a bit of background on Dum Dum Bullet. The band was formed in Le Mans, Pays de la Loire in 1979. They emerged out of the ashes of another act known as Bloody Mary who had already issued a 45 themselves featuring "No One Is Real" and the wonderfully named "Killer Boogie". For the band, who had initially formed with the intention of playing a punk-hard rock combination, 1983 saw the release of a demo (Demo 1983) and a single "Emmène Moi En Enfer". Despite playing out live and building up a sizable following the band's hopes of a record contract did not materialize at first. There was line-up changes and a slight change in musical style (out with the punk image and in with more hard rock to go along with the "Motorhead Worship") before appearing on the Compilation album "1984 Sully S/Loire ROCK" with the track "Get Down". In 1985 the band issued yet another demo and released a killer video for their song "Hey Mum Who's the Junk?". Finally with ex-Calliper Square vocalist François Sorin joining John Tyzz (guitars), Jimmy Heudes (bass as well as lead vocals from 1979-1985), Ariski Lucas (drums) it seemed as if the band had hit upon the idea line-up. Sure enough they had as 1986 saw the long anticipated release of the band's self-titled debut album on the record label Sydney. Now, this is where I come into contact with the band as this 1986 arrived in my mail the one day as part of a trade. It might be a bootleg or a real release, but my copy has been coupled with the Black Sun (also a French act) album "Imperial Journey". As everyone hinted at or really just talked loudly about there is most certainly a love for Motorhead to be found on this lone long player from Dum Dum Bullet. However, one can't help but take notice of how much they also must have adored AC/DC. The band's sound is really a mixture of Motorhead and AC/DC with some of the appeal of early Saxon (or maybe just Saxon's drunken step-brother?) throw in for good measure. It isn't always pretty and the production is paper-thin at times, but for no-frills/denim clad hard rock/heavy metal it is a fun listen. The band wouldn't have won many points for originality music or lyric wise and at times the songs do tend to sound an awful lot alike. Like I said though for straight-ahead rock/metal you could have done a whole lot worse. Sure enough the band managed this one album and then seemed to have just faded into the background. Reported they are once again active, but just how active they remains to be seen.

FIAKRA-Invasion

Pure Underground Records
2012

U.S. act FIAKRA, formerly known as Monmouth, New Jersey melodic heavy/thrash metal act Hexen ( under which they released a demo, one EP and a studio-album called "Dark Crucible" in 2008), offer us their new debut album, Invasion", on Pure Underground Records. Although one look at the band's moniker and album art might lead you to assume this was some sort of black metal outfit the true nature of this act is slightly stranger then that. After the initial shock of hearing The Warlord's (yes, that is his name) high-pitched "nails on a chalkboard" banshee howl on "Invasion" (which by the way made everyone in the room, my kids included, both jump and reach for the volume button) the band settles into this heavy/power metal style of metal that is frankly old-school in nature. Two acts that came to mind initially were W.A.S.P. and Manowar although the further I traveled on with this U.S. band the more I came to see everyone from Kiss to GWAR to Merciful Fate to Judas Priest in their nature. Looking to pinpoint FIAKRA's exact sound is quite hard actually. Now, they do obvious worship 80's hard rock and heavy metal (as well as some heavier music as Metallica/Testament), but on their debut-album it seems as if these guys (The Warlord-Lead Vocals/Guitar, Wulfere -The Skull Splitter-Guitar/Backing Vocals, Wheeler-Bass, Blackboots-Drums and Six-Nails-Key/Hammond-Organ) look towards music as much as they do horror soundtracks. Every now and then a song adds in Hammond-Organ or keyboard effects that sound straight out some old, creepy horror film from the 70's or 80's. Every track uses keyboards really, but on some it's much more obvious then others. No matter what you might think this sounds like it's almost a guarantee it is much different then even I can begin to describe it. It's really an album that finds me in a very tough inner struggle. Is is simply an awesome experience or is this really just a band that has taken all of heavy metal's silly cliches to a new level?

Forgotten Gems-Redrum-Power Corrupts

I can just remember when thrash was an and coming style in the mid-80's but by the end of the decade the scene had absolutely exploded. That was good for fans who wanted piles of bands to hear. However it wasn't as good for the bands as a crowded meant not everyone was going to get a major label deal or even get signed to a big independent. Sacramento, California's Redrum were such a band. They formed back in 1985 and went through a series of demos before finally releasing "Power Corrupts" themselves.  The production isn't the best, but not all albums had great production back then. The important thing is the music. The sound here is Bay Area Thrash even though these guys hailed from a little ways from there. They have some specific influences, but the styles vary between early thrash and some real thick frenzied material. On some songs they separate the approaches, but on other songs you'll hear moments that sound what Vio-lence might have sounded like had they really worshiped Metallica's "Kill 'em all". There are also bits that will likely remind you of Testament, Exodus and Heathen as well. The vocals are limited and not as fierce as they needed to be at times. Still they manage to keep the music going consistently and even toss in some surprising change-ups. I bought this album a few years ago. Unlike a number of 80's thrash bands who sound stale to me know; these guys sound better each time I listen to this album. They focus on playing forceful riffs and keeping the mood intense. In that take on thrash they were clearly beginning to establish some of their own style here. Unfortunately this album didn't break them in like it should have. Perhaps if they had gotten it out two years sooner when thrash bands were still being swooped up by labels then they may gotten a few albums out. Unfortunately this was their only album. They was a re-issue a few years with the bonus tracks being some live songs. Live bonus tracks are frequently a waste of time, but no with Redrum as you get that their energy and chaotic approach translated nicely live as well. This album is definitely worth tracking down if you like old school thrash.

Mortalicum-The Endtime Prophecy

Metal On Metal Records
2012

When you're just starting off as a band and, as a foreshadowing device no doubt, opt to call your 2010 full-length debut album "Progress Of Doom" then by all means show us the progress that doom has taken! God bless those Swedes in Mortalicum then because on their new follow-up album, "The Endtime Prophecy", the band takes what Black Sabbath started and grants it a new (much needed!) lease on life. Formed in 2006, this four-piece band is lead by guitarist/vocalist Henrik Högl and before I go much further along with this review it should be mentioned that Henrik does not fit the mold of what I would consider to be an ideal doom singer. He almost sounds as if he should be fronting a 70's hard rock tribute band instead of leading a band that obviously worships the very essence of Black Sabbath. Since the band is not following that closely in Black Sabbath's footprints though (and considering the large debt also owed to classic 70's hard rock like Deep Purple, Thin Lizzy, Judas Priest and Rainbow) Henrik Högl ends up with a voice that works (even if it does contrast some of the more Black Sabbath/Trouble like moments). Now, having said that most of what Mortalicum seems to aim for is arguably more up-tempo and, dare I say, warm than a band like Black Sabbath could ever have accomplished. Going into this album I half expected the vibe to be dark and dreary. Imagine instead a band that can start of sounding like Iron Man (the band not the song!) and emerge out of the darkness with a subtle N.W.O.B.H.M. inspired moment. Paying homage to Black Sabbath/Trouble and bands like Salem, White Spirit, Ethel The Frog, Cracked Mirror and Samson means that the listener comes away with something a little more than the typical retro-doom worship that seems to be flooding the scene lately. While the album is not quite perfect (some songs do tend to blur together as is often the case for this sort of music) and there is room to grow on the part of Mortalicum this is still one of those albums that as soon as you're done with it you want to hear more. It radiates doom/hard rock that is warm and fuzzy to the touch and presents the listener with challenging material to soak up and digest. "The Endtime Prophecy" is the image of a band on an upward movement. On their way up the band takes a path that offers winding roads with plenty of wonderful scenery along the way. Sure there might be a few detours along the way while the band tries to forge their own identity. But, so what if the band's love of Black Sabbath, The Obsessed, Trouble, Deep Purple, Spiritual Beggars, Dio, Wishbone Ash, Uriah Heap and so many others shines through so brightly? It makes for a pleasant enough trip and besides, seeing as this is only the band's sophomore release we are talking about, one can't help but anticipate that every new bit of material these guys release in the future will be all the more better.

NWOBHM WEDNESDAY: CRACKED MIRROR

Today's entree into our N.W.O.B.H.M. series "NWOBHM WEDNESDAY" is another controversial addition much like Clientelle was. In fact, I'm not completely sold on Cracked Mirror as a heavy metal act myself (let alone a N.W.O.B.H.M. act) and, if there are fellow fans of the genre out there reading this, I'm bound to get some slack for covering this UK act today. One suspects the only logical reason that Cracked Mirror's sole release (the self-titled 1983 private release) came to be associated with the movement is because of two things (which are really rather related in nature): how rare this LP is and, as such, the fact that somebody somewhere most likely said "if we say this is a long lost nwobhm album we can double the price of it!". How else do you explain an album that has very little in the way of actual "heavy metal" being associated with the British metal scene? Does that mean that Cracked Mirror were not good? The band (Jozef Rytlewski-guitar/vocals, Michael Dixon-bass/vocals, Jackie Hazel-keys/Hammond and Paul Harbin-drummer) who were formed sometime around 1978 seemed to have been one of the few acts of the time period to draw influence from the likes of Deep Purple, Rainbow and Wishbone Ash instead of the usual Iron Maiden or Saxon worship. Despite the fact that they most likely knew that they were bound to draw blank stairs from those fans of the day expecting huge Judas Priest-style aggression the band did have an appeal thanks to their heavy guitar-rock sound. Indeed if 70's rock/hard rock is of particular interest to you then this long sought-after LP would be a worthwhile purchase. Never mind shelling out hundreds of dollars for an album that most likely was only originally released in a limited run (hundreds maybe?) as you can usually find this on CD fairly easily or, let's be honest here, this particular affair seems to be floating around on the web to download. Here's the thing though this is not really metal so as long as you are aware of that fact then you won't be disappointed. Even if your a die-hard NWOBHM fan please don't expect this to rattle your bones. If however you like 70's guitar rock along the lines of Rainbow or Deep Purple (only with a lot more Hammond instead of guitar solos) then this album is a fun listen.

Mellow Bravo-s/t

Small Stone
2012

As I listened to the sophomore album from Mellow Bravo I pondered the question of how would I describe this album in one word? If forced to choose I would pick "smooth" to describe this album. Fortunately there aren't such limitations on me and I can expand on this review beyond just one word. This is pure rock that's knee deep in grooves and they have their hands full more rhythms than you can imagine. This is is swirling mixture of classic rock, honky tonk and just pure instinctive playing. There are influences scattered throughout from the last several decades. This band draws from those, but they never lean too heavily on one band. The manage to create a sound that glides on yet captures your attention immediately. At times they are subtle, but the melodies and their confidence make every song a complete package. There is very a much a live sound to many of their songs which only helps them to sound even more solid. This kind of sound isn't always to my liking, but Mellow Bravo have created an album where every song had me hooked.

Introduction to a waste of time

I remember when I was first getting into metal back in the early-mid 80's and back then I generally enjoyed it when a band would tack on some sound effects or clip before a song. Normally it was some horror type thing-moan, heavy rain, chains that sort of nonsense. I don't know if it's agge, impatience or what, but when I listen to an album now and some band begins a song (particularly the album opener) with some sound effects or noise it just annoys me. I am not going to name names and it's not all bands of course, but more and more it seems like bands feel the need to go this. My message to these bands is before you add this in at the start of a song please ask yourselves if it really adds to the song that it leads into. Does your gunshot, storm, growling or whatever contribut anything to the song it leads into? If a band thinks "well, Rabid Dogs from Hades absolutely needs that nine seconds or growling to lead into the song" then I am fine with it. However if the band thinks "well a lot of bands I listened to growing up had sound effects so we'll slap some on there too" or they just want to extend their running time then I would say it's no really necessary. Yes, I know it's creation and they can do what they like to a certain extent, but think about your listener before you force them to sit through something meaningless.

U.D.O.-Celebrator: Rare Tracks

Sooner or later you knew it was bound to happen. After 25 years and 13 full-length albums we are finally getting an odds and ends collection of unreleased songs, rare tracks and exclusive remixes from the one and only U.D.O. himself. Over the course of 2 CDs you get 25 songs that run the gamut from simply smashing to just plain weird: "Balls To The Wall (Piano Version)" anyone? Good to bad it's all here in the shape of alternate versions of classic songs to previously unreleased material (some of which should have been released and some of which I could take or leave) and of course some killer guest appearances like "Head Over Heels" (Hammerall feat. Udo Dirkschneider) and "They Only Come Out At Night" (Lordi feat. Udo Dirkschneider). My favorite cover on this 2 CD set would have to be Raven and Udo taking on "Born To Be Wild". I have a N.W.O.B.H.M. sampler somewhere in my mess of a room with this older song on it and I always had a soft spot for it. That said of all the material it is perhaps the piano ballads that surprised me the most. Udo shows himself to be more then capable of pulling off these simple arrangements and, as weird as they may sound on paper, they do work to a degree. Considering the fact that "Balls To The Wall" was the first Accept song I ever heard and from there I grew to love both Accept and Udo it is all the more interesting to hear it arranged like this. It's so simple and yet so far from left field that it defies logic and only God knows why it works as well as it does. All told this is one of those collections that features more strong moments then throwaway tracks thankfully since that is always the fear with these sort of albums. It has some really strong moments and I'd have to say it's a must own for U.D.O. fans.

Tokyo Blade-Camp 334

Fastball Music
2012

Color me surprised. Who knew this EP was even out? Then again I must have slept through the band's latest full-length album, "Thousand Men Strong", which was released in March of 2011 as well. Granted, I have not paid much attention to what the band has been up to lately as for me this classic N.W.O.B.H.M. band fizzled out during the mid-eighties. Looking back in anticipation of this review I see that "Thousand Men Strong" received positive reviews so maybe just maybe I will have to check it out. Judging by the live cover of the band's 2011 album's title track on this EP it seems like straight-forward heavy metal. Along with the live version of "Thousand Men Strong" you have the 8 minute plus title cut, "Camp 334" which features Tokyo Blade guitarist Andy Boulton's friend Joe Brave Heart performing a intro prayer in his native tongue (Joe's that is!). That make sense (having Joe on the record and all) if you consider the fact that Andy has been working with the charity for several years now. If a eight minute track sounds like a tad much then consider the fact that you also get a edited version of "Camp 334". So, with that in mind and, as stated, the attachment of a live cut it is not too bad of a deal. This EP is the first release of what is said to be three different songs/releases for three charities. Proceeds from the track "Camp 334" will go to the One Spirit charity, which helps make life better for the Lakota Sioux on the Pine Ridge reservation. And you know what I always have to say about that right? Good music for a good cause is something I can always get behind. This seems to be a digital-only release and, from the looks of it, at least available on Amazon and Itunes. "Camp 334" is great classic heavy metal with a slight old-school British flair. After all these years the band does sound good...or at least on these cuts they do.

Zombiefication-Reaper's Consecration

 

Pulverised
2012

Mexico's Zombiefication play death metal that primarily influenced by 90's Swedish acts. Which means they don't earn much in the way of originality points. The important part is they are solid in their presentation and do a great deal of justice to the bands that inspired them. This EP is full of brutal tracks of bludgeoning death metal. Almost every track blasts on, but these guys impressed to some extent by keeping control and blending in more or least longer bits of pace changes than I was expecting. The keep the mood dark and the sounds thick. Those two elements help their music to be thoroughly engaging despite some raw edges. Now had this been a full length album I may have expected a little more in the originality department. For this album I enjoyed it and give them credit for releasing a strong old school death metal album.

AND ONE-S.T.O.P.

Synthetic Symphony / SPV
2012

Among my many hidden secrets, which I will slowly but carefully share with you all over time, is a love for bands like Depeche Mode and The Pet Shop Boys. Maybe it isn't much of a stretch since I admit to having grown into acts like N.I.N. and Ministry in high school, but electronic club music? Well, I do like it now and then. Mind you I have never been and (sorry future potential dates) will never be the type to go "clubbing". Unless we are talking about clubbing zombies, but that is a different topic for a different time. With And One I honestly had no idea who or what I was in store for. By the fellow artists that sat alongside I expected this to be some sort of well, rock or metal. So, to be exposed to Electronic body music (EBM for short and yes I only found out about the term after searching for And One online) was a new trip. From the way they make it sound (the sources online) it is supposed to be a hybrid of electronic dance music and industrial music. Granted And One are more then just EBM (or at least I'm guessing they are as this is my first EBM exposure) as they mix in New Wave and synthpop. So, what does all of that mean? Well, if you take Depeche Mood (an obvious influence) and add in a slight nod towards The Pet Shop Boys and finish it of with some hints at old-school industrial love (especially in the arrangements) you have a good idea what And One offer. Obviously this being a hard rock and heavy metal blog site first and foremost it stands to reason that not everyone will get into a band like this. That is fine. Those that appreciate this kind of thing though might take a gamble though. And One offer an interesting take on electronic music and while it isn't something I would rush out and buy it does have it's charms.

Ambassador Gun-Golden Eagle

Pangea Media
2012

Minnesota's Ambassador Gun have been around for a decade and this is their second full length album plus they also previously released an EP and a split album. This trio play a blend of grind/crust/death/hardcore where the songs are generally brief and simple. Ripping straight is one of this band's real strengths as they handle it well and are comfortable with the style. They manage give many of their songs a winding thick sound in between the full on blasts. They did an alright job of presenting some different tones, but work them into the whole sound. A few songs into this album I was worried they may not have the ideas to really keep my interest for the whole albums, but for the most part they did. Ambassador Gun are bit more involved than your typical grindcore or modern hardcore act, but that's with me because their style and pace changes usually have a purpose. The burnt throat vocals work best on the blazing fast parts, but they blend in well on other paces too. When I finished this album I felt fairly satisfied and for the most part this band gave me more than I figured they would and that's always a good thing. Ambassador Gun are like crazy roller coaster, but you enjoy the ride because you know they are always in control and it's going to all be okay in the end.

Skeletal Remains-Desolate Isolation-Demo Cassette

FDA REKOTZ
2012

Self-Release (Original Cover)

Skeletal Remains (a cool band name that I'm surprised hasn't been used before by are a rather young band. Formed in 2011 (and originally called Anthropophagy before the name change) this Whittier, California four-piece released a limited run demo the same year. The 4 track demo tape was handed out to friends and fans and would have been a hard item to track down if not for FDA REKOZ. Granted, this is also a limited run as well so if you plan on picking up this instant classic it would be well advised to do so a.s.a.p. What makes this 2011 re-issue (with an new layout to boot!) such a hot ticket item? Well, the demo cassette (which is limited to 166 hand-numbered copies and comes with a Skeletal Remains outdoor sticker for all the kiddos out there) is full-on Pestilence worship. Heck, the band even pulls off a pretty sweet Pestilence cover ("Chronic Infection") to showcase their love-affair with the Dutch death metal act. Along with Pestilence there is a little bit of appreciation shown to the forefathers of the movement (Death of course!) along with Morgoth. Those looking for old-school charm will find plenty to love about this 4-track demo and if this is any indication of the what awaits (as far as future products from this California death metal band) fans once a proper full-length album is (hopefully) released one can only drool over the prospect. Find out more below.

http://www.fda-rekotz.com/gx/product_info.php?language=en&info=p2620_skeletal-remains---desolate-isolation---demo-cassette--22-6-12-.html&

Current Playlist

Here you go.

Andy-

Listening to:
Matakopas-Coming Out Ahead
Flight Charm-Waiting White Lady
Sarcofagus-Cycle Of Life
Knightmare II-Skeletal Remains
XINR-Beyond Woodward
Rock Out! (40 Heavy Classic Rockers)-Various Artists
Ranson-S/T 20th Anniversary Edition
Demolition-Wrecking Crew: The Demolition Anthology
Metal Church-Metal Church
Cracked Mirror-Cracked Mirror

Watching:
The Blind Dead Collection
Dr Who: Dragonfire
Amazing Stories

Reading:
Old issues of Untombed fanzine
 
Metal Mark-
Listening-
I have been dedicating much of my listening time this week to one band.
Post Mortem- Turkey on your nose, Coroner's Office, The Missing Link, Destined for failure, Festival of fun and A message from the dead
Greenleaf-Nest of Vipers
Golem- Orion  Awakes
Malhavoc-Age of the dark renaissance
Stress-s/t

Watching-
Third rock from the sun season four
Friday the 13th the series season one

Reading-
The mad,mad,mad,mad sixties cookbook
Ghosts of war
Platinum 360
Spider-man: Am I an Avenger

***So I ask what are you listening to, watching and reading?

Green Leaf-Nest of vipers

Small Stone
2012

Greenleaf are back with their first album since 2007's Agents of Ahriman and that is certainly a reason to be excited. They waste little time in proving that we should be excited as opener "Jack Staff" roars on with the infectious fuzz infused riffs that have come to define this band. That's not all because the same thick drumming, steady bass and driving vocals are still part of their sound as well. The album never lets up  after that. The style here is not totally new because they call upon plenty of 70's proto-metal influences. However it isn't always what a band brings as it is how they present it. Greenleaf are actually proficient in both the skill and presentation departments. More than either of those is the fact that they have taken their influences and put their own spin on it. As I listen to tracks like the haunting "Tree of life", the mesmerizing "At the helm" and the instantly memorable "Sunken Ships" it dawned on me that they have developed their own sound and quite an impressive sound it is. "Nest of vipers" hears Greenleaf really stretching out a bit and with that they seem very confident in doing varying tempos and really broadening their range. This is an album that had me hooked right away and each additional play just had me getting into it more and more. This is one of my favorite bands in this style going today and this album just enforces that view.

Forgotten Gems: Nitro-Lethal + II

Mausoleum
1984

No, not that "Nitro". Let's just make that perfectly clear. Long before Hollywood, California's larger then life (or at least their hair was) glam metal band Nitro made us all want to puke with their "O.F.R." album (or at least made me want to puke my guts out) there was another U.S. heavy metal band that had used the name. The original Nitro was formed 1980 and hailed from Bellefonte, Pennsylvania. According to the Metal Archives in 1982 the band (guitarist John Hazel, bassist Brad Gensimore, drummer Tim Wilson and vocalist Dana Confer) were able to record a 10" mini album thanks to financial backing from drummer Tim Wilson's father Fred Wilson. The original 10" mini album featured 5-tracks and, unlike their glam counterparts from Hollyweird (er, Hollywood), this Nitro was obviously influenced by both American hard rock and the N.W.O.B.H.M. movement. I pulled this next bit off of Amazon where it is originally credited to Paul Suter, KERRANG! March 10-13, 1982 (I cannot vouch for it's authenticity, but if it is accurate then it is interesting information). In regards to Nitro (who were also penning their own material at this time) Paul Suter says "They cite influences from the likes of Black Sabbath, Alice Cooper, David Bowie, and Ozzy Osbourne, and their live set includes numbers from AC/DC and Van Halen". Considering those two factors it is no wonder that "Lethal" packs quite a bit into such a short amount of songs. "Breakin' Out" opens up the album and from the moment the band asks "DO YOU WANNA ROCK!?" you know this is going to be one of those no-frill rock meets metal albums where the bottom line is simply to play high energy heavy metal. The EP is filled with pounding drums, catchy riffs, killer lead work and a lead singer that knows how to sound "metal" without turning into a caricature. Despite being from Bellefonte, Pennsylvania the band definitely sounded more foreign then most U.S. metal bands of the time. Whether it was their nods to English acts like Iron Maiden, Black Sabbath and Judas Priest or their appreciation for the Australian rock of AC/DC the band's material seemed to be all things to all fans. One can't help but wonder why record labels failed to take notice of this promising young band when track after track of "Lethal" is well, quite lethal. Well, one record label did dad noticed at least somewhat. "Lethal" was originally released on Red Dog in 1982 (which was more than likely the band's own label) before it was subsequently picked up 1984 for European distribution by the Belgian label Mausoleum. When the EP was reissued in 1984 two new tracks, "Nothin' To Miss" and "When The Lights Go Out", were tacked on so it could be released in the usual 12" format. Hence "Lethal + II" was born and that is where I found out about this band. Honestly I don't remember what drove me to them although I suspect I had been looking at the other Nitro for line-up info (a girl I went to high school with supposedly dated and/or married a guitarist who played in the glam Nitro-not an original member though if memory serves me correct) when I came across this little treat. Words alone cannot begin to sum up my praise for this high decibel eighties heavy metal releases. Just imagine finding a hidden gem like this and discovering how an album that was this much fun, catchy and simply killer was right in plain view! Thankfully this album is sitting in my CD player as I type so I can enjoy pure hard rock/heavy metal without any of the ego or hangups of certain "other" bands of the same era. It certainly seems as if the band should have made more headway considering the time frame and just how talented they were, but the band disappeared after this one lone record and that is criminal. You can still find the vinyl floating around while you can download the MP3s off of Amazon (where you can also buy a burned CDR copy which is what I have) and I believe Itunes also offers it. This is another release that I would love to see get a proper re-issue with pictures, history, lyrics, etc.

After posting this review Nitro band member Tim contacted me to with a few minor corrections: "Lethal + II" was basically Mausoleum's version of our independent release "Lethal", but with two new songs, "WhenThe Lights Go Out" and "Deadline". They initially wanted to just release "Lethal", but we insisted on putting more songs on so that our fans would get a better value for the $. We were recording a follow up to "Lethal" (the working title was "Volatile Activity") when they came calling, and those were two songs in the can at the time.

He also wanted to pass along a Facebook page set up for Nitro:

http://www.facebook.com/pages/Nitro/291420000913566?sk=wall

Make-Trephine

Devouter Records
2012

Nothing beats having random albums show up in your e-mail for review. This latest on is the 9-track debut-release from Chapel Hill, North Carolina's Make. Who you might ask? Honestly, the name was new to me as well. Seeing as the three-piece hail from Chapel Hill though (the home of many a hip act) I approached this album with a mixture of excitement and trepidation. An odd mixture I'll admit, but when you've been burned one too many times by false hype you learn quickly that not everything is as it seems. Anyway, the band had previously released a self-titled EP in 2010 followed by a 3-song live record ("Live @ WXDU") in 2011. With "Trephine" the band looks to take their "drone-pysch-doom-metal" sound even further then ever before. Yes, this is not mainstream metal folks. No, this trio offers 9-tracks of near instrumental music. While there are vocals they are spread out amongst long passages of progressive, post-rock/sludge-doom. Make (such an odd name for this odd band) prove themselves capable of technically savvy metal with exquisite instrumentation while still exposing inner-conflict with an unholy edge. The music is grand and sweeping, epic and twisting, dark and passionate all while maintaining an uncanny ability to stay grounded. This is a promising debut album from a rising band and a record worth picking up.








http://thebandmake.bandcamp.com/album/trephine