HELLHAMMER Demon Entrails

Artist: HELLHAMMER
Title: Demon Entrails
Year of Release: 1983/2008
Label: Prowlin' Death Records
Format: CD

Wow, this is a magnificently presented double CD set. A5 in size (approximately DVD size) this is truly the most elaborate CD release I have ever seen. Featuring a white slip cover with spot varnish black ink, the CD component is a heavy bound digi book with a CD inset either cover and a superb booklet attached into the middle. The spine itself is a good inch thick and while there is talk of a poster, this is the least exciting part of it.

Featuring the three Hellhammer demos from 1983 'Satanic Rites', 'Death Fiend' and 'Triumph Of Death' are all collated here for the first time in any official capacity. In fact it's the first time they have been officially released beyond their original cassette format and while the sound limitations of the earlier two recordings is apparent, it is well superior to the tape traded versions that were getting around and indeed that disappointing 'Luxury' DLP from a few years back.

29 tracks in total the booklet includes lyrics, liner notes, reproduction flyers and a host of other cool things - illustrations and unseen images. Some really kick ass stuff. I can't wait to see how far they can go with the proposed coffee table book!

Musically disc 2 which features the 'Death Fiend' and 'Triumph...' demos is definitely more primitive than the December '83 'Satanic Rites' recording, but for those who have waited to hear the best possible interpretations of these tracks, it has been well worth the wait.

It cost a bit to get it to Australia - I ordered the 3LP version also, but feel that while the content is good, once again, bigger labels doing less impressive work. Where's the box for this thing? The Booklet for the LP is larger than the CD and has a few additional images and a cooler poster... though it's double sided which definitely sucks, should have been 2 separate posters I think! It is definitely let down by one gatefold cover for 3 pieces of vinyl. Yeah, there are inserts for all three pieces, but come on, how long have people waited for this? It's my third copy of 'Satanic Rites' on vinyl and I think that that sort of dedication should be rewarded ha ha. So many lesser bands have been rewarded with box sets, I think they could have gone further with this one.

Anyways, strongly recommended, I doubt this CD edition will be topped by anything any time soon.

BOYD RICE AND FRIENDS Music, Martinis and Misanthropy

Artist: BOYD RICE AND FRIENDS
Title: Music, Martinis and Misanthropy
Year of Release: 1990
Label: NER/Tesco
Format: CD

Not exactly spoken word I would argue that this album has more to offer from a lyrical perspective than a musical one, though it is engaging enough on that front that if for some reason you didn’t get what Boyd Rice and co had to say, you’d still extract something from it, irrespective of how ironic that reality may be.

Rice is joined by Death In June mainmain Douglas P. and Blood Axis’ Michael Moynihan. As suggested, the musical element of this eloquently titled opus sounds a little spontaneous, and not so far removed from much of DIJ’s neo folk output, but the true strength lays in the lyrical component.

Rice has a fantastic grasp on satire, though what makes this offering even more inspiring is that when Boyd calls for a brutal gardener to rid the world of all the stupid, ignorant and ugly people, the degrees which constitutes satire and desire are weighted heavily in feelings born of the heart. Indeed his feelings expressed in ‘People’ could not be more succinct; Rice just paints the picture in less cryptic strokes.

Drawing further inspiration from the likes of Anton La Vey, Ragnar Redbeard, Lee Hazlewod and The Carpenters, I would recommend ‘Rose Clouds…’ by Death In June or ‘The Gospel Of Inhumanity’ by Blood Axis over this offering, though if you are looking for something that channels the loathing for the living a little more succinctly, ‘Music, Martinis and Misanthropy’ is for you.

KATHARSIS VVorld VVithout End

Artist: KATHARSIS
Title: VVorld VVithout End
Year of Release: 2007
Label: The AJNA Offensive/NED
Format: CD

Pure violence and chaos, 'VVorld VVithout End' proves that savagery is not always akin to speed, and while this album has some fast parts, it's real malevolence emerges in the fiercely caustic and suffocating sound.

Initially it was difficult to find a way into, and the first wave of listens left me a little uninspired. This problem was overcome in time and the magick that this release possesses revealed itself.

Comprised of 6 cuts and almost an hour in duration, it excites me that no other bands sound like Katharsis, and that this dense, swarming holocaust of sound really strikes as one of the truly unique offerings in today's BM scene.

The guitar tone is of particular note and though hard to describe, it has a great mid rangy kinda feel to it. Still not much on the bottom end and comparable, though not similar to the sound achieved by bands like Master's Hammer and Megiddo.

If you're looking for catchy songs, and safe arrangements, forget it, this is cruel and uncompromising black metal for those who dare to dwell in the abyss.

CIRCLE JERKS Wild In The Streets

Artist: CIRCLE JERKS
Title: Wild In The Streets
Year of Release: 1981
Label: Faulty Productions
Format: CD

Not quite as known or revered as countrymen Black Flag, cofounder and original vocalist Keith Morris recorded only one EP with BF before parting ways with Ginn and co to form the Circle Jerks who emerged in 1979.

Though I’m only truly crazy about the band’s first two albums, 1981’s ‘Wild In The Streets’ really hits the spot for me. Raw and edgy, this catchy platter offers cut after cut of to-the-point, well paced anthems guaranteed to satiate fans of the early 80’s punk sound coming out of the US.

There's a great scene in one of my fave movies ever, Repo Man where the Circle Jerks are playing an acoustic show in this sleazy, flea bag bar where you have to check your sawn off at the door, but pretty much anything else goes. They have these really kitsch suits on and they are swingin' it real fine! If you needed a little something extra to understand the band's worth, here it is.

Less than 26 minutes playing time, the album is steeped in political impressions. Not to the extent of say the Dead Kennedys, but enough that you’ll take note. The band close proceedings with a couple of covers by Paul Revere and the Raiders as well as that old standard ‘Put A Little Love In Your Heart’; both demonstrating that their sense of humour is never too far from the surface. A parallel could be drawn of their socio-political stance. It never sounds vitriolic, but it’s there if you’re interested to take note.

The influence of both Black Flag and the Circle Jerks is evident and apparent on the US punk rock sound and if you haven’t dabbled in these records, I urge you to do so!

The band also featured in the first installment of ‘Decline Of The Western Civilisation’. If anyone has this or the second edition on DVD, I’d love to hear from you!

DARKTHRONE The Dull Years Part 5

Artist: DARKTHRONE
Title: Total Death
Year of Release: 1996
Label: Moonfog Productions
Format: LP (CD Cover Shown)

Of the five albums falling into the ‘dull years’ category, I believe this to be the strongest, and opening cut ‘Earth’s Last Picture’ is probably the most fortified of everything from this era. Has some very cool and untypical riffs punctuated with tidy harmonics and some very commanding, yet catchy drumming. It is also one of the very rare Darkthrone tracks to incorporate bass guitar to the level it has been in this piece, and though it sounds like Skoll from Ulver playing this track, it is not that far removed in that it is Garm who has written the lyrics. Well hardly the same thing, but less random than Garm’s lyrics and Lemmy playing bass isn’t it?

In fact, there are numerous guest lyricists on this album which is not a first for Darkthrone, and the finest works are provided by outsiders on this occasion – the aforementioned Garm, and Carl Michael whose ‘Blasphemer’ is on par with Darkthrone’s finest Satanic poetry.

It’s not long though before that murky, kinda directionless sound and style finds its way and bubbles to the surface. Left over ‘Transilvanian Hunger’ riffs permeate and when considering the trancelike element of that release, I believe it should have remained a singular and unique entity. Were it not so radically removed from the first two BM offerings that may not be a suitable argument; however… This is a tricky argument too when considering that percentages of ‘Panzerfaust’ are comprised of that style, but I think the difference there is that is sounds more vital.

It’s timely to interject once again that this LP is the strongest of those falling into the realms of this discussion and probably the question should again be raised that if you are only as strong as your last offering, why should the past inform the present? I think the answer to that is, for the most part, who would be listening if ‘Total Death’ was the first Darkthrone album? And though people took note then, would they be relishing it now?

Black-thrash-speed metal number ‘Blasphemer’ was somewhat timely when considering the advent of acts playing this style around the mid 90’s, and while I am not convinced it is a style that Darkthrone execute with overt masterdom, it is engaging and it does lend this record with further details of merit that distance it further from the other releases in this category. The Hellhammer-esque aura of ‘The Serpents Harvest’ is a tidy closer (at least the start of it) and a logical regression from ‘Panzerfaust’s Frost worship.

The flow of riffs is great on this record is tidier than much of what would follow it, and to qualify this offerings place in this dull category really needs to be determined via a score styled system. If ‘Panzerfaust’ was a 9/10 record, this could only be a 6/10 and when you have grown to expect immortal platters of blackened brilliance, a 6 simply won’t do.

IMPALED NAZARENE Tol Cormpt Norz Norz Norz

Artist: IMPALED NAZARENE
Title: Tol Cormpt Norz Norz Norz
Year of Release: 1992
Label: Osmose Productions
Format: LP

A truly profane record that often borders on the ridiculous, the first two platters by Impaled Nazarene are definitely noteworthy, and though not overly heavy (compared to say Beherit or Archgoat), they are extremely fast and chaotic. I think that things definitely changed for the band as they turned their backs on the black metal spirit, as opposed to the sound, and unfortunately they failed to gather a new audience, which saw them become something of a maligned entity. Sure their first two albums are their best in my opinion, but when they managed to kick off with something as devastatingly overkill as ‘Tol Cormpt…’ you can’t help but to lament that things went as they did.

I’m confident that an ever changing line up served the band no favour either, though it did allow them to retain a diversity… the kind that new blood always enables.

Though not grindcore in style, this record has loads of those little intro styled pieces of depraved sounding acts with man and beast and I often wonder if that crowd would ever find release in this offering. It does feel a little disjointed on occasion due to these intros etc, but when it’s cooking, it’s a truly fierce and savage offering.

I think Impaled Nazarene are victims of their own desire to do as they wanted to, irrespective of what the scenes and cliques dictated, though unlike a band such as Cradle Of Filth whose debut came out not long after this one, and believe it or not were quite well respected at that time, Impaled Nazarene should not be victim to revisionism as their sound and attitude, of that time at least, was very much a black metal one.

Their funny little ‘wars’ with Norway and Eastern Europe are worth revisiting too. “For ten fucking years have I done this and they say WE are trend.”

POSSESSED Seven Churches

Artist: POSSESSED
Title: Seven Churches
Year of Release: 1985
Label: Combat
Format: CD/LP

If you're looking for me to be the first person to compose a body of text that criticizes this masterpiece, then stop reading right now as I have no desire to do that!

While I love this album, I know there are people whose obsession runs deeper than mine, but I'm confident that what I have to offer is important at any rate.

The wife and I were honeymooning in New York back in November 2007 and as luck would have it, we boarded our flight home on the 24th, while Possessed were performing on the 25th. Had we not planned all this stuff in March of '07 that circumstance may have been avoidable, but alas it was not. Whenever I travel O/S again, I'm gonna, simply by default, push my return flight back. I managed to see Laibach by the skin of my teeth under a similar circumstance. Not another honeymoon, just a last minute announcement on the last night in town. Some may argue that it's only Jeff Becerra and Sadistic Intent, but sometimes that fandom runs deep and I think that Sadistic Intent's passion and dedication to US Death metal should go unquestioned.

I digress...

I own three copies of this album. The original combat LP pressing with the embossed Seven Churches logo (in black, just like the original Black Metal pressing) as well as the Roadrunner LP edition and the recent Century Media CD reissue. Thank fuck it's the album straight up too. This, like 'Reign In Blood' has no need for bonus tracks.

I believe that Possessed released the ultimate Death/Thrash crossover record in the guise of 'Seven Churches', and I would argue that no one has ever touched it with regard to the mesh of two pure, though burgeoning forms. Some will argue that death metal was around as a style and that Morbid Angel, Mantas/Death, Master and Slaughter were all au fait with this style from a North American point of view, though I believe that Possessed really flew the flag for this style and in a heavy and evolved manner first.

I love the 'Tubular Bells' component of opening cut 'The Exorcist' and when I think about how affected by the film 'The Exorcist' that I myself am, I can see how much of the concept for the band and parts of this release came into being. Can you think of a more classic name than Possessed either?

Another virtue of this album is the conceptual tie in of everything from the cover, to the band photos, song titles, lyrics and of course the sound. Heavy, raw but still managing to cut through, Becerra had/has a really powerful style that straddles the guttural and pronounced mediums perfectly. Some killer riffs and awesome musicianship all round, the lead work on this record really stamped itself on some of the evolving acts like Morbid Angel who really injected that wailing, whammy mad solo aura into their own orchestrations. Sure Possessed was maybe a little less chaotic than some Morbid Angel stuff, but listen to MA's demo's from '84 and compare the two. It's clear to see who was most innovative at that time.

If this album moves you, I would also definitely recommend 'Power From Hell' by Onslaught. The UK troupe were moving in similar circles I feel, conceptually and to a fair extent in their sound, though it's my contention that Possessed are the superior of the two bands.

And to think that it wasn't that long ago you couldn't BUY a copy of this album on CD for love or money! How it maintained the following it has is testament to the devotion of the band's fans as well as the exceptional execution of this release.

BEHERIT Drawing Down The Moon

Artist: BEHERIT
Title: Drawing Down The Moon
Year of Release: 1993
Label: Spinefarm
Format: LP

What ‘Drawing Down The Moon’ possesses that no other BM bands have conjured in the same way is that eerie, caustic and ungodly atmosphere. I love how simple most of this album is; that it drinks so deeply from the blackened well of despair and that Holocausto’s vocals are so inhuman and surreal.

I managed to pick up a copy of the gatefold reissue of this album from a few years back, and that in itself was quite the ordeal. I had come across an original pressing back in ’95, but the cover was heavily bent and well I was foolish wasn’t I? Though I play records, I still appreciate the aesthetic and if there was one, there were bound to be more right?

What a masterful logo, and a powerful statement made by the cover. I have no idea what ‘Drawing Down The Moon’ means, but I could stare at this cover for hours and allow myself to be absorbed in the resonant blackness that flows out of these tracks like black lava.

The contrast between the fast, blasting sections, the catchy riffs and the slow atmospheric parts give the album a true diversity and allow it to work on a series of levels often forgotten. In saying that, mostly I think of the deep atmospheres of this release, ignoring completely the blasting offensive of ‘Solomon’s Gate’.

Arguments as to what is true and the like are tedious where I am concerned but I stand by the idea that this is one of the most important and relevant black metal albums ever made and would suggest that if you have never experienced this opus, you have little idea as to how deep the chasm truly is…

SEPULTURA Arise

Artist: SEPULTURA
Title: Arise
Year of Release: 1991
Label: Roadrunner/Cargo
Format: DLP

This is a recent reissue of the classic Sepultura offering from 1991. It amazes/amuses me that the bigger the label, the generally poorer the vinyl release is. Though this is a double LP version, and the vinyl itself is qualitative, the rest of the package leaves a lot to be desired. A single cover for starters, and the cover art especially is poorly presented; the colours are too dark and it looks as though it may have originated as a scan from a CD!

At least is has two full colour printed inserts. These are more or less adaptations of the gold remastered CD edition, and while they appear to be kinda thrown together, they are at least there, and engaging to a degree.

The point of this I suppose is why bother doing these releases if they are just the same old same old? What would it have taken to create a deluxe vinyl edition to rival some of the special edition CDs the label release? Though this is a Cargo Records pressing and as a result a licensed release, I can’t help but to feel it could have been done so much better.

Refer to any of the current Hells Headbangers, Nuclear War Now or AJNA Offensive releases if you’re unsure what I mean.

Though Sepultura were definitely on the frontlines of the burgeoning thrash scene of the mid-ish 80’s it’s amazing that this album received the acclaim that it did. Sure it warrants it for the most part, but considering that most of the monstrous thrash albums had come out years before this, and Nirvana and co had unquestionably sunk their teeth into the musical culture at large by this time, I wonder what factors contributed to this success beyond the music itself…

From memory, Sepultura were considered less a thrash band at this point and aligned comfortably with the death metal set. Not as heavy as Deicide or Obituary, the fan base was certainly aligned to a great extent, and perhaps in 2008, after all the punishing death metal hordes that have emerged over the years, this heavy, though still very thrash-centric opus is best viewed as that. You can’t really call ‘Arise’ a death metal album any more than you can declare ‘Soul Of A New Machine’ one, though even Fear Factory fell into that realm back in the day. History has a way of distorting the reality of what once was I suppose.

It’s no ‘Master Of Puppets’ or ‘Reign In Blood’ and while I think there were a number of bands who were on par musically and to an extent stylistically (Infernal Majesty anyone?) I think Sepultura had the right ingredients, the right spirit and of course, nothing to lose. If you desire to experience thrash from a non American stand point, this is definitely an album to pursue. Yes, they came from South America, but this is no Bay Area dealio to be sure.

DARKTHRONE The Dull Years Part 4

Artist: DARKTHRONE
Title: Ravishing Grimness
Year of Release: 1999
Label: Moonfog
Format: LP

It would be reasonable to argue that the tone of ‘Ravishing Grimness’ was more in tune with a 90’s black metal style of release and though it has a number of punchy elements, and blackened Destruction-isms, I think the murky sound of this release sees it lacking somewhat. Oh and of course, the lack of classic Darkthrone riffs.

It is my contention that the best sounding Darktrone records are the last three, as well as ‘Transilvanian Hunger’ and ‘A Blaze…’ I think this band are on top of their mountain when they have that crunchy, raw but crisp aura. When I hear cuts like ‘The Claws Of Time’ I can’t help but feel that the edges are blurry, and the real spark and venom is somehow trapped under a membrane, unable to be liberated. I also fail to find much appeal in the slow to fast and back again arrangements. Knowing the caliber of drummer Fenriz actually is leaves me a little puzzled as to why on some of the bands more adventurous material, he doesn’t follow suit. Philosophies such as ‘simplistic’ or ‘orthodox’ drumming styles in black metal are fine, but how does that system operate when that reluctance to include influence beyond the most rigid of confines may be a contributing factor in the final results being a little below par?

Put simply, this record bores me. I have given more thought as to who the old geezer on the cover is.

BULLDOZER The Day Of Wrath

Artist: BULLDOZER
Title: The Day Of Wrath
Year of Release: 1985
Label: Roadrunner
Format: LP

What an underrated classic it is. The image above looks pretty much in the same state as my LP version of it - well loved and well played! I wish there was a snap of the back cover... never a more depraved looking trio will you see (well at least from this era), and this Venom worshipping, Algy Ward (Tank) produced platter deserves all the accolades directed its way.

From a critical point of view it is very much in tune with Venom's first three, though perhaps not quite as raucous as 'Welcome To Hell' and structured a tad more eloquently. But it can't be a coincidence that these two acts sound as similar as they do. Well, better stated, it can't be coincidence that Bulldozer sound as much as Venom as they do.

Particular note of the guitar and bass sound should be taken, and even the execution of both instruments is another noteworthy Venom-ism, though it is worth mentioning that the band were equally, if not more obsessed with Motorhead and Tank. There is probably little coincidence of Ward's role as producer.

'Day Of Wrath' has some excellent riffs, and is a tight and well paced offering. Energetic and heavy with plenty of great thrash styled attacks there is no confusing their sound with the US stylings of the day and though you may find this a familiar sounding record upon first spin, it is absolutely worth repeated worshippings.

And next time you listen to Darkthrone's 'Whiskey Funeral' tell me if you aren't forever reminded of 'Whiskey Time' by Bulldozer.

DARKTHRONE The Dull Years Part 3

Artist: DARKTHRONE
Title: PlagueWielder
Year of Release: 2001
Label: Moonfog
Format: LP

There is a certain poetry about Fenriz’s lyrics that seems to have faded as have the years, though there is still a qualitative amount of that finesse on offer here on ‘PlagueWielder’.

Still, it’s a relatively uninspired work. It meanders for the most part… picking up a little here and there, but it never seems to stand for anything and I at least, am not left feeling much of that angst, that conviction. I don’t understand the band’s MO for this release.

It’s another long winded offering too. Six tracks that seem to go on and on and on. I have poise to wonder if the needle is stuck sometimes, but left with the cold realization that it too is going through the motions. I actually feel empathy for the turntable. Well, maybe that’s a little harsh…

I have followed with interest over the years the various motivations and procedural undertakings of some of these releases, and by this time, many of them blur together. What I do recall is some sort of irreverence for rehearsal and planning. I usually think bands offer these sorts of insights in a matter of fact sort of manner; comments not really aligned to any specific event or theory… yet it seems to me that if the albums released sound as though they are the result of undisciplined organization, I can’t help but feeling distaste for that, and in turn, those dismissive ‘we’ve done it all before so no need to do it again’ attitudes really taint the overall offering.

I understand more and more why I have given myself such limited exposure to these releases, but am enthusiastic that there will be another Darkthrone LP ‘Dark Thrones and Black Flags’ in 2008 plus a 3CD demo box set.

DARKTHRONE The Dull Years Part 2

Artist: DARKTHRONE
Title: Hate Them
Year of Release: 2003
Label: Moonfog
Format: LP

While this record offers some OK riffs, despite its 7 tracks, for the most part it truly feels elongated and it is hard to find any true inspiration lurking in its grooves. It’s important to note that these are not carte blanche attacks on a band who I claim to be a fan of. Rather these are questions as to why these records made the cut? Why these tracks were considered worthy of release? For a band who have delivered such acclaimed work in the past and would beyond ‘Hate Them’, I find this period of Darkthrone to quite puzzling.

I don’t feel there is anything really compelling about this record, though it would be inaccurate to say that it was a total write off. I think the question best raised here, is if any other band made this release, would anyone listen to it?

Elements of ‘Fucked Up And Ready To Die’ which is easily the most noteworthy cut from side A inspire feelings reminiscent of ‘Goatlord’ but I believe this is most readily attributed to Nocturno Culto’s phrasing which is a qualitative component of every DT offering. This track has a great chorus, and Fenriz’ orthodox drum beats really inject a fine swing-like aura to this piece.

Have I failed to manage my expectations? Do Darkthrone have any interest in what their ‘fans’ think, or what they deliver unto them via their recorded work?

The B side offered a more experimental slant, though I would exercise the term only relative to that which has gone before it. Sadly, nothing that leaps into the realms of memorable.

Will I ever even play this record again???

DARKTHRONE The Dull Years Part 1

Artist: DARKTHRONE
Title: Sardonic Wrath
Year of Release: 2004
Label: Moonfog
Format: LP

Darkthrone are one of my fave bands without question, and as previously mentioned their last two offerings ‘The Cult Is Alive’ and ‘Fuck Off And Die’ are the best they have conjured, and by far, since 1995’s ‘Panzerfaust’.

So how have the band managed to remain vital? How have fans such as myself remained loyal? I’ve bought every Darkthrone record as it was released, and though disappointed, continued to support them and continued to fly the flag.

Sure, you could argue that they made four extraordinary releases (the first four BM records) but what about that old adage… where you are only as great as your last outing? Why doesn’t that apply? It’s probably true that Darkthrone have not really decreased in popularity, but they certainly haven’t raised the bar any higher. At least not until ‘F.O.A.D’ which I imagine has opened the door to a whole new fanbase.

So I’ve been spinning ‘Sardonic Wrath’ a few times today, and this is one of those records that no matter how often I hear, it just fails to move me. Perhaps the more primitive, punk rock aura of the last two offerings is all my brain is capable of understanding? I imagine it’s more than that somehow.

The cover of this album seems kinda daft. Corpse Painted angels doing whatever it is that corpse painted angels do. Though I think the cover of ‘F.O.A.D’ sucks heavily, it didn’t lessen the virtue of the music for me. No, the problem with ‘Sardonic…’ is simply that it’s tedious. Yeah it has a ripping sound which offers some salvation, but it’s so watered down and uninspired that even that perfect balance of clarity, rawness and conviction is unable to converge to inspire something truly memorable. The riffs are really uncreative also. I can’t really imagine playing any of these riffs in isolation and being aroused by them. Isn’t that a benchmark for what a great song should be underpinned by?

The highlight for me is definitely ‘Sjakk Matt Jesu Krist’, and while I really love the band’s take on the Celtic Frost sound - a sound I believe to be pertinent here on ‘S.W’, it just fails overall to inspire the same feelings that the (un)godly ‘Panzerfaust’ did.

MOTLEY CRUE Too Fast For Love

Artist: MOTLEY CRUE
Title: Too Fast For Love
Year of Release: 1981
Label: Elektra
Format: CD

Other than the appalling reproduction of some of the images in the booklet, (looks like they scanned them from an original LP sleeve) this is a really impressive CD reissue. Remastered, bolstered with noble bonus tracks 'Too Fast...' is still extremely listenable and though 25+ years old still possesses a vitality and spirit that is absent in much of what is released today.

You can hear a band who know how to play, and know how to play well together. This is an edgy record with a spontaneous feeling to it, and decidedly heavy when compared to many of their contemporaries. Especially in the early 80's, this release definitely has a metallic streak running through its veins. It would be too easy to claim that the band simply had the right look for the time as I imagine their stripped back hard rock/trad metal would have been confronting for a lot of people more attuned to the heady epic rock of the 70's.

Though Nikki Sixx wrote every track on the album, Mick Mars' guitar playing has added an extraordinary dimension to this, and coupled with Vince Neil's somewhat inconsistent vocal delivery, the combination works, and each song sounds different to the next. It's as though the spirit of what the band were doing was the solidifying component.

My fave cut would have to be 'On With The Show', though I think most would agree that 'Live Wire' and 'Piece Of Your Action' are also noteworthy offerings.

The finest Motley offering where I am concerned, 'Too Fast...' shines from start to finish and is truly indicative of a band who were willing to push things as far as they could to succed.

MURDER CITY DEVILS In Name And Blood

Artist: MURDER CITY DEVILS
Title: In Name And Blood
Year of Release: 2000
Label: Sub Pop
Format: CD

This band existed for a scant five years and though I loved this band the moment I heard them, their rise and fall seemed to take place much to my oblivion. For the uninitiated, MCD are kick ass punk rock with some really smokin' keys that weave their way throughout most of the band's orchestrations.

I've never heard another band quite like them, and most of their orchestrations are pretty straight forward. they are one of those bands however that manages to inject so much into their sound that even seemingly mundane riffs and ideas hold a certain magic.

Brash vocals, loads of hooks and for me a really great band name all add to the overall appeal of the band. Some great lyrics are on offer also, and these commentaries come directly from the heart... directly from people who've experienced love, loss and that shrug of the shoulders that is sometimes the best thing you can offer, and the only gesture you care to make. Tracks like 'Rum To Whiskey', and 'Idle Hands' possess so much truth and insight; they simply never get old.

I love the artwork on this release too, and really can't find a negative thing about it... beyond the sad reality that this was their last album proper. MCD did unveil a live album which was pretty nasty unfortunately. Gritty and real - 100% punk rock on that front, but a really lousy live recording which for people who've been touched by the degree of fandom I have, it simply wasn't enough.

Most telling was a DVD documentary called 'Rock 'n Roll Won't Wait' which really elaborated as to why such an engaging act managed to fizzle out after such a small period of time. I guess if I were on the front lines of this band's life and times they may not have inspired me in the way they have, but that's a question for which I have no answer, so...

ANGEL CORPSE Hammer Of Gods

Artist: ANGEL CORPSE
Title: Hammer Of Gods
Year of Release: 1996
Label: Osmose Productions
Format: CD

The sound of this, the debut Angel Corpse album materialized in a manner quite different to the way in which it was intended. Many will have also read this of the band's demo 'Goats To Azazel' which was unquestionably one of the rawest, most overkill, in the red death metal demos ever unleashed.

Though unintended, the sound is what I love about 'Hammer Of Gods'. It's a very bass heavy, punk sounding release that is in no way rooted in that style. Old school death metal yes, but I have no reason to believe that punk was on the agenda. The riffs and lead work are very Morbid Angel inspired; catchy, punchy, and as mentioned, very comfortable in the earlier realms of the death metal sound. Where song and structure counted for more than technique and speed. It would be misleading to suggest that this was not a fast album, but it's dynamic more than simply pacey.

There is not a lot of variation from one song to another, but with a total of nine cuts and a fairly concise playing time this is not an issue.

The cover, though a little hacked together, is a piece by noted Flemish painter Pieter Bruegel called 'Triumph Of Death'. Take a look at it here

Singer/bass player Pete Helmkamp was previously from War Metal troupe Order From Chaos and also plays in Canadian Death Squadron Revenge. Seems everything he has a hand is is killer!

NICK CAVE AND THE BAD SEEDS From Her To Eternity

Artist: NICK CAVE AND THE BAD SEEDS
Title: From Her To Eternity
Year of Release: 1984
Label: Mute
Format: CD

Eerie is not quite the right word, but Nick Cave’s first post Birthday Party offering is a dark, morose and brooding affair. Opening cut ‘Avalanche’ portrays a great maturity that doesn’t belie the ‘Mutiny’ era of his previous band, though serves to demonstrate Cave and co in a more focused light.

Cave’s lyrics are somewhat less cryptic and more singular in their thematic approach from track to track, though it is worth noting that this is a smooth transition; probably best described as an organic evolution. It all feels very natural.

The grand piano of ‘Cabin Fever’ is divergent to the more traditional performance that accompanies the band’s cover version of Elvis’ ‘In The Ghetto’ with its lush strings and Cave’s signature voice.

The album has a sparse, urgent aura and I think that Blixa Bargeld’s minimalistic guitar playing has liberated the band of that conventional swarm that many guitar focused acts possess leaving a more gyrating, pulsating, rollicking sensation that truly gives cuts such as ‘Cabin Fever’ an authentic high sea experience.

The album’s unconventional aura, coupled with its unique sound and production can’t be underplayed with regard to why this release was so successful. It’s the product of a new act, keen to explore Cave’s vast array of ideas with an open mind and a disregard for that which went before it… even from one track to another – yet there is a cohesion that is almost hard to describe.

Check out the 'In The Ghetto' Video:

TURBONEGRO Ass Cobra

Artist: TURBONEGRO
Title: Ass Cobra
Year of Release: 1996
Label: Boomba
Format: CD

Another classic from the vaults, this Norwegian punk rock platter dates back to 1996 and features some of the band's finest cuts. 'Denim Demon', live favourite 'I Got Erection' and 'Sailor Man' all serve as some of the album's shining stars, as well as to illustrate the lyrical theme much of the album expresses.

With a raw, edgy sound, and fast, to the point songs, the album is over almost as soon as it starts, but there's enough time to absorb the faux homo erotic implications... though 'implication' is probably a little too fuzzy a word as there is little actually implied. Lines such as 'Got my penis steamin' and your asshole's screaming "help!" is far from subtle, and when performed live, it's funny to see how many people are ready to let go of their homophobic tendencies and get a piece of the action.

There's also a great spoken cut towards the end in which bass player Happy Tom pretends to be Steve Ignorant from Crass. I always wondered how they captured this recording, but in actuality it's fake... so...

If you can locate the 7" version of 'Denim Demon' it's backed with another classic cut 'I Fucked Betty Page' which definitely belonged on this album... but how can you improve on perfection?

Check out the video for 'Get It On'

MONSTER MAGNET 4 Way Diabolo

Artist: MONSTER MAGNET
Title: 4 Way Diabolo
Year of Release: 2007
Label: SPV
Format: CD

Having been a fan of Monster Magnet since the release of their immortal debut album 'Spine Of God' it's generally with a aura of trepidation that I approach any new offering from the Jersey quartet. I recall seeing them on their first Australian tour around 1995, and I was expecting these greasy haired, disheveled looking stoner types grace the stage, and perform for two hours staring mostly at the floor, or into outer space. This wasn't the case! Singer/Guitarist Dave Wyndorf had transformed from the aforementioned archetypal Hawkwind devotee, to this 'leather clad' rock 'n' roller. He'd departed from Planet Caravan and boarded the Hellion! And that show, while enjoyable, left me confused and somewhat disappointed.

In time, I did get over this and have anticipated each new MM offering with an optimistic air. I was curious how they would pull this one off, especially after Wyndorf's hospitalization. I'm pleased to say that '4 Way Diabolo' is a fine album.

In a way, it's more of the same from MM. All the usual standards that have long become benchmarks of their sound are present, though like each album the band release, it still remains vital and to a fan of my calibre, interesting well beyond initial listens. Familiar leads, cosmic sound effects and the general swing and flow of this offering stay well within the parameters of what fans have come to anticipate.

Every MM album (even 'God Says No') has it's stand out tracks, and one of these can be located in the opening, self titled cut. Another has to be track 4, the spectacular 'Blow Your Mind'. A band well versed in cover songs, a Rolling Stones tune was nominated for this release and personally, I wished they'd left it off. Thankfully it wasn't 'Paint It Black' or 'Sympathy For The Devil' (which is possible, Wyndorf loves Laibach!) but it still pollutes the album unnecessarily. Perfectly executed, just weaker than their own material.

If you've ever found merit in Monster Magnet, this album is definitely a worthwhile addition to their repertoire. A sound and solid offering that I expect to listen to for years to come.

One of the best clips ever: Monster Magnet's 'Spacelord'.

THE CRAMPS A Date With Elvis

Artist: THE CRAMPS
Title: A Date With Elvis
Year of Release: 1986
Label: Vengeance Records
Format: CD

For a band like the Cramps to make such an impression on someone like myself is not overly difficult to conceive. Though I don't listen to much Rockabilly, when I do, it's to excess! And while those acts I consider to fall within those parameters may not be viewed exclusively as such by those more in tune with the specifics of the scene and its sub-genres, I'm happy for it to fall into line there.

Though this cut is not on 'A Date With Elvis' it is one of my fave Cramps tunes and a rollicking good video to boot. 'The Creature From The Black Leather Lagoon'.



This record, in fact all Cramps records have a pretty sparse sound and what's definitely a big draw is the vocal stylings of frontman Lux Interior. Many criticize guitarist Poison Ivy's seemingly minimalist approach to guitar playing, but that's another element that gets them across the line for those people who like the punk rock injection of acts like the Cramps over the more rootsy rockabilly sound.

With classic cuts like 'Can Your Pussy Do The Dog', 'What's Inside A Girl' and 'How Far Can Too Far Go' this is a great album to begin with... both for those interested in the legacy of the Cramps as well as those with a punk rock lust keen to dabble in a little rockabilly...

DARKTHRONE It's all about the riff

It's funny when you think about bands like Darkthrone, and their evolution over the years. It cannot be considered without also taking into account the fans' evolution over the same period and the loosening point of view as to what is considered acceptable by fans. Would some of the lyrical offerings that Fenriz has coughed up in recent years found a home on 'Under A Funeral Moon' or 'Transilvanian Hunger'? I don't believe so. And while I think debates over whether one album is better than another is in this case something akin to comparing soil to fish, there are some constants in Darkthrone that have enabled people such as myself to remain loyal fans... even citing their last two offerings as among their very best.

And this is of course, the riff. Darkthrone write some killer riffs. Sure, there's that ripping guitar sound, and Nocturno Culto has a great vocal style and his phrasing is totally unique, but the one constant throughout all their recorded works is the riff. I think that too is another reason as to why their recent efforts 'F.O.A.D' and 'The Cult Is Alive' are so strong.

I also admire that Darkthrone live by the 'do as thou will' philosophy, caring not for rules and parameters. The same old by any other name is still the same old...

KVIKKSOLVGUTTENE Krieg

Artist: KVIKKSOLVGUTTENE
Title: Krieg
Year of Release: 1997
Label: Head Not Found
Format: CD

HNF released a lot of crap, but this is not to suggest that they always got it wrong, and a perfect case in point is this here release by Kvikksolvguttene. Most easily described as 80's black/death metal with punk overtones, this relatively obscure platter featured Necrobutcher from Mayhem and according to Encyclopedia Metallum two other former members of Mayhem... from the post Maniac/Manheim era, but before Dead and Hellhammer.

I love that this record is really bass heavy, and the general demeanour of it has a very 'do what thou will' sort of approach. Lots of black humour running through its veins, but never funny, the band manage to tread the realms of coming across almost as a joke and being completely overblown. Rumours at the time of release suggested that the cover was considered so extreme that the printers in Norway or Germany (whichever it was) didn't want to print it. Obviously someone did as it came out, so... the other rumour is that the band's drummer, who was also in Vomit, is now a born again christian. Perhaps the hilarity of lines like 'and I know that you are dead, when my penis has turned red...' was wasted on him?

Includes a cover of Ghoul by Mayhem, and some other very catchy tunes. I would strongly recommend this one to fans of old Mayhem, Witchmaster and bands of that ilk.

DWARVES Sugarfix

Artist: DWARVES
Title: Sugarfix
Year of Release: 1993
Label: Sub Pop
Format: CD

The Dwarves are gods and Blag Dahlia is a genius! There is really no other way to describe this transient mob who, year after year, release classic album after another.

'Sugarfix' is one of the Dwarves older releases, and is definitely rawer, and more stripped down than some of their recent efforts. The Dwarves are 100% punk rock and while they may not always sound like it, it's a spirit and it permeates all their releases.

I love that their records are short and convey the most in the least. They may not be as supercharged as Zeke, but their approach is different, though I'd argue if you find merit in one, you should also in the other.

I'm a big fan of Blag's sinister and depraved lyrics and they way they bubble over the saccharine sweet arrangements that many of their songs possess.

I found this great video... it's pretty recent, but I'm sure you'll agree that it's most worthwhile.

FEFU - Dirty Version by Dwarves

KISS The only thing more ridiculous than KISS is their fans

And here's proof positive!

Ever wanted to see how a pro applies the patented KISS makeup? One crazed fan shows us how.

SONG OF THE DAY - February 6th, 2008

Artist: IRON MAIDEN
Song Title: The Number of the Beast
Album Title: Live After Death
Year of Release: 1985

We're off to see Iron Maiden tomorrow, and I couldn't help but to get out the old 'Live After Death' recording and give it a whirl. The audio alone from this recording is so kick ass! I'm not much of a fan of live recordings, but this one is not only timeless, it rates among the very best.

And 'The Number Of The Beast' - not only a truly immortal track, but in this live arena, with the legions of fans singing out in the background... it's really second to none!

SIGH Scorn Defeat

Artist: SIGH
Title: Scorn Defeat
Year of Release: 1993
Label: Deathlike Silence Productions
Format: CD

I picked this up on vinyl a few years back when Hammerheart's sub-label made a pressing available. The reason I got rid of it in favour of this classic DSP CD version is that a classic album like this should NOT be padded out with bonus tracks and the like and that's exactly what had occurred to that LP version. Not only were there bonus tracks, but there was one at the end of side A and then at the end of side B. That may seem a logical place to put them, but like I said, this album is truly immortal and should be respected as such.

Does anyone wanna hear those bonus tracks on the end of 'Reign In Blood'? Fuck no! Same logic applies here... it ain't rocket science, and it isn't increasing the 'value' of these releases. You can take my word for it!

Without question, Sigh have reigned as one of the most unique BM bands, and their debut, 'Scorn Defeat' was not alien from that statement. They started out with an avant garde approach which has increased for the most part over their almost 20 year existence.

Despite being named after a lyric from the Venom track 'Welcome To Hell', 'Scorn Defeat' is a heavily keyboard laden affair that doesn't completely ignore the band's 80's BM influence, though it does little to come across sounding like a pastiche. Sigh do what many Japanese bands do extremely well with their Western influences, taking them to seemingly bizarre and previously unexplored degrees, though unlike other bands from their part of the world, Sigh also draw heavy inspiration from Japanese tradition and folklore. This is before you consider that the music, though on this occasion seemingly primitive where the guitars and drums are concerned, is also deeply rooted in classical direction.

A great primal sound is on offer, though its never muddy, or raw for the sake of being raw and a fine balance of instrumentation is made available to the listener. A host of catchy riffs propel the majority of the album which is interspersed with classical piano pieces and the occasional acoustic guitar.

There is no simple way to describe what it is that makes Sigh the revolutionary act that they are, though for my mind, their 'do what thou will approach' is the quickest explanation.

Read some other reviews:
Encyclopedia Metallum

LUBRICATED GOAT Plays The Devil's Music

Artist: LUBRICATED GOAT
Title: Plays The Devil's Music
Year of Release: 1987
Label: Black Eye Records/Am Rep
Format: LP

I got hold of a vinyl to CD converter player thing and this was one of those releases I could not wait to get onto CD/iPod format. I lost interest in this conversion process pretty quickly, but am grateful that this record made the cut as it is definitely one of my faves!

Recorded during 1986, it kicks off with one of my fave cuts 'Jason The Unpopular' and throughout the course of this all too short opus, listeners are treated to beer bottle solos, deflating balloons and host of other alternative means for generating sound. 'Plays...' is in no way an industrial album, but guitar rock would also be far from accurate. Lubricated Goat's output was generated by what you'd describe as more or less a traditional 'band' set up, but the confines of traditional instrumentation were never going to restrict this transient horde.

Elements of punk, jazz and trashy rock 'n' roll are all on show on this debut, and the band became a household name here in Australia by appearing naked on a national television program and performing a track called 'In The Raw'. Lubricated Goat were as punk rock as a band could be and their legacy suggests their drug intake to be in the realms of legendary. I generally prefer bands who generate an unholy noise based on the expulsion of their inner demons as opposed to chemical influences, but there's not a thing I would have suggested that LG had done differently.

Originally released by Black Eye Records in Australia, it was picked up a little while later by Amphetamine Reptile for a US release, and was only ever available on LP and Cassette. The band (mostly Stu Spasm) have formed and folded at least 4 times since their inception and while I doubt that the magic they possessed on this album could ever be recaptured, who am I to say. Spasm definitely lent a fine hand to Nunbait's immortal EP 'The Hub' though that was a scant 3 years after 'Plays...' first materialized.

A quick look around did not see me turning up many leads on availability of this album, but some of their other releases were available here . I'd be inclined to think that there would be a few of these LPs floating around stores here in Australia at any rate.

Read another cool insight into LG here

WINTERBLUT Das Aas Aller Dinge

Artist: WINTERBLUT
Title: Das Aas Aller Dinge
Year of Release: 2007
Label: End All Life Productions
Format: CD

I naively thought I'd like this as I had heard it referenced among bands such as Deathspell Omega and that it was released by EAL gave me some modicum of hope. Unfortunately, I found it to be base, generic and completely uninteresting. Yeah, the guy can play and yeah it has some fast and savage parts, but what doesn't?

Other than the sound of the drums and some of the timings in the first track, which inspired thoughts of Ved Buens Ende (not that they sound the same, that's the thought it inspired), I find almost zero interest from this release. And that sucks as I, like everyone, wants to spend money on releases that fall into the realms of excellent to extraordinary.

Life is cruel.

Instead of going on further, I'll invite you to read the Metal Archives review of this release. Not exactly my thoughts, but similar enough to save me exploring it any further. You can read that here.

I would offer a link as to where I bought this from, but by doing that I am creating the possibility that you may buy this.

Caustic Transmissions

Track 1 from the forthcoming ATOMIZER album 'Caustic Music For The Spiritually Bankrupt'.

Experience it below in Video form, or here

WITCHMASTER Witchmaster

Artist: WITCHMASTER
Title: Witchmaster
Year of Release: 2003
Label: Agonia Records
Format: CD

Definitely one of my fave Polish bands, though to qualify that, it's not as though I worship many beyond they who are starring in this critique, Kat and Turbo. There are probably more, but it's they who come to mind right now.

This is such a cool, chaotic and catchy album. I think it could have benefited from having the guitars more up front, but that's a minor complaint. The sound is pretty filthy, the vocals grim and it's generally all laid out at a great pace.

It's not as Venom-esque as some people may have you believe, and while there is the rock 'n' roll element, it's definitely faster and over the top!

The album closes with 'Bloodlust' by Venom, but I think the chaotic opener 'Never Stop The Madness' sums up Witchmaster stylistically and philosophically.

Don't give a penny of your money to Agonia Records. Pay Witchmaster directly to burn a copy or something like that.

AVERSE SEFIRA Tetragrammatical Astygmata

Artist: AVERSE SEFIRA
Title: Tetragrammatical Astygmata
Year of Release: 2005
Label: The AJNA Offensive
Format: Double 10" MLP

Another commentary that needs to be prefaced with some thoughts regarding the exquisite packaging of this record. Double 10" splatter vinyl (Transparent Red/Black) complete with matt gatefold cover and gloss, double sided, full colour inserts. The art is excellent, despite not being one of my more favoured styles - animation, and visually, this is a most impressive release.

Musically, this is a fierce and commanding offering, though at times the sheer speed of it all makes it a little repetitive and de rigeur where BM is concerned. It's fast in the vein of bands like Antaeus, and like the French horde, they manage to contain, or better said, unleash a vast and corrosive atmosphere despite that speed.

The first half of this record is pretty much unbridled intensity, while the 3rd or 'Death' side allows a little more of that atmosphere the band are clearly capable of injecting, to come through.

This record has a somewhat unconventional sound, though it's not as far removed as say Katharsis or a band of that ilk who I think are managing to push boundaries, even if by virtue of their raw and filthy sound. If you haven't heard 'VVorld VVithout End', I insist you change that now. Truly one of the most mezmerising and punishing BM releases of recent times.

'Tetragrammatical Astygmata' definitely has something worthy to offer, though for me personally, I truly wonder how many more fast BM records I need to own. And when I do wnat to listen to that style, Axis Of Advance and Revenge, like Katharsis are adding enough colour and distinction that it provides for a more unique listening experience. 'Tetragrammatical Astygmata' is no reinvention of the wheel, but I'm sure it will command a few more listens.

This record is available from The AJNA Offensive

Things You Never Thought You'd Hear Yourself Say..

I saw Nightwish the other nite and it was awesome.

I'm not a fan or anything, but with Anette on vocals they are a completely different band.

Their manager used to play guitar in the Babylon Whores. Finnish Death Rock forever!

HAVOHEJ Tungkat Blood Wand

Artist: HAVOHEJ
Title: Tungkat Blood Wand
Year of Release: 2007
Label: Hells Headbangers
Format: 10" MLP

I'm so impressed by this release that it's hard to know where to start, so I'll commence by raving about the aesthetics. As a vinyl worshipper, I don't believe there has been a time as golden as now with regard to the amazing and detailed vinyl releases that are being unleashed by boutique labels such as Hells Headbangers, The AJNA Offensive and Nuclear War Now! among others.

Matt black cover, with a spot varnish gloss logo, title and back cover image adorn the outer realms of this record, while the vinyl itself is a heavy weight 10" with a reverse groove that locks at the end of each side. What that means is that you lay your needle down in the middle of the record (the area traditionally used for the run off at the end of the side) and it plays out to the edge. When it arrives at said edge, the final groove is locked, so the needle just sits and the record continues to play for eternity... Anyone who has experienced this will understand that a great hypnotic aura is generated from this and though a single groove (maybe less than 2 seconds of music) the longer you listen, the more this will evolve and become something that it didn't appear to initially.

Having really liked the recent Profanatica album, though remembering the general disdain for Havohej as far back as '95, it was with mixed feelings I approached this 10", but as soon as it commenced, I was really impressed. A mix of Profanatica, Brighter Death Now (or other power electronics/death industrial sound) and Abruptum is perhaps the simplest way to convey what's on offer here. Really raw and caustic ambient moods, very primal drumming and unlike Abruptum, it's all quite cohesive and structured. Primitive is definitely the wrong word, though it is primal in its black essence. Like a great yawning abyss, this record pulsates waves of blackness and it's been some time since I was able to truly feel this sort of oppressiveness coming from a BM artist. I don't even think there are any guitars on this release. If there are, it's not a traditional use at any rate.

Highly recommended, I await the next album eagerly! Buy it from Hells Headbangers.

SHINING V - Halmstad

Artist: SHINING
Title: V - Halmstad
Year of Release: 2007
Label: Osmose Productions
Format: CD

Tis a strange one this Shining release. I own their third album, and while I remember liking it, I can't say I've played it obsessively. I was keen to hear this one and while I find it appealing, there is something that is kinda lacking.

It feels a lot like old Mayhem at the start of the album... and not simply because Atilla is present as guest vocalist. The melodies, the progression etc all screams Mayhem: just without the caustic sound.

Overall it's a little cleaner sounding than I would normally like, though when guitars drop in and out, the drama that this creates is definitely noteworthy and the seemingly simplistic arrangements definitely benefit from this approach.

I feel generally divided by this release. I can't ever seem to determine whether I like it or feel ambivalent about it. I think some of the melodic/acoustic sections make it all feel a little safe and uninspired, though I question my motivations for thinking that and wonder if it's simply a case where I think a band such as Shining, with their legacy, should in fact sound melodic at all.

Though the production is good, I think it works to the albums detriment. It's too clean to be overly atmospheric... especially where the BM style is concerned.

RITUAL CARNAGE The Highest Law

Artist: RITUAL CARNAGE
Title: The Highest Law
Year of Release: 1998
Label: Osmose Productions
Format: CD

It's funny that 2007 was another one of those years where people guff on about how thrash is back and so on, yet it's been 10 years since this thrash nouveau masterpiece was unleashed and in my opinion, this is one record that never got the recognition it deserved.

Despite the obvious early Slayer and Metallica influences, the predominantly Japanese ensemble have a fiercely unique sound and on this album manage to unveil 10 killer, catchy as hell death thrash tracks. Proceedings are concluded with a very tidy cover of Onslaught's 'Death Metal', and the lyrics, while direct, are never clumsy or ridiculous as is the case with many contemporary thrash troupes. I guess it depends which side of the underground fence you were reared on. That Ritual Carnage covered Onslaught rather than DRI speaks volumes.

There was only ever a CD and Pic Disc LP version of this release to my awareness and it's still available from Osmose Productions.

THE COFFINSHAKERS Coffinshakers

Artist: THE COFFINSHAKERS
Title: Coffinshakers
Year of Release: 2007
Label: Cobra
Format: CD

I heard this band for the first time around 1996 I guess it was when I received one of their earlier releases, the 'Dracula Has Risen From The Grave' 7". Though it didn't materialise for some time after that in the physical form, I had a cassette advance of the debut album 'We Are The Undead'.

Many years beyond this, a pal of mine mentioned that the band had a new album out and naturally I located a copy as fast as was humanly possible. From Finland to Australia in a week was a tidy enough turn around and the results did not fail to dazzle.

Though I'm not a Johnny Cash fan per se, the similarity between Rob Coffinshaker's voice and JC is unnerving, and while thematically similar, this self titled opus is a little more mature and the songcraft is a touch more evolved. Oh, I should mention that if you listen closely, you will notice that RC can't completely escape his Swedish accent, but it never sounds absurd, or like some sort of comical appraisal.

What you would call this from a stylistic point of view is hard to say as it contains elements of rockabilly and swampy blues, it really has an aura all of its own.

Opening cut 'Phantoms Of The Night' is also the finest the album has to offer, and it possesses this real upbeat pace and some very cool female vocals that would have been perfectly suited to an Ed Wood film score.

Hard to find, and expensive if you can locate it, I don't know anyone that was disappointed by the debut and can't imagine why they would find this any less appealing.

Excessive

Last night I went to see Dream Theater. They've never been to Australia before and thought they'd treat fans to a 3 hour set. There are 3 bands I've experienced consecutively for over 3 hours and one of those I actually played in. The other was the Cure, which was awesome. They concluded with a 40 minute encore of pre 1980 material. You would be hard pressed to think that that would suck. Dream Theater, while accomplished and revered were definitely onstage for longer than I would like. 3 hours, I mean come on!

One benefit of Dream Theater's tour here, other than exciting their rabid fanbase, was that due to numerous changes relating to the Perth show, a truly creative soul made this video. And watch it, it really matters little that it's related to Dream Theater.

DEATHROW Riders of Doom

Artist: DEATHROW
Title: Riders of Doom
Year of Release: 1986
Label: Noise
Format: LP

This LP - yes it's a vinyl record was originally released under the title 'Satan's Gift' with an alternate cover and so forth... that or it was a US version, I can't really imagine why the title would be so radical or subversive as to ban it. Either way, I've had this record for years, and rarely listen to it it seems. It's one of those "if you like Destruction, Kreator etc etc" bands, you'll love this. Well, that's not my opinion and to be honest, I can't think of many occasions where selling a lesser band on the strengths of a greater band really provided the results I was looking for.

It has some fine playing, and I do like the raw sound, but Milo's vocals don't do so much for me, and I never much cared for the hand painted cover concept either. I guess I only pulled this out as I could see it there on the shelves and I've noticed a few people talking about them lately. I don't remember what people were saying about this album, and I doubt I'll remember what it sounded like either. I guess in another 5 years or so I'll get curious and have the same experience over again.

Oh, and Gehennah's trip to the car graveyard was so much more Kreative he he.

My Blog and its Purpose

Everyone has a blog these days it seems and everyone who has a blog has an opinion. I doubt I'll be any different on either front.

What I do intend to do is discuss music. But not in a boring and contrived 'review format' manner. It's my intention to simply say what I think. Most people, when reviewing albums tend to listen repeatedly (at least one would hope so) and then offer an informed (that's the dream) critique of that recording. But what is it that keeps us listening? A reviewer has some sort of responsibility - to their publication, site, blog or whatever, but also to the artist they are discussing. They also have time to find merit in that release. I like the idea of hearing something for the first time and commenting. I think, at this point at least, that that's where the real truth lays. I also like the idea that that 'truth' can change, and evolve. When you consider that some of your fave albums may have been ones you hated initially, to come full circle and see what you believe to be true merit in a recording is a great and rewarding experience. I think it also says something about you - you were not afraid to be wrong. I hate people who are afraid to be wrong.

I listen to a lot of different music and like to think my tastes are broad. It's true I definitely have my favourite styles and stylistic leanings, but what I am trying to say is that don't look at this blog for a particular theme; from a genre point of view at any rate. I guess as I start posting that it will make sense.