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: