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'.