Voivod - Dimension Hatross (1988)

Way beyond Voivod's abilities to scrape the skull with their nuclear punk thrash, 1988 sees the band drift into new surreal stratospheres which no-one really expected, but then again, Voivod have never played by the rules. Even their iron monger style of thrash was a caustic nightmare, which, alongside Celtic Frost, was eerily avant garde, but 'Dimension...' sees the band career off into slightly more mellow and thought out voids, Snakes once rusted and spiky vocal sneer now a more psychedelic drone as he shifts through the gears of this concept machine, fuelled by Away's bizarre soundscapes. This is Voivod Mark 2, a phase seeing the band take on Pink Floyd but merging it with a hideous and robotic mutation. From here the band would stray heavily from any kind of thrash metal and descend into kaleidoscopic darkness, their very own bowels of Hell being a location far adrift from any known complex frontiers. Again, whilst the band have shed their armoured skin, 'Dimension...' proves that as a chameleon there is no greater diversity in metal than that of the mighty Voivod, brave, innovative yet at times unreachable in their quest for extraterrestrial music.

8/10

The Scream - Let It Scream (1991)

This debut being the only outing and featuring the talents of John Corabi who would feature on Crue's self-titled record. No doubting the guy's pipes, a quality metal singer who really deserved to be in a band as big as Crue, although his exploits with union and the likes never allowed him to reach the highlights. The Scream is ballsy rock 'n' roll, supplying deep hooks and salty sweat, if there's one thing Corabi always delivers, it's full blooded drive and commitment. Fans always refer to 'Man In The Moon' as their sublime favourite track, and there are plenty of brassy numbers to get your teeth into here. The Scream were short-lived but very cool, swallowed by the hair metal brigade who puked out senseless, lightweight rock, thank goodness for bands like this, keen to ram home the spirit of rock 'n' roll, and for taking the time to muster up a collection of anthemic but also well crafted songs to stick in the hearts and minds of many.

7/10

Saxon - Solid Ball Of Rock (1990)

Come on boys, take us to the front line and defeat the enemy...all opposers to straight-laced metal will be crushed by iron hands and metal horses. Okay, so the message from Saxon circa 1990 is the same as it ever was, 'Requiem(We Will Remember)' won't win any titles or any new fans in fact, but it will give those hardened Saxon troops a further dose of denim, leather and fire. 'Lights In The Sky', 'Aint Gonna Take It', and 'Crash Dive' are stuck in a time warp, and the Americanisms are also slightly awkward as here's a band as British as beef, but Saxon, love 'em or hate 'em will always play and have the right to rock.

6/10

Monster Magnet - Spine Of God (1992)

Monster Magnet were something different. Not oppressive enough for the doom crew, and too spaced out to confined to the metal cemetery, this is psychedelic rock 'n' roll, a mutation of Hawkwind, Sabbath, Blue Oyster Cult, Hendrix, fuzz, crackles, whirlwinds, kaleidoscopes and multi-coloured comic book covers, kinda like White Zombie on acid and bereft of the horror. Monster Magnet supply a gargantuan sound, the giant riffs of 'Nod Scene' would fill a castle, 'Black Mastermind' a nudeswirl of dancing babes, polka-dot hell and lovelorn hippy-trips, a fat record of spacehopping magnetism, wind in the hair, sun rays reflecting off cool sunglasses, and Dave Wyndorf at the helm, commentating on the lagoons of the Moon and any other cosmic reckoning. It's retro-rock just how Hawkwind intended it when they believed the aliens were coming. Tune in and drop out, because these fuzzy burn out's in the form of 'Snake Dance' will leave you young, wild and reckless and seeking out those Hunter S. Thompson diaries for one more vivid trip into hallucinogenic Heaven...

7.5/10

Judas Priest - Stained Class (1978)

The opening ramble of 'Exciter' sounds dated if you ask me and I'll argue that toss forever, and also the fact that Priest and Kiss remain the two metal acts I just can't fully fathom. Sure, it's full of testosterone, pumping lead into the flesh, Halford's defiant cries will leave him alone on that mountain for many years as the guitar attack of Tipton and Downing fills the sky with a clinical tear that allows crimson to seep from the clouds, but in the halls of metal, I'm not grasping this so-called influential album. Sure, rumour has it that metallers had committed suicide after listening to its dark words, but I'm not feeling the true heat of this. The title cut plods, 'Invader' is predictable, and 'Savage' fails to move me. What am I to do ? Wholly confused by the legacy the band has adorned the metal world with. I appreciate the technical ability of the band, but early Manowar is far more potent, because through all the fist waving, all the leather, and all the motorbike fumes, I'm merely nauseous and reaching for something far heavier and wholesome. Priest are a band I appreciate in doses, some of the time loving their leathery attacks ('Painkiller') but yet I still find myself sitting awkwardly with the sound, as if a metal spike has been shoved up my arse...but to no effect!

6/10

My Dying Bride - Turn Loose The Swans... (1993)

Majestically crafted, the last time I heard something this aged was The Nephilim record, this breeds more visions of stark Hell, sombre, malevolent, morose, beautiful, solemn and remote, breathing further darkness into the doom encrusted void which for too long has been inhabited by bands all too eager to mimic the magic of Sabbath. My Dying Bride construct their own padded cell of nightmares, achingly stretched over a canvas of loveless meandering and poetic cruelty, amid Poe-inspired hellscapes, violins whine and bicker over the downtuned guitar orchestrations, the weight of the title cut pouring dirty oil into the soil, slow dripping into some pitch grave where only smells and touch can surely give way to such complex emotions. Not sure how a band can come up with such ravenous and diabolical summonings, but as the church bells of 'Le Cerfe Malade' echo out across the courtyard, one look into the glassy orb eyes of the crows tells you that you're not going to get this for a long time, or forever remain paled, gaunt and tortured by the grim fragments of dreams. My Dying Bride spew out a horrific, ancient story that borders on madness, often reaching into dormant pits of silted genius but always leaving you lost in the dark, never to see again, but only to hear the viola strains of horrors past, but never truly letting you into a world that is truly theirs to behold, where hideous demons and writings once taught are now but whispers of some unknown terror that we can only suspect in our naivety. 'Turn Loose...' is a magnificent record that creaks with historical anguish, it's pages sagged by the tears it took to make.

9/10

My Dying Bride - As The Flower Withers (1992)

Beautifully weird doom metal from the UK, where doom metal is done best. My Dying Bride don't exactly match the weight of early Cathedral, or even the wretched sludge of Paradise Lost's 'Gothic', but the production here, particularly on the drum sound is rather weak, but this is one hell of a morose experience, but wonderfully stitched together like a patchwork quilt of gloom. Alot of the record is a nightmarish soundtrack to some grey, rain-battered castle through the trees, but when the band choose to doom rock ('The Forever People') they do it with the best of them, but it's on tracks such as 'The Bitterness & The Bereavement' that they excel at crafting surreal and gothic timewarps into dimensions unknown and caked in soil. Eight tracks of rusty, dramatic and often classically driven works, epitaph's to a great time in UK extreme metal and thankfully sporting that grim vocal delivery which bands such as Paradise Lost and Anathema gave up the ghost for. 'As The Flower Withers' is something akin to digging a grave on a rain-soaked night, wind howling through the woods, owls twit-twooing overhead, and the sodden pages of some long lost journal torn from the pages of a rotten corpse. You can smell the mould and the misery...

8/10

Bolt Thrower - Warmaster (1991)

Choke back the black smoke as Brit grindsters Bolt Thrower gather all armies once again for a siege upon the dark lands. Highly underrated as extreme metal kings, this band has been flattening all in their wake for decades now, bastardizing their chosen genre, somehow flitting between mutated styles of grim valour. There's no way out from the absolute pummelling majesty of this heavyweight tank which crushes bones and bursts blood vessels. Vocally, it's a terrifying rasp from some remote chasm, the bass of Jo quite simply ground shaking as they march on through such chaotic works as 'The Shreds Of Sanity' and 'Cenotaph' which is truly hideous, gutting its listener in the same way Entombed exploited that rusty chainsaw groove. Bolt Thrower have their own sound amongst a vast procession of death and grind bands, and they remain one of the only bands to hurt the soul.

7.5/10

Bonham - The Disregard Of Timekeeping (1989)

A wonderful record, certainly not the type of opus I would've thought about buying back in the '80s when my ears were being brutalised by the likes of Slayer and Voivod, but Bonham comes swaggering out of the stables, brash, bold and breezy, pumped full of Zeppelin soundscapes, and vocally in Jason MacMaster a heir to the throne of Robert Plant maybe ? It's an understated record in the sense you just don't expect such sensuality and wholesome coolness to emerge from the blackness of the disc, but once in full flow, and that doesn't take long, the shimmy of 'Wait For You' just filters through the soul, blessed imaginings and Zeppish human kindness. Hell, 'Bringing Me Down' IS Zeppelin, but so what, it's boldness enables it to conquer over the funky horns whilst 'Guilty' plays it slower, a sexual big bad groove from the dirt. Beautifully crafted, this is a crackin' rock record, a Zeppelin for the modern day, with wondrous guitar work and Bonham's more than classy drum skills. Somehow unpredictable in its nature, 'Just Another Day' drifts into Saigon Kick lushness, leaving you to wonder just how this record crept through the racks reasonably unnoticed. Fat, boisterous and moving, 'A Disregard...' is a mini-classic waiting to be discovered time and time again.

8/10

Brother Cane - Brother Cane (1993)

An overlooked band, somewhere between the southerly strides of Black Crowes and early '90s alternative metal. Breezy, swaying cool rock with grunge tinges ('Don't Turn Your Back On Me'), nothing too explosive, more so sleepy in its dream-like laziness, I hear Alice In Chains without the darkness, I Love You without the cleverness, although 'Hard Act To Follow' will have you foot-tapping on the porch, possible accidental hit here, 'Woman' has a Saigon Kick landscape running through it. Brother Cane don't have the sugary, bombastic wonder of so many bands mentioned on this blog, but in it's retro glory there's a kind of naive excellence and swagger but I'm sure this would have been lost on many at the time, it's piano struts and hip-shaking blues probably swallowed by so many other acts doing the same thing at the time. I can't say this is underrated, because it lacks too much to be a gem, but Brother Cane will delight even the most clogged of ears.

7/10

Legs Diamond - A Diamond Is A Hard Rock (1977)

Cool, struttin' glamour metal with plenty of balls from '77. These Californian's go straight to the throat with their trashy, sleazy but very likable groove rock. 'I Think I Got It' is a pleasure to hear, filling the smallest clubs with sweaty abandon, rockin' to the rafters, great use of the organ on 'Evil', and 'Live A Little' drives hard, sending clear messages, and that's what this record is about. Pure, communicative rock 'n' roll with no arty confusion or mixed messages, a free flowing hard rock record that'll have you grabbing your crotch under the stars. Shame the band never made it big because it's so easy to listen to.

7/10

Kiss - Hotter Than Hell (1974)

Let's face it, make-up aside, how on Earth did this band get a record contract and convince millions of rock fans that they were Satan's new breed of anti-hero ? I'm dumbfounded by the lethargic plod of these guys who somehow, even fresh out the blocks of their career manage to sound like old timers at the end of their careers. I see their bizarre reign over America as some kind of dumb initiation for metallers, people who tragically missed the boat with Zepellin, Sabbath, just check out Simmon's strains of 'Goin Blind', and the playground boogie of 'Let Me Go Rock n Roll', peculiar to listen to as anything more than entertainment that surely had the lifespan of a year or so and yet somehow still survives to this very day. The UK had T-Rex, The Sweet and Slade, and despite some cheesy, camp moments within their discographies, the atrocity of Kiss allows us to forgive small errors in our own artists and cackle a hearty laugh at the expense of such cracked glamour, because Kiss never were any good. Believe me, Satan himself wouldn't have owned up to holding such trash under his leather wing...

4/10

Judas Priest - Sin After Sin (1977)

This is more like it, a slab of molten metal which pummels from the outset, 'Sinner' rages and pumps up the volume, technically dazzling metal that soars above and beyond on 'Diamonds & Rust' but it's 'Stormbreaker' that mounts the challenge, a spiky attack courtesy of Halford's almost grim yells, early thrash spawnings here as the band crash and speed through the wire. 'Last Rose Of Summer' slows things down a little but 'Let Us Prey' is pure blackened vengeance, but the album's darkest moment has to be the fantastic 'Dissident Aggressor', somehow made even more pulverising by Slayer on 'South Of Heaven'. 'Sin After Sin' is quality British heavy metal played at such a high standard it's no wonder bands such as Metallica and Megadeth would find their feet by straying into such a void. You can see why the American's loved it, the polished aspect of the sound is big and ballsy, and from here Priest would master the '70s, supplying a tour de force of destruction that would play a significant part in metal uprising.

7.5/10

Judas Priest - Sad Wings Of Destiny (1976)

Okay, so I've never been overly convinced by Priest within the metal realm. Like Maiden, I've found handfuls of their recordings to be noteworthy slab's but certainly not records to die for. After the raging grey seas of the mighty Sabbath, I've never aimed my studded fist towards Priest although can see how they've inspired so many acts which I've grown to love over the years. Maybe it was Rob Halford's whine which out me off, or the fact that some of the remastered cd's were just tinny, and I kinda missed the boat with the debut 'Rocka Rolla', but always read rave reviews about this particular record. Sorry, but 'The Ripper' does nothing for me, finding no real menace in its plod and this is the problem with the entire album if you ask me. Sure, it's better than the sparkle strut of lame Kiss, but Priest have long been considered gods of metal, but the frail framework of 'Deceiver' leaves me empty, and 'Tyrant' lacks the beef of even lesser metal acts such as The Who, and 'Epitaph' leaves me cringing in its theatrical wake. I failed to see the frothing, salivating praise bestowed upon chief metal reviewer Martin Popoff who speaks of 'Sad Wings...' like some kind of masterful metal paradise.

Thankfully, Priest would get better but as a band they've always eluded me. I guess at the time, thousands of thirteen year old metalheads were as excited by 'Sad Wings...' as I were with the likes of early Slayer, but listening back this just sounds out of date.

6.5/10

Saxon - Dogs Of War (1995)

May as well be the mid-'80s, but Saxon don't care...only this time, it's light on the ballads, somehow the opener is a menacing slow pacer, but we're soon back to familiarity with 'Burning Wheels', Biff's warrior wisdom among a sea of solo's and crashing symbol's, Saxon doing what they do best. Any why not ? Better the Devil y'know sometimes...and let's face it, if these veterans had turned into an arty funk band we'd have been puking everywhere, so at least they stuck to their guns, even if for a decade or so they were a little rusty. 'Don't Worry' is pumped fully of Americanisms, a slow number for the porch attempting an almost sugary style and 'The great White Buffalo' is an Indian wardance as interpreted by Def Leppard if you ask me, but we're soon back on track with 'Demolition Alley' which greases up the gears and by the time 'Yesterday's Gone' leaves it's smoke trail, you'll simply be left knowing that once again you've listened to a Saxon record, simple as that. No earthquakes, no parting of the waves, just old school metal that may cause a slight tear in the ol' denim jacket...

6.5/10

Xentrix - Kin (1992)

I was never fooled by the Metallica suck off that was 'Shattered Existence', and these Brit thrashers have done it again, producing miserable, empty 'thrash' with a dull mid-pace that imitates Metallica and leaves no-one caring. Check out 'No More Time', an appalling plodder, every track I'm expecting the band to break into 'Enter Sandman'...thankfully it doesn't happen, and so I find myself caught up in this abysmal web of chug-a-ghug, thud-thud. Empty, cold imitation metal that does nothing for the soul nor the ears...Slammer did the same, but had better songs...

3/10

Exodus - Impact Is Imminent (1990)

Even in my die-hard thrash days I rarely lent an ear to the rumblings of Exodus, it was always the vocal delivery I found off-putting, that gravelled rasp against the backdrop of pounding mosh. Strangely, the same feelings do not emerge here, and I'm loving the far more dense sound of this record, as seeming long gone are the more party orientated funsters of 'Fabulous Disaster' which had me and my cousin stage diving onto our beds...for about one song! The title cut is a real bruiser, stirling guitar work, a thick cloud of heavy thrash on the horizon and an air of seriousness. 1990 may have been a time when thrash was being consumed by death metal, and metal in general was being consumed by a more arty and intelligent way of rockin', so no doubt this record wouldn't have made the impact it's title suggested, but I'm glad that many aeon's later I can revel in its power. Such bands were always meant to stick to their guns, or simply quit, Exodus, who were left behind when the 'big four' found their stadiums, remained rooted, almost stagnant, but they can be proud of this as a skull cracker. 'Within The Walls Of Chaos' is a major spine-splintering highlight whilst over on Side 2, 'Only Death Decides' is a hostile plodder if ever there was one. At times Anthrax come to mind in some of the construction, but gladly Exodus have cast aside the comical, which for me was Anthrax's worst enemy, and on 'Impact...' they've elevated themselves once again to the major thrash league, a league they really should have claimed all those wasted years ago...

7.5/10

Dr. Mastermind - Dr. Mastermind (1986)

There probably aren't many of you who will remember this record from the metal heyday. I first saw the cover in a magazine review but it took me many, many years to finally get a copy, and wasn't disappointed. To look at, 'Dr Mastermind' looks like it may sound a little like W.A.S.P. as Dr Mastermind himself poses on the cover in leather and spikes amidst a sea of leering ventriloquist dummies, an album cover certainly to stir the darkness within. Soundwise it's a real slab of heavy metal thunder, thanks to the clattering drum assault of Deen Castronovo and the amazing guitar shredding of Kurt James who throughout the record dazzles with unexpected velocity. Dr Mastermind is a bit of a dark character, somewhat a chimera of Blackie Lawless from W.A.S.P. and the archetype '80s metal singer, but this record makes a heck of a rumble, a heedy mix of Twisted Sister circa 'Stay Hungry', Motorhead, particularly on opener 'Domination', and also W.A.S.P. at their rawest. 'The Right Way' is rather anthemic, fists to the air kinda stuff but the dense blanket of guitar twiddling makes this record far more engrossing than many image-based artists who've gone before, the hellish 'Man Of the Year' breathes fire through the smoke, featuring some thrashy outbursts, and a kind of theatrical stance along the lines of Lizzy Borden. Nine tracks of quality heavy metal that will leave you wondering why Dr. Mastermind remains only a dusty relic of a time that should never be forgotten.

7.5/10

Faith Or Fear - Punishment Area (1989)

This was one of those US thrash records that kinda missed the boat, but hearing it today I'm reminded of its freshness even if it lacks originality. Put alongside the likes of early Testament and Defiance for its chugging passion and sturdy musicianship, these kind of bands stuck to their guns but dissipated under the tides of innovative metal which by the late '80s had spawned so many bands, mainly due to the influence of Faith No More' 'The Real Thing'. Faith Or Fear, just like Slammer from the UK still deserve to be heard however many years later and remain proof that even the most regressive sounds don't sound overly dated today.

So, if you like your metal heavy, straight down the line, and call yourself a thrasher, then Faith Or Fear are for you, whether in 1989 or now.

6.5/10

Various - Speed Metal (1987)

Hot on the heels, and pretty much in the same vein of the 'Speed Kills' volumes, this more obscure compilation was typical of the mid '80s, and what a great time it was for young metallers to pick up such albums, great introductions to various bands. Of course, these kind of albums endorsed the already mighty acts such as Celtic Frost, Voivod, Slayer and Destruction, but there were always a few other bands who were slotted alongside the titans, in the case of this record the likes of Omen and Bloodlust, although rather tragically such lesser known acts failed miserably against the competition. Although 'Speed Metal' is wrapped in a dodgy sleeve, and doesn't really tell us much about the burgeoning thrash scene at the time, such records used to bring excitement and had a real atmospheric feel. The 'Metal Massacre' and 'Speed Kills' records were real dingy affairs that brought together the most hideous and cutting of European bands alongside the more brash and speedy Americans, and such albums were always welcome even if some of the bands that were discovered never lived up their inclusion.

5/10

Epidemic - The Truth Of What Will Be (1990)

Reasonably impressive albeit rather Slayer-ized if you catch my drift. These American thrashers opted for their demo to literally be released as a record, a nine-track blast with some traces of humour ('Thigh Rubbage') but overall, some quality high speed metal with plenty of aggression. Patches of hardcore pepper the record and vocally it's rather Tom Araya but more naive, but your average thrasher will find a lot to get ones teeth into, particularly the ferocious 'Live Your Death' and 'Three Witches'. You could do a lot worse.

6/10

Prong - Primitive Origins (1987)

These guys have been in the game for many years, plugging away at their gloomy soundscapes, but when 'Primitive...' emerged back in the '80s, Prong were far noisier, far more hardcore and certainly punkier. Criminally underrated, the trio have belted out no thrills heavy metal for aeon's, inspiring many with their face smashing slabs, 'Primitive...' remains the bands most chaotic work, all twenty minutes of it. Indeed, despite this record's cacophony, they must've been doing something right as they were partly tamed by EMI Records in '89, the band slowing rather drastically but still hitting the notes with later quality such as 'Beg To Differ'. Although numerous line-up changes would follow, 'Primitive...' remains the bands most harsh work.

6/10

Slammer - The Work Of Idle Hands (1989)

A band that lasted about as long as they should've in a sense, but looking back, these Brit thrashers, who I saw live supporting Ozzy Ozbourne, deserved more, despite the fact that this debut is nothing more than mundane thrash straight from the Bay Area. Testament immediately spring to mind with chugging riffs, and if these guys had been Americans they may well have carved themselves a slightly longer career, but in the UK the funk metal trend was taking over and there had never been any real need for basic slam-dunk thrash, just look out how the likes of Xentrix, Ignorance, Toranaga, Re-Animator and Deathwish faired, three of these bands disappearing into normality, the other two becoming completely fake and adding a sickly funk influence. Even so, judge this record now and you'll hear competent workmanship, some heavy riffage and some catchy tunes, i.e. 'Hunt You Down', 'If Thine Eye' etc.

6.5/10

Mr Bungle - Bowl Of Chiley (1987)

Mr Bungle were still finding their feet on this muffled demo which, in comparison to 'OU818' which was released a few years later, trudges through muddy water. This is bereft of the disturbing imagery, the carnival dementia and retarded evil, instead opting for a more reggae-based splatter. Listening to this so many years after getting my grubby hands on it as a rarity, I find my attention waning just like it did then. Patton's nasal whine is nothing more than that as he toon-like snaps and yelps over fidgety grooves which are reasonably stark when put alongside the bands official output. Of course, all bands have to start somewhere and 'Bowl Of Chiley' will please the die hard collectors eager to snap up Bungle's back catalogue of toilet humour and spasticated cavorting, and I'm sure the hopelessly devoted of you will find some pleasure in 'Evil Satan', the shuffling 'Cottage Cheese' and guffaw of You Can't Make Me Mad'.

5/10

Death - The Sound Of Perseverance (1998)

Holy shit, this has to be one of the most impressive death metal albums of all time. Of course, you'd expect that from Chuck Schuldiner and his Death team, but this is laughably genial in every sense, the main man tragically died shortly after, making this the final Death record, but what a way to go, yet sadly such a loss to the scene. As bands such as Slayer found themselves fading into commercial streams, Death opened new doors and explored avenues never even dreamed of in the death metal world. Chuck was a great man, Death without doubt the finest death metal act on the planet who pretty much began the whole scene with their sounds of early gore, but wow, did they come along way. 'The Sound...' is a spiralling, often melodic, highly complex yet thoroughly riveting record where Chcuk has decided to assemble three relatively unknown musicians in Shannon Hamm, Scott Clendenin and drummer Richard Cristy who had the unenviable task of filling the booms made by Gene Hoglan. On this record you'd think the band had been together forever, somehow fusing elements of jazzed up progressive rock with tight as Hell percussion, each member of the band pulling their weight to construct one heck of a huge web of sound. Once you've listened for the hundredth time and managed to scrape the surface, you'll still be asking, is that really Chuck on vocals ? Gone are the clear yet guttural growls, now replaced by dry screeches, akin to Sadus. And at the end of the blitz the band somehow churn out an apocalyptic version of Priest's 'Painkiller' anthem with Chuck shattering glass. This is a very new Death, even though a new Death emerged on just about every record, only 'Scream Bloody Gore' and 'Leprosy' bore any resemblance, but this is wild progression and some may be perplexed by the intricate structures, double bass triggers, concentrated solo's and in-depth musicianship that I can only compare to say Atheist for innovation and precision. 'Bite The Pain' has embers of speed, but Death no longer loiter in the dark chasm inhabited by Morbid Angel and the likes, they left that cavern many years ago when Chuck, despite numerous band changes, formed the wondrous sounds of 'Symbolic' and 'Human', death metal beyond the realms of anything previous or possibly yet to come. 'Spirit Crusher' slows the tempo, the classical edge shines through, and the melody of 'Flesh And The Power...' is breathless. Death metal fans seeking super blast speed and gored emotion will be left cold by the almost alien soundscape Chuck creates, but this man is the king of death metal, and goodness knows where he would've taken the band if he'd lived longer.

Chuck may not be here in the flesh but his music is timeless. More should appreciate such melody within extremity, and such complexity within weight. Of course, much of what evolves on the record is simply a product of Chucks ego, but then again, if you've got it, flaunt it.

9.5/10

Motorhead - Motorizer (2008)

Lemmy and company grease the chains, oil the cogs and wipe the sweat once again, and continue to churn out earth shattering grooves, giving the fans what they want in most parts. The band may be a little hard pressed to return to the gruelling, wolfish blackening of 'Inferno' and 'Sacrifice' but 'Motorizer' does have its moments, but then again, it also has its dodgy moments to, there are two numbers (and thankfully only two) which echo the denim jig of Status Quo, 'English Rose' certainly irritates but 'Rock Out' and the likes go a long way to engulfing any run of the mill blabbering, and with Lemmy's gravel throat delivery back to its evil self there's no telling when this machine will come to a halt. Of course, Motorhead are best experienced live and in the past some of their records have been guilty of going through the rock 'n' roll motions if you like, but 'Motorizer' certainly has enough beef to keep the hardened souls happy. With this band you always know what you're getting but that isn't the problem, it's just whether they can be bothered to turn their no thrills battery into something hellish, and this time they succeed most of the time.

7/10

Anthrax - State Of Euphoria (1988)

Was a little reluctant to put this record on here but considering some of the borderline entries, I don't see why not. There was a slight amount of excitement when the New Yorker's released the follow up to 'Among The Living', but such was the quality of that particular record it was clear that this album wouldn't live up to it, but the main problem here is that 'State...', certainly at the time anyway, was nowhere near good enough. Many years later. 'State...' has altered my perception and I find this record fun rather than the major disappointment it bestowed back in the '80s. This record still has that hardcore/punky crossover edge and the riffs are still big rolls of jerking sauce, but we must not continue to compare it to 'Among...' otherwise it will always fall miserably short. The single from the record was the rather irritating 'Make Me Laugh', I found myself wincing at Belladonna's vocals but then again he was always that kind of vocalist neither great or too bad, certainly with his own style even if at times it was once which grated. 'State..' offers a handful of decent cuts, the opening menace of 'Be All...' and chugfest 'Now Its Dark', but it seems that 'Among...' left the band high and dry. 'State...' is not my idea of an Anthrax thrashcore record, but spinning it again a few decades later I can honestly say that on its own its a nice little record, sure, it's dressed in a gawdy vomit inducing cover, but I have to consider than in '88 I was listening to Slayer's blood curdling records and Anthrax had become quite irrelevant...it's just a shame they floundered so quickly after two masterful records.

6.5/10

Motley Crue - Saints Of Los Angeles (2008)

The Crue are back, and boy you better believe it. Forget the press reviews which claim it's the same 'ol same 'ol...this is rock 'n' roll not avante garde psych-pop, but thankfully, with the band back to the original line-up, the first time since 1997's messy 'Generation Swine', this is the Crue we all know and love. Somehow, despite all the women, all the money, all the drugs, booze and cars, the rockers have found a hunger that almost puts this record on a par with 'Dr Feelgood', and believe me, that's a real compliment and quite an achievement. I was a big fan of 'New Tattoo' but it seemed to slip under the radar, and even the band seemed to miss its obscure qualities and anyone who has seen them live recently will note a set list bereft of 'New Tattoo' tracks which is a shame, but 'Saints...' somehow finds itself as a mix between 'New Tattoo' and 'Dr Feelgood', and that should be fine by any real Crue head. If you want cheese, you'll find a sprinkling, but a sprinkling only, particularly with the bubblegum rock of 'Chicks = Trouble' (probably the weakest track on the record) and Def Leppard with meat 'The Animal In Me' which is about as lovey-dovey as Crue get on here, but apart from that, this is vintage rawk 'n' roll and Mick's guitars have never sounded better, except of course for the glam strut of 'Too Fast For Love' and bombastic '...Feelgood', but just check that riff on 'Whats It Gonna Take' and the anthemic charge of the title cut, and you'll find the band brooding, and even Vince sneering on the lead weight 'MF Of The Year' and pummelling 'Just Another Psycho'. Huge choruses, lustful drums from Tommy, brusing bass from Nikki, and the occasional trip down memory lane with the twanging 'Down At The Whisky', but this is Crue on fire, seeking a fresh approach but by keeping it simple, incorporating their own brand of punky sleaze, and doing what they do best. What else do you want ? What else do we need ? Face lifts, friction, solo projects and mega bucks aside, this is Crue revamped and ready to go.

8.5/10

Enuff Z Nuff - Welcome To Blue Island (2002)

Another forty or so minutes of glamorous rock from Chip and the boys. Mind you, things don't start too well on the almost Green Day bubblegum stomp of 'Saturday', although Donnie's drawl on 'Cant Wait' provides enough beef as a hair raising rocker, and 'Good Times' certainly brings...well, good times as the band swing in with another Beatles-esque vibe before slowing the pace, but Vie is still Lennon-esque in his grooves, and the chorus is another of those swaying, breezy and instantly catchy songs. The problem with the band by this point though is that whilst they continue to produce quality records which remain criminally ignored, their brand of sugary pop-rock is something one can overdose on without a doubt. The Beatles influences are so strong, except for maybe the band at their heaviest on 'Roll Me', but 'Sanibel Island', 'Rollerbladin In The Shade', with its psychedelic chorus (although the general outlay of the track is very much an '80s hair metal groove, maybe Def Leppard anyone ?)...however, it's difficult to fault such influences, and the ability the band have of knitting together such seemingly simple song structures. You feel like you've heard it all before, indeed you may well have, but pure rock 'n' roll will always bring to mind other artists, take a look at T-Rex, The Rolling Stones, The Kinks and Oasis for examples of that seemingly endless stream of classic sounding tracks.

'Welcome To Blue Island' isn't anywhere near the bands greatest efforts, and yet still they remain head and shoulders above countless other, and more successful bands. Enuff Z Nuff are indeed one of those bands who will make you question the science of music in general, and as a wonderful band they simply remain tragic proof that in most cases, the best are ignored.

8/10

Enoch - Graveyard Disturbances (2004)

Firstly, this is not a metal album as such but if you're a fan of the musical scores to such great horror films as 'Suspiria', 'Halloween', 'The Fog' etc, then this is a must have. Featuring the talents of Mirai and Killjoy (Necrophagia), this is truly dark and disturbing stuff for any satanic ritual. These two guys have compiled twelve superb tracks which act as horror movie scores, so forget crunching guitars and hammering drums, this is all about evocative synths, eerie jingles, moody whispers, spooky thuds and creeping atmospheres, amazing stuff. I guess track titles are pointless here but the slow moving menace of 'Dominion' peeps from the darkest corner whilst the mesmerising 'La Chiesa di Anime Perse' evokes images of zombies littering the desolate streets in some bizarre Italian horror flick, amazing indeed. This is certainly an album for the low lights, burning candles and gloomy trips into the unknown as the duo provoke paranormal visions and gothic horror. Fantastic stuff.

8/10

Mr Bungle - OU818 (1989)

Long before the dogshit funk metal brigade festered like an open wound, Mr Bungle were spinning dark, psychotic tales of porn, toilet humour and food. Previously t0 this there were other demo's, the band albeit a more comical death-fuzz-cartoon act, but 'OU818' was the demo that started the ball rolling and tongues wagging. Considered a collectible item, this precious jewel sees the band way out on their own, giving birth to this outrageous demo cassette which features five tracks if you exclude the spasticated intro, four of which made it onto the debut record. Put simply' 'OU818' and its contents do not differ from the album except to say that on the album the tracks used are shrouded in carnival atmospheres, comic capers, sinister overtones and surreal evil, whereas the demo cuts, being ''Squeeze Me Macaroni', 'Slowly Growing Deaf', 'The Girls Of Porn' and 'Love Is A Fist' are bereft of much of the atmospherics, but still provide the listener with a fatal overdose to the system. Of course, what the demo offers that the record doesn't is the eight-minute wonder 'Mr Nice Guy', your typical Bungle overload of epileptic weirdness...track this down if you're a real Bungle fan...if not, fuck off back to your Faith No More records.

8/10

The Distillers - Coral Fang (2003)

Too many so-called fans were quick to stamp on this release, claiming that The Distillers had sold out, the band opting for a bigger budget and cleaner sound, although this record was tragically to be their last. For, this is the finest Distillers records, and probably one of the best punk records ever released, even if it lacks that sheer volatile blitz of previous records. This is certainly more commercial, if you can call it that, I'd prefer to say that the band became better musicians and songwriters, and the luscious Brody Dalle found her ideal vocal approach, somewhere between razorblade angel and soulful punk bitch. The coarseness of earlier records is missing here, the band opting for a more melodic approach, however, it's hard to fault the tracks on this offering. 'Drain The Blood' is pure aggression, a punk anthem of the highest order in which Dalle excels herself beyond manly vomit and from here on there's not a duff track, 'Dismantle Me' is truly monstrous, 'Die On A Rope' goes straight for the throat but its the menacing doom of 'The Gallow Is God' that provides a real peak for the record, Brody's harsh chords scraping her throat into the superb chorus, and musically this is a fine record, Andy Granelle's drums batter and clatter throughout, providing a storm of anarchy. Sure, The Distillers now have a rockier edge, but their ability to create heavy yet catchy songs amid the chaos is frightening, one minute thrashing with the most aggressive and then slowing the temp ominously. The title cut is venemous but 'The Hunger' is one of the best songs The Distillers have ever crafted, albeit one displaying more of a mellow side with the introduction of an acoustic melody which soon catches on fire, meanwhile 'Beat Your Heart Out' is another punk rock classic. there's no denying that 'Coral Fang' rocks harder than a majority of alleged rock 'n' roll albums. In Brody Dalle we have one of the hottest voices...and bodies in heavy rock, just a shame they chose to disband, Brody forming her next act, Spinnerette.

8.5/10

London - Don't Cry Wolf (1986)

Here's a sleaze rock band that actually once featured the talents of Nikki Sixx, Izzy Stradlin, Slash and Blackie Lawless. Unfortunately, whilst these musicians went on to far bigger things, London dissolved after lack of distribution but there's no forgetting these guys, even if after a few spins you realise that it's a reasonably unfulfilling record when you consider the past of the band. Fronted by Nadir D'Priest, London thrash out a style of glam rock 'n' roll that is caught somewhere between Crue's 'Shout At The Devil' and 'Girls Girls Girls'. Anthems aplenty, Nadir occasionally off-key but the guitar of Lizzie Grey is worth the money alone. Side Two rescues the record big time as the band crash through 'Fast As Light' which reminds me of Crue's 'Downtown', whilst 'Put Out The Fire' is pure Fastway in my eyes. Maybe it's just me but the b-side seems to have more attitude, or maybe it's the tragic cover of Lennon & McCartney's 'Oh Darling' that turns the opening side into a damp squib, but when you hear 'Drop The Bomb' or 'Set Me Free' you'll realise that 'Too Fast For Love' this most certainly isn't, but if you can look beyond the band members that left, you'll still find a solid party metal album in 'Dont Cry Wolf', but it's bark is most certainly worse than its bite, although the opening riff of 'Hit And Run Lover' will have you frothing, just a shame about the almost timid, lipstick attack of Nadir D'Priest.

6.5/10

King Diamond - Them (1988)

You'll either love or hate the phantom screech of King Diamond, but one thing you can't knock on this concept album is the musicianship. Forget nice, catchy metal, this is dark, gothic and tight musicianship, a real forest of complex threads, branches and roots that tie this ominous tale together. When I first heard this album I was on the fence, at times it dwelt too much in the cheesy side of horror metal, but the sincerity is that Mr Diamond likes to tell a grim tale with every detail, and if that concerns having a cup of tea, then that's what he'll sing about...and then there's the screeching vocal which sends a shudder but may also have you clutching your eyes, but if you want to create a theatrical, Halloween atmosphere then 'Them' is perfect for you. The way King Diamond creates his characters and plays out his horror story is something akin to 'Psycho' the musical...if there ever was one...at times disturbing, very occult and as a metal record well polished and efficiently delivered. Andy La Rocque and Pete Blakk are wizards on guitars and the drums of Mikky Dee take this to a new level. It's not really thrash, but somehow King Diamond carves his own niche, a black streak of venom that provides a story as well as a solid, professional and at times masterful display of heavy metal. King Diamond was always one of the true innovators from his Mercyful Fate days, and although his style remains an acquired taste, his records appeal because of their darkness even if at times cheesiness creeps in and bathes the gothic menace in an untimely light.

7.5/10

Tesla - Into The Now (2004)

I never saw this beauty coming. After a ten year hiatus Tesla return with a supersonic rock 'n' roll that somehow slips into the present as if it was from a striking new act with balls. The sound is heavier and breezier, of course, Tesla will always remain universal, but there's an attitude this time round as the band swagger and swoon through a variety of well produced stompers. This is no regurgitation of past glories, instead the band up the anti, creating anthems aplenty but without any type of cheesiness, instead throwing out a ballsy rock groove that could actually stand alongside Beautiful Creatures, Saigon Kick, but more so Kik Tracee, although it doesn't have the sharpness of BC or alternative colours of SK, this is still a revitalising record. The middle section features two toned down jams which sway with acoustic splendour, but what you must really marvel at is the band's ability to remain in time, and I guess that's why the album is called 'Into The Now'. It's a bold statement from a band who have gone from being consistently good to now very cool. I'm sure this won't go unnoticed with the Tesla fans, but as always, the tragedy is, will the mainstream overlook such a decent record ?

8/10

L7 - Bricks Are Heavy (1992)

At the height of grunge mania, L7, a bullish female foursome, hit the charts with successive big bubblegum hits weighed down by a massive guitar chug and a sound good enough to get them a support slot on the Faith No More tour. Whilst Nirvana, Pearl Jam and Soundgarden took over the world, L7 proved that you didn't need to be overly serious to create waves on the metal scene, their brand of rock 'n' roll may have lacked the fuzz of say Mudhoney or darkness of Soundgarden, but here was a full-on female assault providing catchy hooks and bouncing melody. Opener 'Wargasm' is a great doom-grunge head-ripper but the album also managed to spawn several hits in the form of the 'Monster', the venemous punk of 'Shitlist', the stomping 'Everglade' and more sweeter 'Pretend We're Dead'. L7 proved to be wild children, I'll never forget the moment the lovely drummer on the FNM tour threw a sanitary towel into the crowd...L7 were a band who took no shit, and although their career stalled after this record, 'Bricks Are Heavy' remains an overlooked album from an overhyped scene.

7/10

Kingdom Come - Kingdom Come

I heard that Led Zeppelin had the lawsuits ready when these Swede's released the single 'Get It On' ! Big time imitation of the great Zep but as a debut album this self-titled rocker has enough swagger and sway and I'm not just talking about the big hair or the stench of Zeppelin. This is quality metal but the hooks of Danny Stag and Rick Steier are stolen right from Jimmy page and his scrapbook of creations. At the front we have Lenny Wolf, deadringer vocally for Mr Plant, attempting and indeed pulling off those sultry grooves, and everyone was talking about the 'Kashmir' steal of 'Get It On' the single that got the ball rolling and heads shaking, stirring the ego's of the Zeppelin camp. Even so, Kingdom Come know how to rock, this debut and the follow up 'In Your Face' were excellent hard rock records from a band who never quite made the big time but when you watch the steam rise from mover 'What Love Can Be' and hear the strut of '17' you'll no doubt snigger at the Zepp imitations, but there's no denying the band know how to write a riff and a big tune.

7/10

Slave Raider - Take The World By Storm (1988)

Imagine if Alice Cooper, W.A.S.P. and Twisted Sister got together and had a child, then Slave Raider would be the product. I think the five-piece were on to a loser as soon as they begun but I find something deep down to savour here. chainsaw Caine is the mad, bad vocalist who comes across like a less fleshy Dee Snider, and he's backed by a theatrical rock show that never quite delivers the fireworks, Nicci Wikkid is the fiery femme fatale who backs up vocals and rips out the guitars alongside Lance Sabin, whilst Letitia Rae and The Rock make up the rest of the freakshow, but there's no real sustainable weight here, and lyrically it's pretty groggy Too much "brain - insane, rude - crude", c'mon guys I know it's 1988 but surely within the recesses of your minds you could find something abit more meaty to say ? The title cut is catchy, 'Make Some Noise' WILL remain on the tip of your memory for at least a week, but it's still a watered down Twisted Sister that fell at the first hurdle, but I'm giving it a mention here because someone out there in glam land may really take a shine to it.

5/10

Incubus - Beyond The Unknown (1988)

US death/thrash that hooked me with the cover. Musically it's a thrashier Obituary during a time when death metal was making inroads and everything was being produced in Florida. Technically, some excellent music on offer here, no real thrills as such but it's a shame the band dissipated afterwards because 'Beyond...' is as good as most that emerged during the time, but I guess such an effort got drowned in the sea of familiar bands, as Nocturnus, Monstrosity, Obituary, Death, Morbid Angel, etc, etc, hit the scene. 'Beyond...' explores more of a death metal territory than the 'Serpent Temptation' debut, allowing its speed and gruff vocal delivery to take over the helm so if you're looking for quality, technical and well polished death metal then you could do worse then check out Incubus...shame that they share their name with a terrible nu-metal act.

7/10

Nuclear Assault - Game Over (1986)

A pure thrash attack from the New Jersey group. For me, 'Survive' was their most accomplished record, although Nuclear assault always remained mid-table in the major league, but can't be faulted for their energy and fast-paced rockin'. John Connelly's vocals can sometimes grate but on 'Stranded In Hell' the band find a happy medium, blitzing the ears with infernal thrash but slowing down when the time is right. Nuclear Assault were certainly popular during their time and 'Game Over' has alot of qualities which made early Metallica, Megadeth etc so classy, but for some reason the four-piece couldn't shift into first gear but thrashers will find much to savour here, even if the band will insist on injecting silly humour, but then again the thrash scene was known for such tomfoolery! Musically frantic, somehow refreshing, you know what you're getting with Nuclear Assault and let's face it, their name says it all. A quality thrash sleeve by Repka also.

6.5/10

Defiance - Void Terra Firma (1990)

Hey, I like this record. Sure, it's Bay Area thrash but it has enough meat to really get your teeth into. This would no doubt have slipped by the wayside back in the day, the Bay Area scene produced a veritable feast of quality bands, and upon looking back it's a shame more never made it big. Defiance slot in just behind Testament, keeping it real and heavy, especially in the vocal department of Steve Esquivel whose growls are consistent and certainly more layered than you'd expect from most Bay Area thrashers. There's a big Anthrax chug on 'Checkmate', and whilst there's an air of familiarity on the record, this being the band's second release, the musicianship is accomplished and I've heard far worse. It's important that bands such Defiance existed, proof that no-holds barred thrash could stand the test of time because listening to 'Void...' many years later, it still sounds good.

7/10

Bolt Thrower - In Battle There Is No Law (1988)

When first introduced to metal I was bewildered by the many sub-sections of genre within the fray. Power metal, thrash metal, sleaze, glam and doom metal...but once you're in for the ride little do you realise just how complex these categories are...in fact, despite the elastic nature of the metal genre, it still attempts to restrict by pigeon holing anything and everything new that comes along. Back in the '80s when the storm clouds gathered dark Britain produced a style of aggressive music that carved its own niche. Back then it was called hardcore, but this is where it gets confusing. The thrash/death metal genre spawned so many spin-offs, from speed metal, to grindcore, from black metal to thrashcore, speedcore, industrial blah blah...Bolt Thrower, who hailed from the Midlands in the UK lead a pack of hungry contenders to a throne that was vacant, and so hardcore was born. Listen to this superb record today and I'm sure you'll agree that it could fit into several of the genre's already mentioned, but at the time in the UK there were alot of independent labels out there producing fine and extreme bands such as Napalm Death, Unseen Terror, Defecation etc, who simply had a sound that couldn't be restricted as such. Hardcore somehow described a style of primitive sludge that could have pace, yet it wasn't thrash, it was grey and battering, but not industrial despite its vision of satanic mills and crumbling industry, and it certainly wasn't clean or tight enough to be classed as death metal. Grindcore was certainly a bracket that may have enshrouded a band such as Bolt Thrower whose debut album still remains a horrifying cult release. From its black and white sketch cover to its doom-laden sound, you can tell its pure British filth, rubbing shoulders with punk, touching on a Sabbath outlook, poisoning and smothering like toxic waste but something so different from say bands such as Slayer.

'In Battle...' is one of the best UK extreme metal records, it pours a blackness into the ocean, a grinding, droning, marching plague of negativity that somehow offers so much in its warfare. I guess it could be punk, but it's too stark, and it could be hardcore, but it's too heavy, it's just British. Imagine some vile creature from Lovecraft's most appalling setting, rising from the wastes and obliterating a city already high on nuclear power and coated in grey. Bolt Thrower have always produced a big sound, dirty, rolling, clanking and somehow remain original in a genre of sub-plots, spin-off categories and pigeon-holing. Grindcore, hardcore...it doesn't matter, Bolt Thrower covered the lot on this monster, a titan of a record that ripped the lid off the drains and puked sewage all over the scene. Only the UK could produce something so real...

8/10

Darkthrone - F.O.A.D. (2007)

This is it. The bands finest record since those pitch black early days when extremity existed in under-produced forest dwelling evil. 'F.O.A.D.' takes us back to the '80s when anthemic destruction was on the cards, bedrooms were draped in vampyric and satanic influence and "Fuck Off And Die" was the spirit of metal. Fenriz and Nocturno have finally, after many attempts by many, many bands, to reenact that pure, energized time of dark excitement. Celtic Frost, Bulldozer, Venom, traditional metal, the NWOBHM, it's all here, a murky, yet accessible time warp of a record that exists on regression but remains the final word in Darkthrone's reign. No other band in the modern era could get away with tracks such as 'Canadian Metal' or 'Raised On Rock'. Motorhead have spewed such oily manifestations for what seems like centuries, but on 'F.O.A.D.' the Norwegian kings have found that icy grave that metal had almost neglected, that time when metal was real, when posers were set fire to, and parents ran back to their dining room worried about their son's infatuation with alleged black magic. 'F.O.A.D.' is no imitation, it's still Darkthrone, and the fingers they stick up to the commercial masses are as big and black as ever, but musically this is a fantastic black thrash assault, mid-paced grimness that thrives on vile yet monstrous vocals, some amazing buzzing, nihilistic riffs, and the wonderful percussion from Fenriz. 'These Shores Are Damned' shows the band at their finest musically, Nocturno producing a tight, Celtic Frost inspired claustrophobia whilst the rank, ominous plod of 'The Banners Of Old' brings back those apocalyptic memories of when I first realised that something deeper lurked behind the seemingly vicious facade of Slayer.

'F.O.A.D.' is a tribute to all the great bands of before, early Voivod, Destruction, Bathory, old school thrash and epic power metal. But it's still very much Darkthrone as they soar beyond the shoulders of giants and exist in their own gloomy realm of arrogance and impurity. Check out that riff on the title cut and the warrior cries, it's the kind of album that hopefully will captivate many new metalheads as they seek something extra through the fog.

Darkthrone are not black metal, they are true heavy metal, capturing the spirit and cavernous power of the genre. Blessed with a great album cover also, the gruesome twosome even list a selection of essential great metal records on the inner sleeve. what more can you ask from the masters of metal.

9/10

Warlord - The Best Of... (1993)

Admittedly I don't know alot about these guys but they released the 'Deliver Us' EP in 1983 and then a live debut in '84, so this record groups together the bands alleged finest moments, a distant chasm of heavy metal which will appeal to fans of the NWOBHM and possibly stuff like Witchfinder General in that Warlord possess an uncanny ability to grind out phantom music from the deepest caverns. At times you can smell the naivety of the early '80s here as the act sift through various devilish topics, the vocals often monotone over the impressive guitars, waves of density come ashore, 'Child Of The Damned', 'Black Mass' and 'Lucifers Hammer' are not as corny as they sound and tracks such as 'Lost & Lonely Days' have an Ozzy feel. It's strange stuff without ever roaming into far and distant places although I'm pretty sure Warlord recorded these tracks in dense woodland...

6.5/10

Vicious Rumours - Vicious Rumours (1990)

Always remember their albums in the magazines and never got round to fully appreciating the power metal splendour, but the self-titled opus really does reek of Metal Church via 'Blessing In...' so that's fine by me, Carl Albert's vocals crystal clear, the riffs chugging along mid-tempo, the album harbouring alot of beef. I love the thrashy 'Dont Wait For Me', the chanted chorus, a genuine attempt at real heavy metal and some mighty fine guitar work courtesy of Thorpe and McGee. 'World Church' is a little predictable, let's face it, how many metal tracks in the world have an, "All for one...", chorus ? Too many. However, 'On The Edge' really tramples and 'Down To The Temple' is a wicked brew of metallic heaviness and polished musicianship. This is a gem of a record from a band who I imagined at the time were massive when the reality was, they simply weren't, probably cos' they were too damn sincere and no holds barred to follow trends.

7.5/10

Tesla - The Great Radio Controversy (1989)

A step up from 'Mechanical...', this opus sees the band pumping harder and the licks coming stronger from the off. Relatively safe as houses but tighter than a duck's arse 'Hang Tough' grooves smoothly into the mix, the hips are shaking and the fire is burning even if it's just melodic metal for the masses. Love the riff of 'Be A Man' even if the track itself is a little cheesy but it's well produced arena rock that never actually filled too many arena's, probably because they'd all been taken up by the likes of Bon Jove and Kiss but Tesla do a far better job at swinging rock. 'Did It For The Money' shows the band have a surprisingly heavy streak and 'Makin Magic' provokes images of the metal daze that was slowly fading and Jeff Keith is a real belter when it comes to bashing out the vocals. The album has its quieter moments, you have to expect that in late '80s rock but 'Flight To Nowhere' builds wonderfully and 'Love Song' drifts by leaving a tear or two.

7/10

Urband Dance Squad - Mental Floss For The Globe (1990)

At times these Dutch boys are electrifying, fronted by the rappin', rockin' Rudeboy here's a band for all ya'll who went on to dig the likes of Fishbone, Mordred, 24-7-Spyz etc. This is cool, dynamic funky heavily fused crossover rock, unpredictable, catchy and thankfully sincere unlike so many other bands from the time. Humour, politics, streetwise visuals, cool bass lines, scratchin' and attitude. Nothing cheesy about UDS, just a shame they never really made a mark but as soon as the flame begins to burn on 'Fast Lane' you'll be climbing the walls. Elasticated rock at its finest I guess but always with a limited shelf life, unless of course you still own a copy or read this and go and find one...they deserve the recognition so put the Chili Peppers crap down and listen to some real crazy rock.

7/10

The Young Gods - TV Sky (1991)

Hypnotic Swiss industrial which breezes in on the Doors-esque 'Our House' but soon melts into road movie rust with the oily 'Gasoline Man' . This is the bands fourth album in a peculiar yet stirring career. This record rarely left my turntable when I purchased it, a dark grey mechanical cloud of oddness that clanks, drives, fizzes and buzzes as much as any Ministry album whilst spewing forth a kaleidoscope of psychedelia and electro remoteness. 'Skinflowers' is wonderfully serene bleeding into the thrashy strains of 'Dame Chance' but for me it's the final two cuts on the record which offer so much beauty. 'She Rains' pictures a monolithic Jim Morrison character underneath an electrical storm as the band brood and groove in a 'Twin Peaks' nightmare and the final cut, 'Summer Eyes' has a gothic tinge. This is dark poetry in motion that at once rains, shines and bleeds onto the floor, making you want to dance but also wallow in some other place that The Young Gods are able to create with only the use of voice, samples and drums. Excellent.

8/10

Ministry - The Land Of Rape & Honey (1988)

Wow, what a sound. As the electro buzz of 'Stigmata' kicks in it's clear that Ministry are just a fraction away of bridging that gap between metal and industrial mayhem. Of course, such a pathway would not be created until the fantastic 'The Way To Succeed...', but 'The Land Of...' was the big one for me, a tormented, frantic minefield of barbaric machinism. The disturbing 'The Missing' pounds like anything dark in metal, Al Jourgensen becoming one of the most maniacal frontmen ever with his hoarse bellows amidst the wiry soundcsapes. Somehow wonderfully catchy in its extremity, four years later of course Faith No More would reinact such absurdities on 'Angel Dust', but Minsitry have always been the kings of such robotic rage, thrashing with the likes of Voivod but also constructing booming dance rhythms ('Destruction') and techno-punk ('Hizbollah'). There aren't many industrial bands who can lay claim that they started a riot, but in a genre where rust often outweighs the accessibility, Ministry rise like some Lovecraftian gargoyle, the title track an immense behemoth of barbed wire menace. This sits nicely alongside the video nasty samples of Swamp Terrorists and grey angst of Treponem Pal and is a must even for the purist metaller.

8/10

Lynch Mob - Wicked Sensation (1990)

Well, it's alright. Of course, I can't leave the review at that but this is more middle of the road metal, not as cringe worthy as the likes of Steelheart, Lynch Mob having more balls than alot of late '80s, early '90s rock acts but already suffering at the hands of metal's new inventors being the likes of Faith No More, Soundgarden etc. Featuring George Lynch of Dokken fame, 'Wicked Sensation' is straight down the line good time rock, not as soulful as say Bulletboys but catchy all the same, 'River Of Love' is a bit of a stomper even if 'Sweet Sister Mercy' sounds more suited to Def Leppard, but it's accessible and doesn't leaving me eating my own hair. Bereft of any creativity, Lynch Mob exist on some reasonable choruses, albeit tracks which seem to lead the same way in their formula, but at least when we get to the anthemic bit it's not too much of a let down. A nice up-tempo record that doesn't require thought.

5.5/10