Prophets Of Addiction - Babylon Boulevard (2010)

This is devilish and dirty sleaze metal that sounds like it was pluckled straight from the '80s. These diva's are fronted by Lesli Sanders, former bass player of Pretty Boy Floyd. He's been around a while but judging by the sound his latest band, things are lookin' pretty darn good. This isn't pompous glam rock, far from it, there's an element of tragedy and punkoid frenzy, the band coming across like the bastard offspring of the New York Dolls, Faster pussycat, the Ramones, Dogs D'Amour et al. Sanders is a reasonably accomplished vocalist who drools over the gritty riffs and drunken drums. Rev(X) and Amit Leeron provide the grimy leads, solo's and general sordid underbelly to this unhealthy affair. 'Hang Me Up' is a lazy, staggering mess of a track featuring a crashing glam drum stomp as Sanders slurs throughout, but it's endearing in its hazy way. The title track is killer too, infectious in its chorus and its grime ridden riff, it smooches with hanoi Rocks but refuses to party, instead Prophets Of Addiction have a darkness which taints their ragged wings. 'Self Portrait' suffers a maddening mood swing, it struts like W.A.S.P. under a frown, and you get the impression from this bunch of rock n' roll whores that they have lived the life, and it shines through in the music. This about as sleazy as an alleyway in downtown New York... 7.5/10

Sorcery - Blood Chilling Tales (1991)

Grab your crucifix, things are gonna get scary. On first view of the shoddy album artwork I thought this might be some dungeons n' dragons style metal, but how wrong was I.This is pretty brutal formulaic old school death metal with a deep, guttural vocal assault, and distinctive buzzing riffs. I must admit to having never heard of these Swedish deathsters before, but this is pretty good stuff, particularly those vocals which seem comfortable to switch between gnarly bellow and demonic rasp. It's still pretty much no thrills stuff but tinged with a few atmospherics, particularly on 'By These Words' with its Hammer Horror style outro. I guess the closest band I could compare them to would be Unleashed, and that's no bad thing. The track 'Death' begins with a swampy riff and horrifying yelp, as we descned into further downtuned madness and those crushing drums. The pace is soon quickened, as it does with most of the tracks on offer. Fans of the like of Entombed and Carnage will find much flesh to savour here,Nygren and Karlsson-Mard's guitars are extremely potent, delivered in bleak fashion and I'm wondering why these guys didn't get popular when the Swedish death metal scene blossomed. I'm loving te more mid-tempo atrocities such as 'Dragons Of The Burning Twilight' with Malmstrom's witchy vocals - but sadly this was the bands only release, maybe doomed forever by that amateurish artwork. Even so, this record lives up to its seemingly cheesy title. All hail Swedish sorcery! 7/10

Black Lace - Unlaced (1984)

Great band photo, and a bloody good record to go with it, even if the vocals of Maryann Scandiffio are slightly off key and lost in the mix. Even so, at times this is a pretty standard, middle of the road metal album that is relatively poor in production but still rises above mediocrity at times. 'Runner In The Night' plods along, quite hapily at being an average metal track, the guitars of Carlo Fragnito could do with an extra bit of volume, but it's still sturdy stuff. The brilliantly titled 'March Of The Black Witch' is an eerie introduction to all things spooky, leading us into rattling 'Call Of The Wild' in which Maryann comes into her own with those banshee wails. This is easily as fiery as Hellion, so I'd recommend this to anyone who likes female vocals in metal but ballsy ones at that. 7/10

Vengeance Rising - Human Sacrifice (1989)

This is pretty scary thrash metal when you consider it's a Christian band, but not that it matters, because this rocks. Vocally it's almost a black metal sneer, a grotesque angst-ridden gurgle that rises above the searing solo's and speedy riffs. Think Sodom, Kreator, Slayer, all tracks delivered with fatal aplomb, particularly the frenzied 'Fatal Delay' and the brilliantly titled ' I Love Hating Evil,' which begins with a mellow passage which sounds like Ozzy Osbourne's 'You Can't Kill Rock n Roll' before drifting into a serene landscape of drums and then juggernaut Slayerized riffs. Again, a great vocal display, I can't get enough of this record, which to me sounds pretty dark despite its overall message of peace. Glorious stuff and for similar old school thrashing check out another band of merry Christians called Living Sacrifice. 7.5/10

Guillotine - Bring Down The Curtain (1989)

Even more obscure thrash, Guillotine are an American crossover band who aren't afraid to dip into more jerky dynamics and add a touch of complexity - in turn creating some unusual melodies and structures. This has a strong hardcore feel to it, particularly the upbeat 'Pitch Black' although at times there appears to be too much going on. There's even a funky flavour with the chunky riffs and choppy raps. Admittedly, it's not the most thrilling album I've heard, and it reeks of obscurity but some of the revoews for this opus online have left me bemused with some saying it's tiresome and boring but I disagree. Sure, Guillotine aren't orginal, and at times the vocals can become irritating ('When Violence Breathes') but I've heard worse. I'll stick to Suicidal Tendencies, D.R.I., and the like, but I'm still glad Guillotine existed.

5/10

Gammacide - Victims Of Science (1989)

This is more like it, Gamacide are furious US thrashers who have a distinctive violent approach to their meaty sound. Vocally Varnam Ponville reminds me of Sean Killian from my fave thrashers Vio-lence. This is metal with a violent swing to it, the guitars of Shelby and Perry are frantic but also heavy. This isn't hyper thrash, it doesn't need to be, it's jaws are already armed with a devilish set of teeth. The usual thrashy topics apply here, warfare, pollution etc, but all delivered like a shovel to the skull. Some fantastic drum work courtesy of Milford. I'm not aware of these guys gaining any success but if I had to pick out ten ultra cool thrash obscurities then this would be in there as one of the best. The title track is skin-shredder with some superb riffs and 'Endangered Species' is equally lethal with those screaming solo's and ravenous drums. There's something about the whole package that reeks of thrash with attitude, and I can't understand why these guys weren't more popular, 'Incubus' is as good, if not better as early Exodus and 'Observations' with its frenetic structures is mind blowing. Overall this is too furious and frothing to be obscure, but the fact is, this got nowhere, but all thrashers pay attention. 7.5/10

Adrian - One Step Into The Uncertain (1987)

This is as about as obscure as it gets. Melodic German metal boasting some of the worst cover art ever known to man, and the vocalist (Oliver Wende) isn't too good either. This rattles by at an average, yet non-threatening speed, amateurish in everything it does despite some lukewarm guitar riffs, especially on 'The White Death' which is about as thrashy as it gets The vocals are a miserable teenage style warble, but somehow the solo's keep the head of the album above water, so it's not exactly a sinking ship and let's face it, any metalhead would have been proud to own such a little known album. Eight tracks, all rather inadequately produced, he best of these being 'Dreamer' which begins like some smooching, slow-paced '70s prog track and never really alters its shape. I think the band are probably more accomplished than I'm giving them credit for, but the whole record reeks of low budget but it's all rather weak to be described as power metal. You work it out! 5.5/10

Risk - The Daily Horror News (1988)

Who'd have thought, judging by the atrocious cartoon cover that this is a decent thrash record!! There really were some odd covers around in the '80s and a majority of them hid some very good records.This is Eurpoean thrash with a strong crunchy style riff attack. Eight tracks on offer, all smash the face with a bay Area style of looseness, Heinz Mikus has pretty effective and agressive vocals, and his guitars certainly pack a punch. At times it verges on that Nuclear Assault style of speed, especially on a cut like 'Speed Kills' whilst opener 'Living In Chaos' with its tribal intro reminds one of Laaz Rockit, Evil Dead, in its approach, although once again I'm distracted by the cover. I've never seen this obscurity anywhere but if you've ever managed to get your ears round it then you're fortunate, because this is a little thrash gem of an opus. 7/10

The Ravenous - Blood Delerium (2004)

Pure filth as expected by these bunch of video nasty inspired maniacs. If you're not familar with The Ravenous then you should be - but if you like your metal pompous and straight up then it's best to avouid this. The Ravenous are a disgusting pack of zombiefied metal maniacs who combine the gore-soaked qualities of Autopsy (which they obviously should considering these guys feature Chris Reifert and assorted members of Abcess and Necrophagia. It's all pretty grotesque, especially if you read the lyrics and you'll probably need a few showers afterwards! It's best described as gore-spattered extreme metal, with puked vocals provided by Reifert and horror fiend Killjoy. You know what you're getting when you see titles such as 'Baptized In Demon's Piss', 'A Corpse Is Forever', and 'Nightmares In A Damaged Brain,' all pretty hideous stuff. Imagine if a bunch of zombies had the brain to form a band and you might get the idea. Gore metal to the extreme but somehow captivating in its morbidity. 7/10

Heretic - Breaking Point (1988)

Cracking little record this one, Heretic were fronted by vocalist Mike Howe who went on to sing for Metal Church, whilst, oddly, the rest of the band joined former Metal Church vocalist David Wayne to form Reverend. If you're familar with the mid-tempo cold steel of Metal Church and their superb 'Blessing In Disguise' opus, then you'll dig this. Great band name, great album cover, and a great pure metal sound that drifts along as icy power metal with robust tracks and solid structures. Howe's vocals are supreme, rising above the chugs - in fact the whole record has a very crystal clear feel. Goodness knows how this record slipped by the wayside, it still sounds so fresh even now, tracks like 'Time Runs Short' and the thrashing 'All Kingdom's Fall' are top-notch metal songs that equal, if not better most Judas Priest songs, and yet criminally it's another of those short-lived careers spawing a mini-masterpiece of an album. the band's earlier works have a rawer edge and feature Mike Torres on vocals, but if you like a clean cut yet extremely mature set of dynamics then you need to track down 'Breaking Point.' 8/10

Medieval Steel - The Dungeon Tapes (2006)

Don't be fooled by the date, 'The Dungeon Tapes' is a crusty compilation of classic '80s metal performed by US metalheads Medieval Steel, and thankfully this batch of recordings live up to the title. This is epic, raging, metallic mayhem in the classic metal vein featuring great song titles, battleaxe riifs, warlord vocals and all manner of cavernous topics from mystery, magic and metal. From the more subtle 'Tears In The Rain' to the mellow 'Echoes' and not forgetting the frothing 'Medieval Steel' with its cool intro and blazing guitars, and the dark, simmering 'Just Too Late.' Favourite track has to be the dense roar of 'Warlords' with its pulverising drums and warbling vocals. Feel the steeeeeel! 7/10

Spellbound - Rockin' Reckless (1985)

Another dose of '80s metal magic. This being the bands second opus after the superb 'Breaking The Spell.' Turn up the amps for this dose of what I believe is Swedish metal. This is pure macho metal - flying V-guitars, leather gloves, flailing hair, almost like a revved up Def Leppard in those vocals with a nice poppy edge at times, particularly on the excellent title track. The look may have imspired Steel Panther to carve a career, but this is molten metal at times, the guitar sound on the album is crystal clear, check out the struttin' chug of 'Drinking Alone' which has a denim n' leather Saxon feel whilst 'Streetprowler' is a wild dose of burning metal. Props must go to guitarists Al Strandberg and JJ Marsh. Even the keyboards are effective, and that's saying something. Great drum sound from Ola Strandberg on 'Heat It Up.' Nothing beats the type of metal that combines melody with meat. This record lives up to the title. 7.5/10

McQueen Street - s/t (1991)

Excellent little hair metal record this one, almost like a mix between Poison, G n' R and Faster Pussycat, beefed up by some superb vocals which border on that Axl Rose snarrl and driving guitars. The band can clearly write a good tune, keeping things deadly serious on tracks like 'Two Worlds' but sadly it still wasn't cool enough for fame or for the '90s. Derek Welsh has a cool set of pipes, at times the swagger of the record reminds me of the sort of snarl that Spread Eagle and Wildside boasted - once again, two more bands who slipped by the wayside whilst Guns n' Roses got bloated. McQueen Street aren't exactly alterno metal, if anything it's relatively pure sleaze with major attitude, from the shaking bass of 'My Religion' and the sweeping chimes of power ballad 'Only The Wind.' This is a real grower of an album that is laced with magic. 7.5/10

Reckless - Heart Of Steel (1984)

Pretty meaty hard rock, big hair, pomp, glammed up and fronted by Steve madden who certainly gives an air of steel to the nine tracks on offer. Favourite track hasd to be the hard edged 'Drivin' You mad' featuring a killer riff and hungry backing vocal attack. I was surprised just how much this album sneers and then is more than happy to leave you astray with a melodic groove. Lederman's drums give 'Feel The Fire' a far more poppy edge but it's album opener 'Hot n' Ready' that brought the band minor success, this was the lead single supported by typically '80s hair metal video. The more I listen to this opus the deeper I fall in love with it. Proof that not all '80s hair metal was just about image, because Reckless most certainly add a bucket full of cement to their sound. 7/10

Various Artists - Dark Passages (1991)

During the early '90s doom metal was just getting popular, and 'Dark Passages' was a great introductory album to all things gloomy. The scene is most certainly saturated now with too many so-called stoner bands and also too many bands with drawn out, depressingly bland albums. 'Dark Passages' featured the classic bands of the time, with tracks from Cathedral, Count Raven, Saint Vitus, and at the time, the more up and coming bands such as Penance, Solitude Aeturnus and Revelation. Doom metal was certainly of a higher quality back then, highlighted by the inclusion of the very cool Stillborn. Good times. 7/10

Joey Tafolla - Out Of The Sun (1987)

I always thought there was something magical and mystical about these guitar albums. Maybe it was the fact that a lot of the covers looked the same, bringing to mind some cosmic and fantastical place. For those who can put up with metal bereft of a vocalist then 'Out Of The Sun' is the ideal starting point for high gloss '80s metal. Tafolla was a guitar wizard and just one spin of this disc will ram his talents home. the staggering and often bewildering solo's take you to a far off place without ever boring you, and with the spronkling of ketboards and solid musicianship all round 'Out Of The Sun' is a different metal journey you should take at least once in your life. Some would argue it's all self indulgent, and yes, I admit, I would have preferred a roaring vocalist on here, but this time round, let Tafolla's instrument be the voice. Shredding to the max... 7/10

Shah - Beware (1989)

Beware indeed, Shah are a rough-around-the-edges metal band from the '80s who produced some gloriously gritty metal packed with aggression and spike. This does have an almost basic thrash feel to proceedings but because of it's dynamics there is an air of originality, particularly in some unexpected effects and those gritty vocals and rough bass lines. The title cut is a pure galloping monster of a track even if vocalist Antonio 'The Almighty' Garcia sounds like he's too close to the mic. He also supplies the rattling guitars whilst self-proclaimed 'Drumnoid' Andrei Sazonov beefs up the track even further. This is effective thrash metal from Russia that carries a pretty fatal bite. 'Age Of Dismay,' 'Threshold Of Pain,' 'Save The Human Race,' et al, all delivered like a mallet to the face. If you can ignore the last joke track ('Say Hi To Anthrax') then Shah are a surefire winner. 7/10

Metal Messiah - Honour Among Thieves (1989)

I recall that these guys were a British thrash act from the '80s. Sadly, their rather derivative sound never enabled them to rise from the gloomy pit of the local housing estate. Jim Aspinall's vocals are relatively weak over those rather feeble Bay Area style riffs, but what doesn't help is the atrocious production of this opus. It really does sound as though it was recorded in a basement full of water, the drums existing as a mere fizzle although the epic 8-minute 'Curse Of The King' does see the band rise from thr ashes. This is a noteworthy track, blessed with a killer intro thanks to the twin guitar attack of Darroch and Smith. The production team really should have been shot hwoever, the shoddyness ruining the bands chances of any success despite some good reviews on the love circuit. My main issue is that alongside Toranaga etc, there really wasn't much music that stood out, the classic metal chug of it all soon grated on the senses, 'Mad Man' being a prime example. Although this 6-minute (too long) track features some fantastic solo's and crunching grooves, there's nothing there with any real identity. The strong NWOBHM feel doesw the band a few favours but at times it's too much of a ramble with too many songs stretching themselves out to six minutes when three or four minutes would have been quite sufficient. Metal Messiah had a cult following, and deserve inclusion, just a shame the feel of this thing is horrendous, god knows what the button twiddlers in the studio were thinking. 5.5/10

Satanic Rites - No Use Crying (1987)

Right, before you get excited, this isn't some rampant thrashing metal beast of an album - far from it. In fact the bizarrely named Satanic Rites could best be described as pop metal - others may say it's New Wave Of British Heavy Metal - either way, it's so sweet sounding and melodic - imagine if Debbie Harry fronted a late '70s, early '80s creaky hard rock band and you might catch my drift. 'No Use Crying' is an unbelievably catchy hard rock record, wistful in its vocal delivery - thanks to Deborah Webster - boasting a handful, if not more, of candy-coated tracks that joyously stride into view on the upbeat 'ggod Times Now' which is injected with some dramatic keyboards. It's all pretty harmless despite the cover and title. 'Cast My Soell' has a classic, sultry rock feel to it but if there's one standout cut it has to be the mesmerising 'Changeling' with its soundtrack type spooky intro and then the twiddly guitar and galloping drum. Webster's vocal are polished, almost suggesting a darker edge in those lyrics, but the inclusion of the bouncy keyboard is unexpected, giving the track a sudden summery lift. Weird! Overall a cute little record sprinkled with joy, but I just can't get over that band name! Spooky in its sweetness. 7/10

Alleycat Scratch - Deadboys In Trash City (1993)

They came, they saw, they vanished. Despite being on the Sunset Strip scene for a few years, by the time this record emerged metal was dying on its feet and the glam/sleaze scene had been blown up by the bloated camel that was Guns n' Roses. This is pretty standard stuff, struttin'...or at least attempting to, on a Faster Pussycat style vibe with lyrics all about cats, innuendo, liptsick n' leather. It's half decent for the most part, relatively riotous rather than being drab and dreary. Vocally Eddie Robison is nothing special, but it's on tracks like 'Stilleto Strut' with its cool intro and stabbing bass that the band really shine, even if the overall groove is a sub-standard 'Out To Get Me' (Guns n' Roses) but I've certainly hard far worse on the glam and glitter scene. A majority of the time the band try to tock hard, the guitars of Devin Lovelace are easy on the ear, all bubblegum for the soul, and scratchy around the edges. Naturally, it falls flat due to lack of creativity and identity, but there are times when the band have a hint of the good, 'Take A Bite...' has a fluent strut to it. This isn't the bands first opus, but literally everything they did fell on deaf years but it wasn't for the want of trying. Good in small doses. 6/10

Chrome Molly - Angst (1988)

This is pretty dated sounding 'metal' that is high on melody and with a distinctive poppy edge. A track like 'Take Me I'm Yours' with that awful piano may put some metalheads off for life, but when the band do attempt to rock out they are mediocre at best. 'Too Far Gone' is about as hot as it gets, Tim Read is far looser on the guitars and Hawkins clear, almost wimpy vocals can also begin to grate and for me there's too much emphasis on the ligher side. 'Take It Or Leave' it has that watery, techno Def Leppard feel, made all the more pompous by the keyboard injection. It's a shame because there are some decent guitars on this record, but it spends too much time with its feet in the lukewarm, particularly the smooching 'I Want To Find Out' where the half-decent guitars are struggling to burst free. The short but sweet 'Living A Lie' almost saves the album from drowning, but the constant fluffy echoes seem insistent on wrestling the guitars into submission. Very much one for the fans of puppy metal. 5/10

Savage Grace - The Dominatress (1983)

Unsure why this isn't called 'The Dominatrix' but anyway, this is once again a furious assault on the ears, delivered by one of our favourite bunch of metal maniacs Savage Grace. This five-track EP, which clocks in at just over twenty-minutes, has a strong thrash edge, particularly on the opener 'Fight For Your Life' with the heavy guitar attack of Logue and Powell, whilst vocalist John Birk is like a less ravenous Bobby Ellsworth of Overkill fame, providing more melody and less rasp. The title track features a killer guitar stomp and clattering drum attack, pure power metal madness. 'Curse The Night' is great burning metal, slowing the pace, existing a more straight forward rocker. This is a solid EP from a band who knew how to appeal to the fans with those killer album covers. Track down their back catalogue for a great '80s metal experience. 7.5/10

Reptile Smile - Automatic Cool (1990)

This ten tracker has a strong AC/DC feel, particularly in the melodies of the songs, whereas the vocals are quite bruising and raspy. My first impression of the cover and band name was that these guys might ber some sort of sleaze band, but only at times, the guitars of Lissnils and Karlegard bring to mind more of a bluesy swagger. The title track is certainly one that digs deep in the brain, Peter Shapiro certainly has a gruff, direct vocal rasp, and I'm thinking that these guys may have been going for a harder edged style of Faster Pussycat style strut. '2000 Miles'boasts a more melodic, poppy strut, but a few tracks in there isn't a track that stands out, the album possibly bogged down by the familisr structures and those gritty vocals. 'Rock n Roll Monkey' follows a similar pattern, the riffs of each song almost merging into one, Reptile Smile not having the class or ideas to make themselves stand out from the crowd despite the tight musicianship. I think this is a love or hate record, but the fact it's far meatier than most means a thumbs up from me for the most part...but Spread Eagle, Kik Tracee and Faster Pussycat it most certainly isn't. 6.5/10

Blood Of The Sun - Burning On The Wings Of Desire (2012)

Deserves inclusion just for that killer hammond organ on the sublime go-go groove of 'Let It Roll'. Apparently this is the Texan bands fourth record,a sun-drenched rock n' roll screamer has a stoner element - according to the stoner fans - although if you ask me more associations with late '60s and '70s southern style groove and psychedelia. The five-piece feature the vocal talents of Mark Zammeron, and also Saint Vitus drummer henry Vasquez. It's almost as if Deep Purple just got a makeover! 'Death Ride' swoons in on that gushing hammond and rich guitar riffs, and the vocals are soulfully epic. The majestic 'Good & Evil' - featuring the vocal drool of Wino from Saint Vitus - fetures another acid-drenched organ and swirling guitar. It's the type of sound probably quite typical in the late '60s, but great to hear such a breezy sound squirming its way into the modern day, I'm imagining this must be ultra-cool as a liveshow. The hammond certainly takes over on most of the tracks, and it's an instrument I could put up with all day. The funky strut of 'Good Feeling' follows in the same upbeat vein. This is very much vintage sounding hard rock, often lacking originality but feel good all the way through...nice. 7/10

Christian Mistress - Possession (2012)

Now this is a pleasant surprise. The delightfully named Christian Mistress are a cute metal package wrapped up like some '80s New Wave Of British Heavy Metal and yet they are as fresh as a daisy, 'Possession' being the bands second opus after their 'Agony & Opium' record. Some are praising this as the album of the year - now, I wouldn't go that far, but Christian Mistress are quite a band. What's si impressive is their stripped down sound which takes influence from late '60s, early '70s and early '80s style of heavy music - a touch of psychedelia, a hint of doom, a thick wedge of classic metal, but in vocal goddess Christine Davis, Christian Mistress have a completely different angle on the metal approach. Whilst the five-piece effortlessly squeeze out a dark edged style of metal, Christine provides an almost sultry, smokey and at times very laid back and silky style of vocal. At most times she graces the doomy riffs bringing to mind the trippy subtlety of Jefferson Airplane, particularly on the tumbling black waterfall of 'There Is Nowhere' a modern metal amsterpiece with its simmering beginnings then raging riffs. On a track like 'Conviction' the band just rage hard throughout, I'm stirred within, finding myself reaching for my old Coven albums such is the antique feel of this. It sounds so old yet so fresh, nimble on its feet yet oaken in its rawness. there are no thrills here whatsoever, not a gimmick in sight, just pure rock n' roll with that silky vocal that soars high above the forest of sound. Sparbel and McClain's guitars are rich yet so classic sounding, the drums of Storey never let up. There is a strong '70s groove running throughout, Christian Mistress often changing moods, from the Zeppelin-style fantasy of 'All Abandon' with its wistful acoustics ad dark heart, to the riveting Thin Lizzy-style groove of 'Over & Over' with its killer guitars. Christine really shines on this track, probably her most bruising vocal on the album, and yet she still caresses the soul, whilst the wickedly titled 'Pentagram & Crucifix' has a doom-laden plod about it, pure witchery. Relapse Records should do all they can to promote these guys, because they could really gain a cult following, and again, in Davis, a vocalist with gold-coated tonsils. 8/10

Blackout - Evil Game (1984)

These guys must be hard, they've got a song called 'Motorcycle Bitch'! This is dense Euro metal that needs to be played at full volume. I'm loving the angry vocal attack of Bas Van Sloten and the almost murky guitar sound of Hofman and Van Oosten. I know little about these guys and I'm glad, because there's nothing here to cloud judgement, just slip the wax on, drop the needle and hear the thunder roar. This is brutish metal force fed to you as ten hard-edged tracks. The colossal chug of the title cut really gets into the veins, and the dirty groove makes itself known again on the screaming 'Motorcycle Bitch' which drowns in more oil than any Saxon album could. Vocally this track is slightly more subtle and almost sleazy and there's the full-throttle attack of the barbaric 'Ice Age Hunter.' This is a superb little album summed up by the rusty groove of 'Bleeding Moon.' The Netherlands should be proud because this rocks... 8/10

Dealer - First Strike (1986)

Pretty raging NOWOBHM from the '80s. Driving metal boasting some killer, almost thrashy riffs ('When Midnight Comes') and slightly abrasive and tuneless vocals courtesy of Trev Short, but all part of its creaky quality. Amazing to hear a nine-minute epic like 'Final Conflict' which has an early power metal feel to it despite the rather strained vocals which at times verge on breaking point. The guitars on this record are fantastic, and '...Conflict' is easily to the best track, slightly Maidenesque in the vocal attack, and some great heavy drumming too. Catchy hooks, and a real obscure feel means this is a genuine rarity and a fiery track such as 'Victims Of The Night' could well have inspired goodness how many thrash bands back in the '80s. Pretty solid stuff just a shame about the awful '70s sounding name. 7/10

Breaker - In Days Of Heavy Metal (1982)

Just a four track EP this one. A bit of an obscurity with a great title, blessed in a dark, sinister-looking cover, the ten-minute title track sounds like something to be played at a medieval feast with those almost jaunty guitars and weird effects. the track soon shifts into very melodic metal with an epic, fantasy edge, particularly in the vocals and song structure which boasts several differing passages suggesting a sprawling concept. A shame the band got nowhere because this is pretty accomplished, albeit straight forward metal that has a lot of soul. The title track provides a great, almost Gothic atmosphere. Rik Anthony isn't the greatest metal vocalist of all time, but his voice is complemented by the driving guitars of Kevin Bradley. The ultra catchy 'Living Free' has an almost poppy edge until the killer guitars come in. Breaker come across as a NWOBHM and early glam stomp, shuffling by on Doug Jones' drums. these Candadian's sure know how to rock, 'Satan's Lyre' has a sligthly harder edge to its approach, and I would certainly say it was a compliment to describe them as vintage metal. 7/10

Black Virgin - Most Likely To Exceed (1986)

Yikes Scooby, run for your life! This is scary stuff, Black Virgin must surely have crawled from the same fetid pit inhabited by Hellhammer. This is really, really dark heavy metal from the gloomy cavern of the '80s. This is most certainly the sort of album us teenage rebels craved back in the day, but with all that hair metal around it was difficult to breathe through the smog of hairspray. The bizarrely named Black Virgin are so pitch and so sinister that I'm seeking advice from a priest after just one listen. Amazing how so many bands over the last decade or more have tried to sound so evil, and yet these guys effortlessly slip into the blackness with their gloom-laden brand of claustrophobic heavy metal. It's the sort of sordid metal that drums up images of moonless nights and a sacrificial lamb - think of old Celtic Frost, especially in that grim vocal department, Kenny Lienhardt, also responsible for those sinisyer riffs, is pure filth in those arrogant and devilish sneers - I'm thinking early Voivod too as the pitch 'Nightriders' oozes out of the speakers. There's a sinister female named Cathy Burke on drums, and Joe Cerna bringing the barbaric bass, Black Virgin exist as one of metal's most ungodly acts. 'Blood Brothers', 'Heavy Metal Mad' all hellish creations that take metal to it's darkest corner. This is real black n' roll to frighten not just the children, but the adults also. Just imagine the reaction of the parents when their son bought this home and gave it a few spins. Spooky stuff. Great cover too. 8/10

Shok Paris - Go For The Throat (1984)

I'm more than happy to slot this next to Savage Grace as a pulsating, pumping and volcanic slab of '80s metal, but this band are far more gritty, mainloy due to the sneering vocal delivery which is very much from the Ronnie James Dio camp of warbling. 'Battle Cry', 'Burn It Down' and 'Chosen Ones' just a trio of so many I could have used to sum up the brilliance of this band. Just so great to bands like this, fusing a Maiden/Priest style of groove with warlock vocals. Shok Paris are a fantastic band, much overlooked, so hopefully this review, although brief, will bring them to your attention. The vocals of Vic Hix and the guitars of Ken Erb really pack a punch. 'Go For The Throat' lives up to its name, a cracking little debut. 7.5/10

Savage Grace - Ride Into The Night (1987)

Can you imagine a band wanting this cover nowadays ? Savage Grace were one of those powerhouse of a bands who came up with some truly magical if a little sordid album covers. If anything, 'Ride...' has the archetype metal sleeve - women in distress, macho guys over-looking them, a a theme which features in several of their records, except for the bizarre 'The Dominatress.' 'Ride Into...' is a short EP that showcases the vocal talents of Christian Logue, who, despite having epic pipes, can at times grate on the soul. Even so, this is all pretty dramatic and melodic metal, the strongest tracks being the rushing energy of 'We March On,' which is a real tirade of burning guitars and crashing drums, whilst 'The Healing Hand' is equally stirring with its slow, tranquil intro which, after a minute, turns into a slab of molten metal complete with soaring solo, killer riff and rumbling bass. Very much straight-edged warrior metal very much of its time and yets till sounding fresh today. And that cover....! 7/10

Savage Grace - After The Fall From Grace (1985)

The cover says it all...but is it one of those great covers that hides a shoddy record ? Thankfully, no. Savage Grace hit the ground running, tour de force of a band who combine New Wave Of British Heavy Metal with a more melodic style of power metal. Epic, raging guitars, bolshy drums and lordy vocals that scream the place down. Despite only being just over thirty minutes in length, 'After The Fall...' is a speedy record in so many ways, from the solid icy opening 'Call To Arms' right through to the mystical closer 'Tales Of Mystery,' this is right up there with some of the best '80s metal. Christian Logue is an accomplished vocalist and a solid guitarist too, showcasing his talents on the thrashy 'We Came, We Saw, We Conquered' which comes complete with shouty, militant chanted chorus and reminds me of the Euro Gothic styling of Helloween. It's the sort of record that really sturs the dank dungeons and a record that belongs in most hardcore metal-head collections. 7.5/10

Cerebus - Too Late To Pray (1986)

The title starts with an almost elegant solo and then bang! A deep, dark sombre chug which bleeds into a whining Maiden-esque riff and tumbling drums. The guitars then cut in, the sound is dense, and we're at full tempo, when sudenly those high vocals coming screeching in, the teeth go on edge and the metal races through the veins. Cerebus are another of those obscure, blood n' thunder metal bands from the '80s who probably sold a handful of records. The stuffy production complements the even stuffier guitars, whilst the fluffy drums on opener 'Running Out Of Time' are as equally dense and lost as the slightly wobbly vocals. There's a touch of the garage about all this, real basement metal, especially with Scott Board's vocal screams, but it lacks the dragon slaying power of some bands, although the fiery 'Catch me If You Can' exists on a rumbling riff and runaway train of a drum. The album doesn't live up the darkness suggested by the cover art, but isn't that nearly always the case ? The bass lead groove of 'Talk Is Cheap' makes for a remarkably catchy listen despite the fact it's a rather self-ndulgent galloping intsrumental whilst 'Longing For Home', my fave track, at six minutes is reasonably epic, perfect for any late night swoon despite those tinny drums. 6.5/10

Wildfire - Brute Force & Ignorance (1983)

Well, this is an old and creaky Brit record with a heavy NWOBHM leaning, especially in the melodic vocals of Paul Mario Day who I believe at some point in the 1970s sang for Maiden. This is very much groove based early '80s metal, and what it lacks in evidence makes up for in its songwriting capability - 'Victim Of Love', 'Another Daymare', 'Redline', and 'Lovelight' all mediocre rockers which lack that killer instinct. I've certainly heard far worse, so it's one of those little gems soon washed away by far more accomplished and devilish bands. Hard to believe that Slayer and the likes were around back then! File nicely alongside 'Deathrow' by Touched. 5/10

Danger Danger - Dawn (1995)

File alongside Dangerous Toys, in the sense that these guys slipped into the '90s mire but by ringing out the changes and by beefing up their once cheesy sound. 'Dawn' is a half-cooked hard rock album, even if it lacks the showmanship of before - in other words - these type of bands can't really win to be honest, damned if they do, damned if they don't. By stripping away the bark Danger Danger have become a more moody, brooding, pensive and serious band, keen to write dark-tinged tracks, in the form of the harder 'Punching Bag' which is laced with grunge, as is the riff-heavy 'Helicopter.' The main issue I have however is that despite these type of bands showing a great deal of maturity, to cope with the grunge invasion they literally shed their skins and became a different band and I'm wondering why they just didn't change their name. There is an element of fakery to this, despite the fact that Paul Laine has a fair set of pipes, the whole experience describes a lost band who didn't have the ability of Skid Row to move with the times. Gone is the naughty naughty attitude, and gone is the old band logo, giving the whole experience a rather drab and stark feel, only 'Heaven's Fallin' brings the original band to mind, but even then this 'ballad' is given a roof of stormy clouds. 5/10

United - No IQ (1996)

Furious chugging thrash that emerged at exactly the wrong time, but even so, this takes the best moshing momtns of Anthrax and fuses them with a more primal sounding Pantera. In a sense fans of Sepultura and the likes may have enjoyed some of those harsher riffs and whilst the violent yelps, raps, and chants of Yoshiaki Furui give the album an even harder edge whilst his band rattle away at some speed to match his vocal frenzy. Bizarrely, and much to my surprise, these guys have released loads of albums, but has anyone heard of this fury before ? I'm guessing this fits into today's more clean sounding thrash acts, this doesn't mind wearing its heart on its sleeve, Slayer, early metallica, Pantera et al, although a track like 'Revenger' is ultra fast, full steam ahead angst with hardcore style vocal expression. 'No IQ' is the band's third opus. In other words, where the hell have they been all of our lives ? nice to hear thrash in the mid '90s that doesn't sound false. 6.5/10

Electric Boys - Freewheelin (1994)

Electric Boys always had something cool about them, those big, often psychedelic struttin' grooves and that voice - the type of smooth yet powerful pipes that remind me of Kik Tracee. These guys were pretty consistent even though they never made the big time, 'Freewheelin' is another solid opus that combines a bluesy soul with sugary sway. I guess being Swedish never enabled them to attack the USA or Britain for that matter and so, tragically they ended up alongside the genial Saigon Kick and the likes as also-rans and yet just one listen to this stonkin' opus makes me wonder why bands like Aerosmith got so big yet these boys floundered. Clearly Electric Boys didn't have the push, but their songs are so colourful, soulful and hearty, never once slipping into hair metal cheese, tracks like the bruising rock n' roll of 'Ready To Believe In Me,' the shuffling blues-baked 'The Groover,' and retro swagger of 'Mountains & Sunsets' shows a band in full flight, at their creative peak and yet one about to fall apart. I sense a band here who are pissed off, possibly at the music industry but it's great to hear them giving it another go. Hopefully the albums will be reissued because they are pretty hard to find on cd, this blighter wasn't even released in the Us, which is a shame because there's a Black Crowes swagger going on in parts, only meatier. 'Not My Cross To Bare' my favourite track on the album. Electric Boys, masters of being slick. 7.5/10

Varga - Oxygen (1995)

Right, let's be clear, I'm not gonna review too much of this mid '90s stuff, but Varga are a slight exception. Put simply, this is typically mid '90s 'metal' that fuses rap, funk and a hint of grunge, and when stirred it makes for a mildly entertaining listen, mainly as I'm a sucker for scratching when it's done right. Of course, many years previously the kings of crossover style Mordred were incorporating rap, funk, soul etc into their sound, but it took an atrocious band like Rage Against The Machine, and to a lesser extent, the even worse Clawfinger, to bring their style of 'rap metal' to the masses. Varga sit somewhere in between, remaining far more obscure and less polished, on a track like 'So Real' they fuse together a crunching style of funk with noisy raps and injections of scratching. 'Hay In The Needlestack' operates on a bruising guitar and whining violin before a lazy, grunge-style vocal drifts in, but quickly I'm losing patience with this - the vocals quickly become a shifting snap, and Varga become a metal crossover by numbers sorta band, summing up a terrible time for music. I'm left vacant all too often by this time of music, wishing it would make up it mind instead of jumping on a bandwagon that soon toppled into some ravine and saved us all, until fuckin' Limp Spastic came along. 4/10

Disciples Of Power - Power Trap (1989)

When I first heard the band name floatinga round in the late '80s I was convinced this would be some type of bluesy sleaze album. Er, to say I was wrong was an understatement. Disciples Of Power are a frantic black thrashing pile of mayhem and destruction who rely on raw, bloody-knuckle riffs and rusty rough vocals. This is all hell breaking loose on record, it just goes for the jugular. There's nothing original here, just dark manic thrash with rancid vocals and hurtling guitars...bit it has an endearing quality as it starts to rip your face off. Hard to describe because it's just so in your face, but it's lack of identity means it can just get on with its job and destroy your ears. 'Ice emons' and 'Crisis' being my favourite assaults on the senses even if the vocals give me a sore throat just listening to them. 6/10

Arcade - s/t (1993)

A likeable record featuring the vocal sneer of Stephen Pearcey of Ratt fame. This is sultry sunshine melodic rock that boasts a handful of real corkers. Whilst grunge was busy destroying metal, it sounds like Pearcey and co didn't give a damn, and instead produced this mighty fine opus. Naturally there are elements of Ratt, and moreso Aerosmith but in general this has a more clearer and professional and certainly more serious feel, 'Cry No More' is a fantastic ballad and nice to hear Fred Coury of Cinderella rattlinga way on the drums. Arcade have a really pure rock sound, the bass lead rocker 'Nothin' To Lose' has an infectious strut, Pearcey on fine form here, but the most wondrous of tracks has to eb the piano-infested 'So Good, So Bad,' a real tear jerker and Pearcey becomes a real star on this record. Arcade only released two albums, but be thankful for that, because at times this is hot melodic metal. 7.5/10

Brocas Helm - Into Battle (1984)

It's fun metal and nothing more. Vey much of its time, Brocas Helm patrol the same battlefields as the more extraordinary Manilla Road, and less theatric Cirith Ungol. 'Into Battle' lacks the production values to really cause its intended blitz, and whilst the guitars are eager to burst free from the shackles all else ends up in the basement, giving a slight endearing quality. The title track is as good as it gets, a track that boasts some roaring guitars and strong metallic edge but the vocal rasps seem subdued by the smog of the woods they probably recorded the album in. High levels of obscurity choke the life out of the record, making it one of those short lived affairs, although I have to admit to kneeling down at the altar of a stormy track like 'Metallic Fury,' a perfect metal song for nights in the wilderness. 6/10

Bogeymen - There Is No Such Thing As (1991)

If you were a fan of Masters Of Reality then you'll dig this bluesy, cock swingin' slab of southern rock that is fused togetehr by some boogie on down guitars, swaggering drums, cool keyboards and a tawng of a vocal. It's all very '70s sounding but it's ultra cool all the same, guess that's why I like the honky strut of Salty Dog and less so Fopur Horseman. It's all very infectious, from the cool swagger of 'Killing Ground' to the catchy 'Shake Your Body Armour,' all very much stuck in the past but it's more than happy to stay there. This offers up the stuffy atmosphere of Uriah Heep, the thump of Hendrix and Cream, a bit of Sabbath, and Deep Purple and the fact it features two ex-members of Masters Of Reality means there will be a hint of that here. Good stuff but sadly rather obscure. 7/10

Big Chief - Platinum Jive (1994)

Halfway to cool alterno metal that sits in no man's land as a groove based, slightly psychedelic, funky hip-hop srut machine. It's not bad even if it lacks identity or atmosphere, kinda making me feel cold as it tries so hard to combine so many style without wanting to be metal - cos' I'm guessing that to be metal in the mid '90s was way uncool. Naturally it is grunge-tinged but it's pretty meaty too, boasting some serious fuzz and frenzy and fronted by tough vocals and songs that strive to be fun yet also furious. The video at the time was for 'Lion's Mouth', a funked up Detroit drive machine that features some masculine vocals from Barry Hennsler. 'All Downhill From Here' has a sleazier, bluesier groove about it, at times early Mudhoney springs to mind with the raw power although there's some cool, soulful backing vocals on this cut, making it all the more catty, 'Takeover Baby' is equally cool,a funky, jiving hip-shaker with a '70s flavour. This album is a real grower, just not sure where it sits, but the least you can do is give it a spin, because it does more for the soul than the Chilli Ploppers. 6.5/10

Bulldozer - Unexpected Fate (2009)

Bulldozer were one of the first bands I ever got into - I was enthralled and frightened by their boozy Venom-esque rambling back in the '80s and then I kind've lost track. Admittedly, these Italian black thrashers haven't released an album for centuries (well, 21 years to be precise!!)but after hearing 'Unexpected...' it's as if the band has never been away. This really is a raging storm of a record, a black, filthy black thrash attack that brings to mind German monsters Sodom and Destruction. The title track alone is a thrash masterpiece, with its catchy riff and blastbeats and of course those primal rasps of Alberto Contini. I was a serious Bulldozer fan back in the day, because like Venom, Sodom, et al, they began life as genuine grim armies of death who ploughed their way through the competition whilst always having a cult following. It's a tragedy they never remained with us and two decades without them is a criminally long time, but at least we can dive into 'Unexpected...' with a fresh nose, only to emerge caked in vile dust. Yes, the band have a slightly clearer sound, but it's still raw, harsh and battering, but like typical Bulldozer there is the occasional injection of fun, 'Micro V.I.P.' is a full on thrasher, but faves have to be the fetid growl of 'Bastards,' and the stark thrash rattler 'Salvation For Sale'. For the most part Bulldozer today play a more modern sounding chugging thrash, but there are still those unclean streaks, the riffs of Panigada and Borroni have to be applauded, even if this isn't the Bulldozer of twenty or so years ago. Times change, but it's good to have the Italian beasts back. 7.5/10

Slik Toxik - Irrelevant (1994)

I guess it was rather predictable that Slik Toxik, like so many other bands, succumbed to grunge fever and injected a lethal dose of it into their sound. Mind you, ST are one of the more successful bands (not in record sales, simply musical style) in joining their brand of dirty sleaze with grunge. 'Irrelevant' combines that Alice In Chains style moodiness with a weighty snarl. Dangerous Toys also managed the shapeshift n their 'Pissed' album, athough Mindfunk failed miserably on the gluey 'Dropped.' Slik Toxik didn't exactly benefit from the change in sound, but this is still a half decent record with a streetwise attitude and doom-laden riff attack, particularly on the gloopy trudge of 'Twenty Something' which reeks of Alice In Chain's 'We Die Young'whilst the gnarly 'Voodoo' and 'Liquid Calm' offer similar oozing, finding itself a little way between the darker echoes of Skid Row, but 'I Wanna Gun,' despite its armoured riffs grates on the soul as a choppy, almost rapping metal failure. Hard to believe it's the same band, but then again it's all about paying the bills... although I doubt this mish mash of a release paid for anything. Grunged or be grunged! Album title sums it up! 5/10

Mottek - Fatal Violence (1990)

Some really weird thrash album covers emerged back in the day, this is another one. The unusually named Mottek are a German thrash band who like to not only play it touch, but somehow sew together the more classic thrash od Metallica, circa 'Master Of puppets,' with a rawer streak that reminds me of Kreator and the like. Also, add a sprinkle of Accuser and you'll catch my drift. Mottek successfully blend hardcore, punk with thrash, the agrresive vocals have a rubbery bark, but despite the tougher elements this is pretty accomplished metal featuring a manic title cut with a mellower, Metallica-style interlude, a crunching 'Tear Me Apart' with solid solo, and the techno assault of 'Bury Your Remorse' which also sports some Metallica style riffage and vocals that slip between Hetfield roar and danzig (circa Misfits/Samhain) growl. Despite the Metalica comparisons this is still energetic enough to captivate the listener. 7/10

Judas Priest - Nostradamus (2008)

Some argued that Priest had got all self-indulgent on this whopping great concept album, but so what, if the metal is still potent then that's all that matters. Halford and company have carved out a majestic sounding opus here, some 23 tracks, most of them uptempo rockers that all revolve around the Nostradamus character, each track constructed of riveting riffs, heavy drums and Halford's distinctive wails and sneers. This has a sweeping, epic feel about it, as one would expect, but it's great to hear a band of this maturity still putting together complex structures and big ideas, although some may found the interlude soundscapes a little predictable, but whent he band do get into the metal it's heavy and fist pumping, particularly the seven-minute monsters 'Revelations' and 'Death' with its doom-laden edge. There's so much here to take in, a double cd will naturally be quite a task, but it's an album of many shades. Some may find the more subtle tracks ('Lost Love') rather tiresome, but Priest make up for the self-indulgence with meatier outings such as the galloping 'Persecution' and the thrashier title track. Sure, there's something overblown and almost operatic about proceedings, and whilst a majority of the older generation bands nowadays are keeping their records short and sweet, Priest, on this occasion, clearly felt the ned to up the anti and create something more substantial. Admittedly, some of these tracks live but be a tad tiresome, and that's the main problem with a double album, especially a concept record, so one can expect sweeping ballad's and those rolling dreamscapes, but you'll find yourself gagging for the nut crushers to, and whilst there are a lot of heavy cuts on offer, I don't see this record doing many spins on the turntable. 6.5/10

Motorhead - The World Is Yours (2011)

If only every track on Motorhead's umpteenth album could sound like the black n' roll bellow of 'Brotherhood Of Man.' For me this is Motorhead at their best, a grimy, slow, pounding, almost Venom-esque style slab of rusty metal that brings to mind the blackened glory of 'War For War' on the 'Sacrifice' record. Sadly, the band every quickly slip into their known brand of rock n' roll - nothing wrong with it - but just a little repetitive, 'Born To Lose,' 'I Know How To Die,' blah blah are allt ypically Motorhead - all rather formulaic, amking me wonder just how long it takes Lemmy and co to write some of this stuff. Sure, it's great that Motorhead have never really changed their style, they've kept it rock n' roll for several decades, but I'm a sucker for the more oily, sinister sounding tracks, although the mid-paced 'Devils In My Head' with its chugging riff, and familar sounding 'Waiting For The Snake' keep the album alive...just! This isn't Motorhead at their best, but then again, a majority of their albums are sporadic, often displaying grimy lumps of aggression sometimes dulled by all too familar grooves. 'The World Is Yours' no different, but I guess you knew that anyway, it's Motorhead after all. 7/10

Wildstreet - s/t (2009)

Finally a modern sleaze band who've given a heavy nod to the dirty swaggeringd ays of '80s metal and pulled it off. This has all the grimy, Lycra-clad quality of Faster Pussycat, Poison et al, complete with soiled guitar licks and snarling vocals. Sure, the band have got the look, but they've got the songs too. This debut album is a glammed up rocker that showcases some serious songwriting talent, particularly the album opener 'Wanna Get It On' with it's Joan Jett-esque glam stomp and lipstick croon courtesy of the big haired Eric Jayk who comes across on this track like the bastard offspring of Def Leppard's Joe Elliot and Poison's Brett Michaels. The band even throw in a cool struttin' rock n' roll instrumental int he form of 'Midnight Gypsy' whilst 'Hard On You' has all the hand-clapping majesty of a whole host of '80s sleaze bands. Wildstreet aren't a dumb parody hwoever, and clearly this is a band who want to live the lifestyle. This is a decent debut, and further releases suggest the band are getting better. 7/10

Thrasher - Burning At The Speed Of Light (1985)

Okay, so it's not a thrash record, but before you give up hope, give this a listen, because this is pretty vibrant uptempo metal featuring some killer guitar work. The band existed in a couple of forms, one featuring the enigmatic vocal talents of War abies vocalist Brad Sinsel, and also musicians from Blue Cheer and The Rods. Think a more aggressive Maiden (title track), this is to be played at full volume,cranking up the levels, blowing fuses. Any metalhead will eb more than happy with the frothing 'Widowmaker,' a barnstormer of a track that from start to finish literally rattles at a blistering pace, hell, this is an underground classic if you ask me. 'Ride The Viper' is a slightly slower approach, a smouldering metal amsterpiece with raspy vocals and slow chugging guitar, but it's the hilariously titled 'She Likes It Rough' that really blows the speakers. This is full on metal that evokes images of sweaty clubs and denim and leather mayhem. Cool. 8/10