Lizzy Borden - Menace To Society (1986)

Lizzy Borden belongs at the core of metal. His various ghoulish guises may never have reached the heights of the likes of W.A.S.P. and Twisted Sister, but as theatrical, full-blooded metal goes, there's not much better. You DO know what to expect though with Borden, straight down the line metal, often reminiscent of Maiden as it gallops along at frenetic pace. 'Notorious' is fist-pumping, albeit predictable, the guitars of Nelson and Allen are energetic enough, but what Borden lacks is the anthems, or at least, the tracks to really put their hooks in you. 'Terror On The Town' is good, headbanging stuff, but it lacks the blood and guts of say W.A.S.P., but that's not saying Borden needs to be like those mentioned bands just because of the theatrics. However, despite a cult following, I've found Borden's early works a little bereft of true metal quality, but instead would recommend the later power metal records, particularly 'Master Of Disguise'.

Even as a young, curious metaller I'm not sure I'd have reaped much from 'Menace...', instead preferring the mystical waffling of Dio, the bat-biting of Ozzy and almost cheesy stageshow of Twisted Sister. Even so, Borden sticks to his guns, but they will quite regularly fire blanks.

6/10

Grotus - Mass (1996)

One of only a few records I would've listened to in the mid '90s as metal disappeared into a foggy grave, and grunge took over with sickly abandon. Grotus remained, like Faith No More, somehow accessible in their strangeness. 'Mass' begins with the chugging, hip and almost funky drive of 'Thats Entertainment'. Following cut 'A Bad Itch' begins something akin to the grinding industro pump of Consolidated, Lars Fox rasping over the vibrant yet rusty backdrop of avant-garde rock 'n' roll. Even from the wreckage of their sewer sound, Grotus still manage to puncture the Heavens with a glorious chorus or two, 'Ebola Reston' brings to mind the weird qualities of Swamp Terrorists, and it's no surprise Mr Bungle frontman Mike Patton took to the band, the quirky groove of 'Hand To Mouth' is industrial hillbilly oddness, catchy as fuck, accessible yet never understood. Littered with samples, fuelled by orgiastic beats, Grotus have their fingers on the pulse and know how to explore the backstreets we never dared to venture.

7.5/10

Various - Metal Masssacre IV (1983)

The 'Metal Massacre' story continues, and steps up a notch, both Sacred Blade and Death Dealer pumping out quality metal, the former sounding like a watered down Possessed, particularly in the vocal delivery. Death Dealer follow a more classic vein, but it's track three which proves the 'Metal Massacre' compilers are on the ball. Trouble's 'The Last Judgement' is a doom masterpiece, making this volume worth the money. However, even the wailing Sceptre and the full-throttle Znowhite up the anti. So far, '...Massacre IV' is certainly the best of the four released, not quite up there with the evil grooves of the 'Speed Kills' compilations.

War Cry offer a bassy number, typically amateurish lyrically but Abattoir's 'Screams From The Grave', the relatively heavy Witchslayer, and Lizzy Borden beef up the record which ends with the slow burning Medieval, a real oily stomper of a cut made all the more strange by the vocal delivery, but alongside Trouble's masterpiece, this is probably the finest track on the compilation.

7/10

Whitesnake - Whitesnake (1987)

I recall seeing the cover all over the place in the heyday of metal. The stone facade seemed rather mundane compared to some of the band's more sexual album covers of the past. However, I didn't care, I never liked Whitesnake in the slightest, but that doesn't mean I'm including this self-titled opus just to kick and claw at. For me, this record is one of the bands best, but it came at a time when metal was filling arena's, bands such as Kiss were giving us the dreary yet stadium plod of 'Crazy Nights', and hair was getting bigger. 'Whitesnake' is a record of cliche's, the whining guitars of 'Cryin In The Rain', Coverdale just expecting some scantily clad femme fatale to walk through the rainy streets to his apartment, where a black panther sits on the rug. You can smell it's 1987, you can feel it and see it in the city lights and tasseled leather jackets. 'Still Of The Night' rips off Zeppelin in its strut, but at least we're not in the love ballad territory...yet! But in 'Here I Go Again' we have a hit record set to appear on countless rock compilations. It builds slowly, and then pumps its fist, Coverdale, the mane of lion with mic between his legs, like some rock dinosaur, his face cracking through the dried tan, and soft rockers everywhere are lapping it up. Of course, thrashers elsewhere were mocking such hilarity. Yet, give or take a few, well, all being predictable chapters, 'Give Me All Your Love', laced with those typical late '80s keyboards, and the caress of 'Is This Love', prove the band are able to churn out classic soft rock, but whether it's actually metal is another question!

Music for quite nice looking mum's everywhere!

5.5/10

Kiss - Ace Frehley (1978)

I personally thought that the band's idea to release solo records was ridiculous. Even more so when you hear the frailties of Gene Simmons' and Paul Stanley's bog standard outings. As if Kiss weren't pretentious enough, we were submitted to these terrible offerings...but thankfully, Ace saves the day with a nice little record that doesn't attempt to strut on unsteady heels. Instead, we get a glam rock record of some note, the axeman stomping through a selection of decent rockers. 'Snow Blind', and 'Ozone', both weighty numbers, 'New York Groove' borrows heavily from the T-Rex sway, but this is good stuff. Simple, yet effective rock 'n' roll and more than just an arrogant experiment gone wrong. Where the other solo recordings were nothing but extensions of ego yet made of filler, Ace Frehley rises above the make-up and glitz to reveal a sincere side that enables him to rock.

7/10

Skid Row - Subhuman Race (1995)

After the absolutely smoking 'Slave To The Grind', Skid Row keep their two fingers in the face of commercialism and corporate rock by once again pummelling the senses with their right to rock. This record has often been compared, not necessarily with regards to sound, to Motley Crue's self-titled opus. Both bands keeping the bass heavy, the vocals gruff and the melodies down and dirty. I'm sure Skid Row must've lost alot of fans for veering into this primal rock 'n' roll, but for me, it was the way to go, and I give them credit for such a brutal shift of gears. As soon as 'My Enemy' rips into the skull, you know Bach is on fine form, a raucous, clattering track that sees the lanky frontman growling, snarling and grrrrring over the heavy soundtrack. Strangely, 'Firesign' at times looks back to the bands more melodic days, until of course it's cut in half by its monster chorus, leaving you wondering just how a cringe-worthy band become so cool. Okay, Skid Row aren't the relation of Corrosion Of Conformity, but like Crue they've knuckled down, put all their aggression into the making of this slab and come out with a winner. I can certainly see the comparisons with the John Corabi-fronted Crue record. 'Eileen' smears itself over the speakers, 'Remains To Be Seen' chugs by, the title track is simple a bulldozer of angst with an almost grunge-influenced chorus and the seven-minute stomp of 'Iron Will' is one of the most angry tracks the band has ever recorded. Maybe Skid Row were simply keeping tabs on how the music scene was evolving and wanted to fit in. Their sleazy roots may not have survived in harsher times, but 'Subhuman Race' is a a new predator entirely, enabling the act to shift into a new dimension they must have surely once thought was out of bounds.

8/10

Porno For Pyros (1993)

Jane's Addiction were a very cool band. Indeed, they were so cool that the likes of Guns 'n' Roses would have swapped every limb for just a gust of that wild talent. The man behind it all was Perry Farrell, the strange prophet of skeletal frame who cavorted over his records like some twisted messiah. For some reason, Jane's Addiction folded...it was a tragedy, and to hear Farrell's voice on anything else just isn't the same. Well, Porno For Pyros are pretty much the same...just lacking the religious controversy, the surreal circus and everything else that Jane's Addiction possessed. Opener 'Sadness' is a sweeping, dreamy triumph but there are too many times when the album exists as an almost lazy project, art for art's sake. Plenty of funky swirling, mystical rambling, and that almost staggering genius, but it's in splashes this time around, always a poor mimic of what had gone before. It could be said that Perry Farrell had lost his mojo. His words lacking the vigour and mesmerising sense as each track drifts by, particularly the irritating 'Pets', and scuzzy 'Bad Shit' with its tin-can chaos.

If Porno For Pyros were an unknown quantity, I'm sure this record would be considered a triumphant debut, but the history of it all, the presence of Farrel, and the looming shadow of Jane's Addiction is just too much for this record to deal with. Take your bongo's and hazy thoughts elsewhere, because Porno For Pyros are just a pipe dream.

5.5/10

Nasty Savage - Indulgence (1987)/Abstract Reality (1988)

This package, released in 1994, is worth every penny, joining together Nasty Savage's thrashing rage of two quality records. This is the kind of metal headbanger's wanted to hear back in the day. Furious, fresh, frantic, in your face metal. 'Indulgence' is a fearsome record, Nasty Ronnie at the helm wrenching the dungeon-esque noise into the ears, filling the room with a beautiful, old school cacophony. A tight mix of Slayer, Mercyful Fate, which live would have been quite a circus of horrors. Excellent musicianship, the title cut stings the face, 'XXX' crushes the windpipe, 'Inferno' burns the flesh with its guitar work. Greatly heralded back in the day within the Florida and thrash scene in general, Nasty Savage never quite hit the heights but their cult status will live on within the genre. Just lend an ear to the dark waves of 'Hypnotic Trance', the chugging, and at times awkward melody of 'Distorted Fanatic', and you'll hear a band of identity and malice. Definitely two records to be heard on vinyl although this cd release, boasting thirteen cuts, is a bargain. Nasty Savage, classic thrash. Cool logo and cool imagery too.

7.5/10

Warpig - Warpig (1970)

Dodgy name, but this is a prime example of smoking '70s prog-psych rock. Casting dark shadows, although nowhere near as ominous as Sabbath, this is Deep Purple laced with a little gloom. Not fair to call it metal let alone doom, this is retro rock 'n' roll of many shifts, favourite cut being the organ driven 'Tough Nuts', like a slightly watered down Sabbath. Catchy hooks abound, vocal attack of laid back quality, bubbling bass, and swirling solo's ('Sunflight'). Eight tracks on offer that will please anyone still existing in Medieval Britain, jigging with flute in hand around a crackling outdoor fire, all the while stepping occasionally into tame '60s psych.

6/10

Steve Vai - Passion & Warfare (1990)

An idiotic old friend of mine purchased this record on picture disc. Not sure why I've included it, but will say that if you love instrumental records played with a bit of fire and innovation, then this may be for you. Guitar masturbation has never really been my thing, unless of course it's Jimmy Page digging out a riff for Mr Plant to strut to. In the case of Steve Vai, we are talking about a guy who gets all sexual with his instrument, to the point of almost conversing with it, and at once attempting make his guitar speak to its audience. Thankfully, Vai doesn't just opt for a Brian May pub work-out, although opener 'Liberty' could pass for anthemic tripe. Still strange to not hear a vocalist kick out the jams over some of the twiddling and shredding, in my opinion the rattling 'Erotic Nightmares' and sleazy strut of 'The Animal' desperately require a vocal sneer. It's a self-indulgent record where Vai takes us on a journey through his jazzy-funky-metallic-groovy and soulful talents, 'The Audience Is Listening' was actually a minor hit, but 'For The Love Of God' should be best avoided. A spiralling, nighttime drift into seas of boredom, and 'I Would Love To' sounds like some dreary Van Halen rehash. 'Passion & Warfare' appears in this blog simply to prove that there are metallers out there who go for this kind of proggy-wanking, but my advice is to stick to porn, and not musical copulation.

4/10

Van Halen - Van Halen (1978)

I was four year old when it was released, and many years later, this record is about as relevant now as it was to me back then. I just don't get it. I've read numerous rock-related books which brand this album as a a classic, but it's all lost on me. Sure, Eddie Van Halen was a great guitarist, sure, Dave Lee Roth was a pretty impressive entertainer, but there's more to metal than just that. 'Runnin With The Devil' is a slow pacer, not a bad hard rock track, but it's simply too nice to harbour any electricity. 'Aint Talkin Bout Love' beefs things up...a little, but it's watery rock 'n' roll lacking swagger, attitude and any kind of edge. I'm finding myself bored by 'Jamie's Cryin', with its elements of Aerosmith strut in its chorus, but I'm gettin' nothin' from this. Mr Van Halen can shred all he wants and Mr Roth can pout throughout, but the Americanised, almost sickly spaciousness of the record leaves me gagging, yearning for a bombastic echo or slightly darker facade. Reminds me of the kind of record played on late night American radio, and for me, this applies to just about every Van Halen record. As dull as dishwater. Don't believe the legend.

5/10

Baphomet - The Dead Shall Inherit (1992)

Some old school US death metal for your ear drums. Baphomet never set out to change the world, but maybe instead reduce it to rubble. Despite the continuous wave at the time of same sounding American death metal acts, Baphomet passed their exam on soul-shredding alone. Sure, it's horror-influenced metal from the grave, but there's something about that bassy sound, and the guttural growls which allow Baphomet to slip into the bloodstream a little easier than most. Sure, Cannibal Corpse oozed out a similar barbaric blood clot of a sound, but here we have a simplicity, something to get your teeth into. I'm a huge fan of that graveyard sound and many underrated acts have achieved cult status with is, Impetigo's blood-gurgling cannibalism, to Cancer's 'Death Shall Rise' dementia, and the early Gorefest. This is heavy, mid-paced death metal that will please any fan of Autopsy and the like also.

7/10

Enuff Z Nuff - Animals With Human Intelligence (1993)

Before Enuff Z Nuff became the 'heavy metal Beatles', they existed on the fringes of Hollywood glam rock....big hair, leather strides and make-up. However, despite 'Animals...' seemingly being from a different time zone as the later classics, it's a record that should be sought out. 'Animals...' is where the true sugary class of Enuff Z Nuff originated, forget the even earlier days of lipstick 'n' leather, this record has enough to please everyone, even those of you who thought that the rock 'n' roll was yet to form. If you thought Saigon Kick were the kinds of the big, lush ballads and tear-jerking sleaze, then this you'd be wrong, because there are a handful of tracks on here here from Donnie and the guys, which remain as some of the finest hard rock songs ever written. And early Enuff Z Nuff doesn't venture lightweight either...'Black Rain' is stormy and ominous but on the flip side of the coin we have the truly monumental and beautiful 'Innocence', and not forgetting the pivotal anthem, 'By Your Side'. Never have I heard a song so sincere yet simply scarf/lighter waving material. This is when the band should have created a buzz, and then the mania should've come, the big stadiums, the screaming fans...but it never materialised, the band simply too cool for fame in my book...yet what a tragedy it is. 'Animals...' is littered with strong numbers, combining some reasonably heavy tracks alongside the fluent and breezy, proof long ago that Enuff Z Nuff were simply wonderful.

8/10

Various - Metal Massacre III - (1983)

The Judas Priest-rumbling of Slayer's 'Aggressive Perfector' kicks off this third volume in vicious fashion. So, 'Riding In Thunder' by Bitch is a bit of a sore point after such an introduction. I guess the 'Speed Kills' volumes, although lasting nowhere near as long as the '...Massacre' series, were far more rewarding. However, Tyrant's 'Armageddon' proves to be a real metal journey through fire and darkness, and the badly produced chug of Medusa, even in its primal rage, is rather pleasing. The same can't really be said for the awfully named and weak sounding Test Pattern, but cuts from Black Widow, Warlord, and Znowhite help to nullify the pain of some of the lesser talented tragedies on offer

6.5/10

Coroner - Punishment For Decadence (1988)

The early thrashing of this Swiss trio never went unnoticed, but like all talented musicians, particularly the '80s Euro-thrash brigade, the band went on to far stranger realms. This being the band's second release after 'R.I.P.', they voyage into a darker and lightly more intricate brand of thrash. For many at the time this would've seemed like a no-thrills style of metal, but dig deeper into the vault and you'll discover a complex and diverse array of riffs, percussion and the Tom G Warrior-style vocal sneer of Ron Royce. Incredibly underrated, Coroner thrashed with the best, delivering an often warped and deep style of thrash. Clever indeed as the trio embark on a number of weird tales, from the melancholic, drug-induced yarn of 'Skeleton On Your Shoulder', and political stance of 'Masked Jackal', all arranged and belted out with speed, precision and that European emotion.

Coroner always had the ability to lace each record with a grey and unnerving splendour, these guys were mixing and fusing awkward styles long before some of the more progressive death metal acts. I've seen some reviews class this as old-school thrash, but that's hardly the case when you consider there aren't many bands as yet who've managed to better, or replicate Coroner's vast craftmanship. Truly stunning to hear such variety within a thrash framework, and a million miles away from the likes of Metallica etc, yet evidence that the thrash genre has always been far more diverse than given credit for.

7.5/10

Judas Priest - Painkiller (1990)

I was a fan of 'Ram It Down', but it flopped, possibly heralding the slow demise of Priest who had, for many decades, influenced a nation. And then the second coming, an unexpected fist into the Earth, an uprising of pure molten metal that had put a few new, so-called talents to shame. From the off the title cut absolutely batters all in its wake, a trashing rage of a track not heard since the early days of Metallica, Megadeth et al, when the searing guitars, high-pitched vocals and metal-fused lyrics were all new. Somehow Priest reinvent the rock 'n' roll, burning guitars which simply carve through walls like they were butter, a metallic fury unleashed upon the planet. Forget the demise, even as the likes of Faith No More bring new colours to the genre, 'Painkiller' defies logic in its simple assault on the senses. Strangely, but with mystical aplomb, chief wailer Rob Halford left the band after the tour, making the record seem like a fitting final epitaph for a band that given the genre so much. 'Painkiller' is very much a thrash/speed record, the music belted out at a hefty pace. If Priest had continued their decline then cuts such as 'Hell Patrol', 'Leather Rebel' and 'Between The Hammer & The Anvil' may well have only existed as dated, embarrassing remains out of place in a new metal void fuelled by grunge and half-lived funk metal, instead, 'Pankiller' is a huge fuck you to the brigade who lost faith. The drums of Scott Travis are relentless, the guitars of Tipton and Downing have never sounded so vicious, but it's Halford and his newly-found evil wail which tips the record over into the realm of brutality. Instead of being a sonic blast from the past, 'Painkiller' takes all that has gone before and brings it into the modern era, making it sound so clean and blistering. No wonder this was the bands most critically acclaimed album, even receiving a Grammy nomination. Despite my past grievances with the Brummy lot, 'Painkiller' is a white-knuckle ride that MUST be owned by metallers from all walks of life.

9/10

Lizzy Borden - Love You To Pieces (1985)

Beginning with a backwards message, the band heed full throttle into the opener 'Council For Caldron', displaying a razor-sharp metal edge but it's tracks such as 'Psychopath' which wrench Lizzy from mundanity. Not quite reaching the quality of say Ozzy, Lizzy's antics never quite hit the headlines but I always recall the name as a young metaller and was always intrigued by his imagery. One thing for sure, the guitars of Allen and Matuzak provide much mysticism and reason to rock out. 'Save Me' could well have been the perfect metal track recipe, certainly Americanized, but this reeks of Maiden with its Dickinson vocal attack, reminding me of Hallowed Be Thy Name' as the track breaks open. Loving the drum roll of 'Red Rum', the air-punching attitude of 'American Metal' and slow build of 'Warfare'. The only real let down of Lizzy is the familiarity of some of the song structures, but then again, the metal scene was riddled with such flaws back in the fiery days, but we cannot knock Lizzy, for it's this time of underrated metal which lined the bedrooms of every metal fan in the '80s, and album closer 'Rod Of Iron' does enough to fan the flames for another listen.

7/10

Grotus - Brown (1991)

The band's debut album before the milestone that was '...Apocalypse', is an intriguing journey into industrialised oddness and surreal rock 'n' roll. Here's a band who don't really abide by any rules, but you'll find the buzzing, mechanical grunge-grind far more colourful than say Ministry or Cop Shoot Cop. I was heavily into this type of angst-ridden, iron-clawed metal as much of the metal genre lost its satanic bite, but for many to hear such strange sounds was a little too much to handle outside the frame of metal and it's once rather restrictive fires. 'Brown' works by its use of film samples, its clanking, angry beats which would make the record almost danceable were it not for the violence. 'Pharmaceutical' is a multi-layered soundscape with pulsating cyber beats and the grey commentary of Lars Fox, and noisy Adam Tanner riffs. The magic of Grotus is the unpredictable nature, the never knowing what's going to come next, something akin to Swamp Terrorists and their brand of chaos. Like some apocalyptic David Lynch soundtrack which rumbles into a future of anarchy. You just cant help but hop on the rusty train and descend into the heartbeat of madness.

7.5/10

Monstrosity - Imperial Doom (1992)

So many bands emerged within the Floridian death metal scene in the very late '80s and early '90s. Not many succeeded however in rising above the crowd, and tragically some of those who drowned have only been appreciated fully today. Monstrosity were one of those bands. 'Imperial Doom' is a superb debut that didn't get the credit it deserved back in the day, especially when other bands such as Deicide, Morbid Angel, Obituary and Death were ruling the scene. Nine tracks, produced by Scott Burns, who lent his magic touch to many releases of the genre, certainly not as brutal as say Suffocation, but certainly an album of blistering precision and extremity. Again though, such a quality act are let down by the cover artwork which resembles so many other bands from the time, but thankfully look beyond this and you'll hear some masterful aggression. 'Definitive Inquisition' hurtles by at breakneck speed, 'Ceremonial Void' does have that familiar Florida sound which at the time would've rendered the band as to "just another death metal act", but the musicianship is tight, the drumming hyper, yet vocally there is a cleaner edge than most bands. Favourite cut is the 'Vicious Mental Thirst' which could even pass for Slayer in some of its mid-section thrashing. Overall then, 'Imperial Doom' won't change the face of death metal, but remains an essential brick in the wall of a genre that had the ability to take over the metal genre, albeit for a short time, in the early '90s.

7.5/10

Various - Metal Massacre II (1982)

Admittedly the second installment doesn't begin to healthily. Armored Saint, 3rd Stage Alert and Surgical Steel churning out standard metal, Obsession's speedy 'Shadows Of Steel' is predictable, but I'm digging Savage Grace and their basement production 'Scepters Of Deceit'. We also get an early apparition known as Trauma, who feature the legendary Cliff Burton, as well as the fist-punching Warlord and their anthemic rattle 'Lucifer's Hammer'. A couple more dodgy entrants in Dietrich and the overlong, crotch-ripping screams of Hyksos, but there's always going to be few lame ducks. Still, in any form, 'Metal Massacre...' would have been a good purchase. A decent cover considering the volumes produced some of the worst and most amateurish in metal!

6.5/10

Various - Metal Massacre (1982)

Released by Metal Blade records master Brian Slagel, this volume of compilation was created to highlight some of the unsigned talents in the metal world. Such records were vital for kids like myself keen to hear of underground acts at the time, many of whom such as Metallica, Ratt, etc, would go on to become household names. Of course, not all cool bands would flourish, but such compilations were a veritable feast of metal, which at the time were a crucial way of saving money. One wouldn't have to risk buying a record of a certain band when there were records like 'metal Massacre' out there. Black 'n' Blue's 'Chains Around Heaven' was a bad move in replacing Steeler's track on the second pressing, and Bitch were a kind of tuneless drone with 'Live For The Whip'. However, there was certainly much to savor on this metal assault, Malice and their 'Captive Of Light', the rockin' Avatar and their instrumental 'Octave', and the buzzing, basement brilliance of Cirith Ungol's 'Death Of The Sun'. Nine pretty unknown cuts at the time, including Metallica's 'Hit The Light's', this compilation would've provided much entertainment in a glorious era. For some reason an eerie collection of records that would have acted as a strange highway for any naive metalhead to follow.

7/10

Pestilence - Spheres (1993)

A brilliant record by the Dutch death metallers, who, after this apparently went on to form various jazz/fusion groups. It seems the fans were slightly irritated by 'Spheres', and its cauldron of strange complexity, jazzy interventions and other wayward meanderings. Personally, I found 'Spheres' a truly mesmerising record, following the same path as bands such as Atheist, who were so effortlessly able to melt together varying styles of music, whilst always maintaining a brutal edge. 'Spheres' is still a death metal record, marching with refreshing pace but exploring new ideas. Even the bands previous 'Testimony...' record was an album seeking a different path, but on 'Spheres' the band dig deeper into the cosmos. Vocally, the Chuck Schuldiner-type growls of Martin Van Drunen are still evident, only this time his menacing gasps are backed by a wonderful and joyous worship of music. Think of Cynic and their bubbling, at times awkward and fragmented extremity, and you may have an idea of Pestilence and their direction. This should not put any real fan off, for it's music to at once become bewildered by and marvelled at. So many years ahead of its time, the discordant riffs and atmospheric synths provided the genre with a vital injection, especially as metal in genre had begun to suffer at the hands of grunge. Pick any track out from 'Spheres' and you'll simply have to stand and listen in awe at the technical gift these guys have. The ominous strings of 'Aurian Eyes' echoes back to the menace of previous record 'Testimony..., and provides the listener with some insight into this Lovecraftian enigma, that remains as one of the finest death metal bands to have ever existed. Brilliant stuff, and well outside the box.

9/10

Lizzy Borden - Give 'Em The Axe (1984)

This four track EP introduced us to the legend that was Lizzy Borden. Typical of its time, the imagery bleeds through strong here, particularly in the main man's dress sense, this kind of metal slotted nicely alongside Twisted Sister and W.A.S.P. but unfortunately never hit the limelight these two acts experienced. Even so, Lizzy is very much an underrated artist. The title cut is more than just bog-standard horror rock, vocally a stirring performance from the warlord, musically its tight and powerful metal. 'Kiss Of Death' has alot of Maiden about it, and 'No Time To Lose' gallops along nicely, reminding me of Ozzy, and it's my fave track on the record, the record ending with a cover of Rainbow's 'Long Live Rock 'n' Roll'. Not exactly a must have, 'Give Em The Axe' was simply the first step in an impressive career that involved a great deal of hairspray, make up and searing anthems.

6.5/10

Iron Angel - Winds Of War (1986)

Feel the magic of the dungeon and check out that cavernous intro! A perfect introduction for any '80s metal record. Iron Angel march into war with another blistering slab. The band only released two records, still, a fine legacy of power thrash made all the more worthwhile by the axe attack of guitar demons Struven and Wittke. A great variation of speed on offer, vocally reminded me of Priest's Rob Halford. This record is far more melodic than the band's 'Hellish Crossfire' debut, there's even an early Helloween influence in there. Iron Angel inhabit that steely cave never inhabited by the likes of Kreator and Voivod, but a place which wears its influences on its sleeve, mainly the more traditional side, although 'Vicious' extends into Possessed territory, 'Born To Rock' is Priest, Saxon etc, rolled into one. Slightly corny but with enough edge and silvery glory to inhabit even the finest metal record collections...

7/10

Suffocation - Effigy Of The Forgotten (1991)

Put simply, after playing this slab of crushing death metal, there won't be much left of your house, let alone your cranium. No holds barred from start to finish courtesy of five guys whose aim is simply to create brutal and technical music. Nine tracks, the demolition beginning with the battering frenzy of 'Leige Of Inveracity', climaxing with the lung bursting 'Jesus Wept'. Suffocation have a big cult following, the bands ultra heaviness, complex arrangements, trigger drums and guttural moans thanks to Frank Mullen, making them one hell of an extreme cacophony. Never too fast to make it incomprehensible, this is wonderfully measured devastation. Although it emerged amongst a wave of slightly similar acts, all intent on gore-infested death meta, ' Effigy...' stands the test of time, and still reduces much of the landscape to ash today. Slightly blighted by its artwork which resembles countless other death metal acts, Suffocation still have the ability to make you weep...

7.5/10

Heavy Load - Death Or Glory (1982)

Many would have missed these Swedish metalheads, but now is the time to hunt down the releases by this amazing band. If I'd heard this as a young metaller I'm sure I'd have found such anthemic metal so exciting, and you will too. Far more sincere and atmospheric than Manowar, the imagery alone will have you lighting the fires and taking to the forests. This is a true heavy metal meltdown that deserves the attention of all those warriors who call themselves real metal fans. This is traditional heavy rock that conjures images of fantasy, or frozen wastes inhabited by great beasts, and leather-clad mercenaries on a metal mission. Musically it still stands the test of time, even if the titles are a tad dated, but who cares when the music is just so beefy and to the core of the kingdom. '...Heavy Metal Angels', 'The Guitar Is My Sword', damn it, gather round barbarians and bang that head which you forgot how to bang and grab everything this band ever did. Hell ain't a bad place to be when you consider bands such as Heavy Load are willing to play there...great album cover as well.

8/10