Mordred - The Next Room (1994)

When I heard that Scott Holderby had left the band, it was as if someone had died. When you’re a teenager wrapped up so heavily in music, and in certain bands that you take on as if they are your own, band changes effect you also…it’s bizarre. I rang the London Noise offices who kind of smirked at the split. I received a letter from drummer Gannon Hall who claimed that Scott had been involved in fisticuffs with one magazine reporter, but worst of all was when I heard that they were carrying on without him. Now, don’t get me wrong here, but bands can remain cool with new members but Scott’s style was very much what Mordred were about in the same way Pause had become part of the furniture as such. And when you release three records with that person it’s not easy to replace them, especially when that person had a real originality about them, and stamped themselves so effectively upon the career of the band.I heard the Acrophobia ‘single’ and threw it up the wall!

Sure, this is all about opinion and I’m sure the sound on The Next Room may well have gained the band a few more fans, because in a nutshell, this opus is power-grunge-metal, something akin to Corrosion Of Conformity’s mighty 'Blind' and and also Alice In Chains records…only nowhere near as good, and that hurts to say that. So, in came new vocalist Paul Kimball, a throaty mover of some power which is great if you like Pantera and the nu-metal breed of vocalist, but this just doesn’t work. This wasn’t Mordred, despite Gannon Hall saying this was his best drumming performance or whatever.

Mordred meanwhile had become stream-lined, more metal, less thrash, and far less cool, with any kind of experimentation sounding almost awkward next to power metal riffs. Was this a way of attracting a metal audience ? Whose idea was this ? Yet, for over almost an hour I had to sit there thinking, “…what the hell is this all about ?”. 'The Next Room' is bland, despite some decent lyrics and experimentation, but Kimball’s vocals are extremely dull despite their power, Pauses’ scratches mundane and predictable and the tracks are forgettable, despite such ridiculous titles such as 'Rubber Crutch' and 'Murray The Mover'. Are you serious ?

Tracks such as 'Lo-Cal, Hi-Fiber' and 'Skid' skip by without effect, at times Kimball seems to slip into a Holderby mode, it doesn’t work. There’s even a track called 'Crash', yet it has nothing to do with the original the band recorded. It seems to have a hangover from 'Vision' in its slo-mo approach and it’s pointless, and by this time you’re left wondering what direction they are taking. 'Splinter Down' is run-of-the-mill metal, nothing more, a mediocre six-minute ramble that never changes pace, and then we have Aaron’s contribution, a jazz-club special called 'Shut' that doesn’t fit onto a record bereft of coolness. It’s actually better than 'Close Minded', sewn together by a wailing sax but ruined by Kimball’s non-descript vocal yell, which pretty much drowns the whole record, as well as the samey riffs of mundanity. Shall I go on ?

'Pauper’s Wine' sounds like the hideous mess that is Nickleback, suggesting an almost polished grunge feel, 'Acrophobia' is okay…for another band, at times catchy, with a chorus that suits Kimball’s voice, but it’s regular stuff, the same formula through-out, and on 'Murray The Mover' things get a little embarrassing, Kimball’s gravelled voice just not accustomed to singing what are an attempt at ‘groovy’ lyrics, enough said. 'In A Turn' is another soulful cut naked without Holderby’s execution, 'The Trellis' is bland, 'The Next Room Over' a drab instrumental affair, splashed with the almost now predictable scratching and the final track, 'Rubber Crutch' begins like some ‘80s metal anthem and never shifts gears from its tiresome routine.Even if you judge this as a separate rock record, 'The Next Room' is a tired affair, lacking most of Mordred’s unpredictability, class and soulful innovation. And even the band must have known this, which is why this opus was the last record, but one which most certainly disassociates itself from the others like some ugly sister.

And don't get me started on the album cover...

4/10

Jellyfish - Bellybuton (1990)

This being the bubblegum power-pop debut from this criminally underrated yet influential band. This certainly slipped into the altern-rock bracket despite lacking any weight to consider it even hard rock. But hear these songs just the once and you'll be hooked by this magical mystery tour of psych-pop and wonderful, blissful harmony. 'The Man I Used To Be' and 'That Is Why' have that hooky, Enuff Z Nuff meets the Beatles meets Cheap Trick via ELO, purely magical, sugary and ridiculously catchy. I recall 'The King Is Half Undressed' making a few noises back in the day, but I can just imagine the talent of these guys being overlooked and swamped by the hordes of bands at the time screaming "Alternative!!!!"

'The King...' begins with a 'Revolver' backwards drum-loop, summery chorus, 'I Want To Stay Home' will have you asking, "Have I Heard This Before ?". Truly inspiring, sad, emotional, supplying the same magic that, dare I say, Mother Love Bone could provide, only this time this is certainly more '60s influenced. Think Crowded House also. Ten tracks of scrumptious, genial music, not really for the metalheads...but who cares, especially when we hear Saigon Kick, Enufff Z Nuff etc, striving for similar bamboozlement.

8/10

Kill City Dragons - Kill City Dragons (1990)

A short-lived rock 'n' roll troop, formed in '89 and fronted by the oddly named Billy G. Bang...but don't let that put you off. This is lipstick 'n' leather, struttin', sweatin' and fuckin' rock, a cool, hard mix of Faces, The Stones, New York Dolls, Hanoi Rocks, Crue, blessed with the superb 'I Don't Want Anything From You', and in Mr Bang, a rough 'n' ready set of pipes who can go from sickly sarcastic glam kid to full-blown, hoarse and screamin' cat.

Hard to actually put this shang-a-lang romp down. Grab a bottle and take to the floor, get wasted, collapse...come back for more. The stompin' 'That Aint No Lie', cool sleazoid grooves courtesy of Steve Von Saint's guitar licks, some super-funky rock 'n' roll struttin', hugely memorable, 'Devil Calling' digs its claws in deep, 'Fastest Way Down' provides glam rock saxophone, a party anthem of hairspray and Jack Daniels.

Something so tragic about the band, maybe it's the desperate rasp of Bang and the fact that this was all the band really did in the studio, yet what a good time was clearly had by all.

Oh no it's only rock 'n' roll...but I like it.

7/10

Bar 7 - The World Is A Freak (2000)

Formed by Tesla members Jeff Keith (vocals) and Tommy Skeoch (guitars), this is ultra cool bluesy hard rock of typically memorable, soulful tunes. Opener 'Freaked' rumbles in like Crue, but 'Four Leaf Clover' is a level-headed slo-burner which melts into the beautiful 'Got A New Life', which really showcases the wondrous talent of these guys and explains as to why Tesla are so cool. This huge track is pure sleaze with a catchy chorus, although the initial chug of 'No Show' suggests Bar 7 are anything but a light weight and cheery rock band. 'No Show' is a sticky sweet rocker, in contrast 'Love Is Such' makes a move like a feline lover.

There's no telling where Bar 7 are going with their lush sound. This is no mere exercise of ego for Keith and Skeoch, but instead a big sounding, swaying and breezy hard rock record. Probably just a one off but another of those must-hear records that caters for every mood.

7.5/10

Katmandu - Katmandu (1991)

Any band fronted by the sultry-piped Dave King, will get my attention. A magic voice, born from the Robert Plant school of hip-shaking vocal chords. Katmandu is King's venture after many years with Fastway, and it was this guy's fiery throat which got me into metal after the 'Trick Or Treat' soundtrack which turned my world upside down. Katmandu is less evil, naturally, but still ultra cool, 'The Way You Make Me Feel' is a sexual boogie strut, 'God Part II' shimmers and slithers across the floor and the next ten tracks follow a similar rip-roaring vein. Bluesy and pumped up guitars, plenty of electric soul, finger-snapping coolness.

'Heart & Soul' begins like pure Zep, and 'Only The Good Die Young' is more Zep for the mind...but this is too cool, too laid back and too real to be considered a poor mimic, instead Katmandu offer a suave and casual blend of slinky rock and blues-based meanderings. I just can't fault the guy's voice, a distinctive rasp which played such a huge part in my metal initiation. So, for me, Katmandu, like Fastway, have halo's perched on their heads.

8/10

Various - Thrash The Wall (1990)

Metal compilations used to be great...often these odd releases would introduce many a metaller to so many cool, unknown bands, so it was always a little confusing when volumes were released featuring mostly known acts. In this case, label Roadracer give us another terrible album title and cover, something they did with the weak 'Stars On Thrash' compilation, but thankfully most of the tracks are decent. Not sure why Motorhead's 'Eat The Rich' is on here, and King Diamond's 'Sleepless Nights' isn't one of his best, but Running Wild's 'Raging Fire' is a decent fist pumper, Sodom's 'Remember The Fallen' is mid paced, cleaner and more melodic than you'd remember Sodom for being, but for me it's the Mordred-esque Paradox, Rage and 'Invisible Horizons' and Atrophy who steal the show. Cool thrash which stands up well alongside the big boys of the album, such as Obituary, Sepultura Annihilator and the rather painful Helloween.

A good fun compilation.

6.5/10

Thee Hypnotics - The Very Crystal Speed Machine (1994)

Hell yeah, check this one out. Thee Hypnotics are a genuine rock 'n' roll experience, if this had been released in the UK after the second coming of Oasis, then I'm sure great things would have been aimed at these guys. A drugged up, sleazy, bluesy mini-masterpiece that mocks The Black Crowes and reeks of Hendrix, Rolling Stones, and Primal Scream. Very cool, psychedelic, lava-lamp loving honky-tonk, bitchin', badass rock 'n' roll. Ignore the occasional instrumental doodlings, and stand aghast at 'Caroline Inside Out' and its dreamy, kaleidoscopic veil, or become as one with the blood, sweat buzz of 'Tie It Up'

Thirteen cuts, (well, eleven without the pissing about tracks)...hammond fuelled, soulful, magical uprising...probably created over a mammoth spliff or two, 'Look What You've Done' is a lost classic, pure bluesy anarchy, this album just has class written all over it without even trying. I hope the band realise how cool they were. Mind you, whilst browsing on Amazon I was rather pleased to see that the people who'd purchased their album had also bought The Front, Bakers Pink and Beautiful Creatures...proof in the coolness.

A stunning record that spends most of its time stoned on its own ego, and that's what makes it such a fine experience. Angels with syrup on their wings.

8.5/10

Tesla - Bust A Nut (1994)

One of the only cool bands to keep the rockers going through the '90s as the grunge wave swamped all. Tesla, a band you can count on for quality songs, consistent rock, hair metal...and the unexpectedly sinister rumblings of opener 'The Gate'. 'Solution' reminds me of that Enuff Z Nuff arse shakin', typically underrated, worth every penny and never corny. 'Try So Hard' may have sounded awful back in the '80s when so many other bands were preaching from their porch, but here the sincerity is huge, and Tesla create a wondrous skyline and also gulf from themselves and countless other acts. With ease able to rump shake, to jive, to swish and to sway...sleaze, glam...hell, the opening strains to 'She Want...' could be Guns 'n' Roses in '89, and 'Need Your Lovin' wipes the floor with Mr Big, who make similar sounds so cringe-worthy despite the shredding.

Tesla play good time rock 'n' roll, smoothly executed, rounded and moreish. A nod to the '80s glam/sleaze scene, but constantly giving the listener something fulfilling, fourteen cuts, so much to offer, from the Aerosmith bump 'n' grinds, and Zepp blues. Easy on the ear, and just nice.

7.5/10

Hallows Eve - Monument (1988)

I love bands like this. Metal thrashing mad, 'Speed Freak' isn't rocket science, it's a head smashing thrash track, at times bog standard, and slowed on 'Sheer Heart Attack', but this doesn't have enough in its locker to even crawl up to the premier league of thrash titans. I'm much preferring the tones of Holy Terror or skate-mosh of D.R.I.

Finally, a thrash album I'm not gonna rave about, although I really liked 'Tales Of Terror'. Very '80s in its style, rather dated unfortunately and bereft of any bite. Awful cover too..

4/10

Sword - Sweet Dreams (1988)

The cover alone got me excited...a delicious skull wrapped by a snake, rather cliche, it looks all the world like so many horror books of its time, but then again, that's the metal magic flowing. Not as bruising as 'Metalized', 'Sweet Dreams' is ten rip-roaring tracks, all of a consistent level but seem to lack the bite and energy of the previous record. Still big sounding, emerging from the mundane and bolstered by beefy musicianship, the thrashy chug of 'Until Death...' would have made for a great live number, whilst mid-pacer 'Life On The Sharp Edge' makes the second half of the record a real joy.

Bombastic power metal which goes out with the bang of 'State Of Shock'. Cool band who can be slotted alongside Meliah Rage, as acts who with ease seem to produce modest work but probably knowing full well that within a fire waiting to burn the place down.

7.5/10

Holocaust - The Nightcomers (1981)

There are certain bands and records which invoke the very essence of what '80s metal, or metal in general is, or was, and should be. 'The Nightcomers' is one of those unintentionally black records, from it's Sabbath-like musings to its New Wave Of Heavy Metal stirrings. Better than Diamond Head and Angel Witch, exhibiting evil and class in one mighty cauldron. That rusty riff of 'Smokin Valves' is pure Glam Rock dirt, the drums intoxicating the eardrums,but wait til' you've heard the crashing riff 'Death Or Glory', or the doomy 'Mavrock'. Holocaust sound so fresh, it's an album that baffles upon each listen, pure rock 'n' roll rebellion that for any unassuming kid at the time would have been quite an experience, especially when you consider the power of the album today. Criminally overlooked, 'The Nightcomers' is a poisonous concoction of sleaze, doomy plodding and mega-metal arrogance. A landscape in itself, a bleak horizon almost as huge and unwelcoming as the industrial anguish created by Sabbath.

8.5/10

Tank - Power Of The Hunter (1982)

Dressed in a rather un-metal cover which could've dragged the band back to the '70s, thankfully, as soon as you give the disc a spin you're overpowered by the stench of pubs and motor oil. Tank once again prove they are hard as nails, grinding out their Motorhead-esque drinkin' metal for the masses. No real thrills, but the Zep strut of 'Some Came Running' is just wicked, and the road-worthy 'Used Leather' fills the nostril with the smell of burning rubber. Not keen on the cover of 'Crazy Horses', but the gravelled approach of 'Set Your Back On Fire' and the skull thumping 'Red Skull Rock' will have you flailing with reckless abandon, but it's the title cut which slices flesh, causes engines to roar and leaves tyre marks scorched on to the soul.

A rollicking record...as expected.

7.5/10

Raven - All For One (1983)

A band whose recorded output over the decades has been very disappointing to say the least. I owned the watery 'Nothing Exceeds...', but if you're going to purchase one Raven record then make it this one. Like an untamed, punky, speeding bull in a china shop, this has more brawn than brains, and remains the bands pivotal release. It's pretty fun metal, 'Take It Away' struts and licks, but Raven are a band who've embedded themselves into metal but who've never been considered notable. Some cool guitars on 'Mind Over Metal', but I really don't know how Martin Popoff gave this record 10/10...bizarre! It's fist pumping, but give me the pounding strains of Sword, Anvil and Tank any time.

7/10

Memento Mori - Rhymes Of Lunacy (1993)

Woe me...woe you. Memento Mori must be great for they feature the monk-like form of chief doom warbler Messiah Marcolin, who made Candlemass such a deity. Once again this is pure Gothic doom, none of that slo-mo' sludge crap, but perfect metal fodder for those who require a crane to lift such heavy records onto their decks. So elegant and flowing, clean sounding, but just so grey and punishing like the inner framework of an empty church. The album is a tapestry of superb guitars, Mike Wead cranking up to ten and pounding the fret boards to produce vast echoes like those in the oldest of monasteries. The drums of Snowy Shaw beautifully epic, and with Marcolin at the helm beneath that frizz of a hairball, Memento Mori ease out of the water like some black dinosaur ready to unveil its unstoppable path of destruction. 'Morbid Fear' is more glorious than Candlemass, the cavernous riffs accompanied by orchestral strains, whilst 'Forbidden Dreams' is technically gorgeous, taking doom metal to new extremes beyond the tried, trusted and crusty ways of the past. Technical yet still epically morose.

8/10

Anthrax - Sound Of White Noise (1993)

No longer interested in moshing, skateboarding or wearing Bermuda shorts, Anthrax move with the times, i.e. a period saturated by the grunge invasion where metal dropped from the hearts of teenagers. Suddenly, Joey Belladonna is out of the band and the New York chuggers are messing with their sound, but was it for the good ? Well, the recruitment of ex-Armoured Saint frontman John Bush was a surprise, but admittedly, the guy has a good, deep bellow, but where does that leave Anthrax ? Not many expected the once gurning, stomping thrashers to hit back with '...White Noise', a slower, far darker, deadly serious and dare say it, grungier record. Dave Jerden, who made his name mixing various records for many an alterno-rock band, is twiddling the knobs here, forming a densely layered, certainly more cutting edge slab. No longer are Anthrax writing comedy tracks, '..White Noise' reflects everything from urban decay to human outrage, it's clear that the band want to go into the '90s with a venom, to be put alongside the likes of Pantera, C.O.C. etc, as a true metal band. Problem is, I'm not wholly convinced but then again, that's my fault for loving 'Spreading The Disease' and 'Among The Living' so much. However, slap this record alongside the likes of Soundgarden, Alice In Chains, etc, and it wouldn't sound out of place and I think the boys knew what they were doing on this opus.

Many reviewers have said this album is under-appreciated, I think it's more a case of fans not sure what to make of it. Yep, occasionally there are the trademark guitar chugs, but the album is drenched in an almost fuzzy logic of industrialised grunge, from the moody 'Black Lodge' to the heavy weight opener ' Packaged Rebellion'. Bruising stuff but possibly too far removed from the days of old ? Again, this is about evolution and the '90s were a huge turning point for countless bands who were made to look rather silly next to the leviathan grooves of say Soundgarden. Anthrax stepped up to the challenge, and probably passed the audition, but I wasn't there to experience it, and I'm thankful of this. Looking back many years later, '...White Noise' smells of a band wanting to be cool, wanting to fit in to survive, and that has to be commended and I guess Joey and the shorts just had to go. I think the cover sums up the album in a nutshell - blurry!

6.5/10

Harem Scarem - Voice Of Reason (1995)

These Canadian rockers have been about...their previous recordings nothing more than lush, but very middle of the road rock...love rock, power ballads, swishy and sweeping but nothing out of the ordinary...and then 'Voice Of reason' hits...and what's happened ? Well, the '90s were a wake up call for metal, many bands, reliant on their satanic imagery basically bit the dust, whilst other bands decided to alter their sound. To some fans this may have been considered a sell-out, in fact some fans would be correct, but there were some bands who had evolve or die a gory death at the hands of grunge. And so, Harem Scarem, after too many sick-inducing radio friendly moments of boredom, went all alternative on us to some extent, and good for them. If anyone has seen the video for the cracking 'Blue', you wouldn't think it was the same band, who originally looked like something from a catalogue with their cropped haircuts, dodgy facial expressions...surely hair metal needs hair ? Anyway, Harem Scarem, albeit for a short time, seemed willing to trade punches with the likes of Enuff Z Nuff, and had echoes of the wondrous Saigon Kick, as the big, bolshy guitars caress the sweeping pipes of Hess. This isn't innovative, but it's sugary and this time the rumoured big songs have some weight and depth, again, 'Blue' shines through (backed by a wonderfully odd video).

Harem Scarem were never alterno-rock but as a step forward 'Voice Of Reason' made all the right moves to keeping in time, and whilst I often croon about so many bands who seem to borrow heavily from The Beatles, Harem Scarem, for a short time could have been one of those lush acts. It didn't last however, but this is an album worth checking out even if it lacks the supreme innovation and catchy wonder of so many other bands before.

7/10

Mercyful Fate - Don't Break The Oath (1984)

Utterly possessed. King Diamond's old band belt out true black metal, not afflicted by the reaching for under-production for shock value, this is sharp, dynamic metal for the kids who truly want to worship the horned one. At once creepy, grim, nightmarish and yet oh so professional, this exists on a diet of blood and candle wax, the King screaming, screeching and grimacing through the Gothic caverns. Echoing through the speakers are demonic wails, searing guitars and drums which sound like phantom hooves entering the passageway.

When I first got into metal I thought King Diamond was some kind of gimmick until I heard the fiery yells of his constructed hell. Forget Judas Priest, this is real metal for the occult-obsessed lunatics. 'Come To The Sabbath' creaks like one of those Dennis Wheatley novels your dad used to read, meanwhile 'The Oath' reeks of that early Iron Maiden stench that so many kids had invade their nostrils. Black smoke billows from the stereo, witches scrape at the windows and King Diamond's spooky lore goes in through one ear, and embeds itself in the human psyche like some kind of parasite. One moment thrash, the next a creeping gargantuan spider of darkly sweet flickering. Ghastly, ghoulish and yet pure metal through and through. Made for the black circle of vinyl. And that, dear metallers, is what you call an album cover!

8/10

Holy Terror - Mind Wars (1988)

I recall buying this thrash album on vinyl, somewhat a cult act although I wasn't sure what happened after this record. Very mid-paced but a fine thrash act with some very catchy tunes, particularly the brilliant 'The Immortal Wasteland' which has a Maiden influence as it gallops along, but it's 'Judas Reward' which enables Holy Terror to rise above a majority of mundane thrash acts. I love this track, beginning slow and heavy with an almost Eastern sounding rhythm but speeds to an almost raw hardcore sound, great vocal attack from Keith Deen also.

Being a metaller meant finding albums like this which were in fact widely available. It's just a shame that so many acts of this ilk weren't appreciated as much at the time and it takes several decades to pass before realising just how cool they were. Some great lyrics and a fine album cover.

7.5/10

Sword - Metalized (1986)

What a smooth monster this is. 'Metalized' is the gargantuan effort of Montreal's Sword who with such ease ooze out this lead weight metal. It's just so big and powerful, reeking of cool, bereft of the corny, and styled on big harmonies courtesy of Rick Hughes who effortlessly belts out these doomy hymns like no other. Vastly underrated, Sword are a giant mechanical animal, 'Stuck In Rock' is a sprawling leech which saps all the concrete from the suburban jungle and cranks amps up to ten. Pretty faultless, straight forward heavy metal that will leave you salivating for more due to its monstrous nature. No real thrills, but the production and musicianship is spot on, the band combing across the power metal genre with a hint of Priest.

'Children Of Heaven' has a darkly Gothic overtone, but it's those buzzing guitars and wholesome vocal attacks which fire the band into the stratosphere. Very heavy in parts, and reeking of that sinister metal menace you'd expect from '80s metal acts. 'Evil Spell' is symbolic of that typical vibe and you'll be hard pressed to find anything more sincere or rocking. This is a slab.

8.5/10

Warhead - Speedway (1984)

Belgian metal that deserves to be noted. Cool cover art reminds me of Grim Reaper's 'Sell You In Hell', but instead Death perches upon a motorbike. Thankfully the sleeve is represented by the searing content of the record which is blazing thrash metal. Vocally the guy's a bit of a warbler on those more reaching notes, but the density of the music due to under-production gives it that cool quality that kids craved back in the 80s. A chug here, a plod there, 'Kill The Witch' begins with a rumbling drum and fizzing guitar, 'Devil's Child' approaches like a prowling predator.

A good record, even if it lacks the bite of some of the more obscure records of the time, but worth checking out.I'm sure the cover will look good in any vinyl collection..

6.5/10

Nighthawk - No Mercy (1988)

Driving German metal with clear, clean vocals and surging musicianship, good stuff. The title cut is a real headbanger, 'Born To Fly' (strange keyboard arrangement - and reminds me of the Scorpions) and 'Goddess Of The Dark' follow suit, fanning the flames of evermore, making this very decent classical metal. Not quite hellbent on raising demons, this still echoes through the caverns majestically.

Album cover kind of represents the sound...suggestive of terror but fleeting and pretty harmless.

6/10

Tank - Filth Hounds Of Hades (1982)

Like a mallet to the skull, this comes screaming, punching and biting like a punky Motorhead fuelled by gallons of beer. Pure rock 'n' roll Armageddon, great album title, cool album title, and enough swaggering, high intensity metal to keep you happy for its duration. 'Struck By Lightning', 'Blood, Guts And Beer', 'Heavy Artillery' and 'Run Like Hell'. What more could you ask from a record ? The hotel is trashed, the armies have gathered, a storm is brewing...but it's time for another beer.

7/10

Tyrant - Mean Machine (1984)

'Blood Suckin' Woman', 'Grapes Of Wrath', 'Making Noise & Drinking Beer'....Darkthrone need to hear this! Can metal be this good yet so criminally ignored ? Tyrant, whoever they are, seem about as metal as it gets, churning guitars blowing black smoke, doom-laden drums and a vocalist who stirs like some evil behemoth and grins eerily into the grim sky before puking out some kind of glammy, sleazy, yet avant garde drool, that wouldn't be out of place on a Celtic Frost record.

This is gargantuan metal to slay a thousand dragons. File alongside Heavy Load and Overdrive, although this may well be first to the finishing post, because it's simply so dense. And by the time 'Invaders' kicks in with thrashy aplomb, you'll be left checking the speakers for debris. The next time someone asks you what heavy metal is...play this.

8/10

Tyrant - Fight For Your Life (1985)

Holy shit, why is there something so evil sounding in Tyrant's sincerity ? This is classic metal (not to be confused with the also very cool Tyrant who released 'Let Us Pray'), these German metalheads play a strutting metal groove, full of all the cliche's in a sense, but vocally there is something odd. Maybe it's just me, but when I first watched the classic metal movie 'Trick Or Treat', even in its corniness, I sensed a fiery evil, maybe it was the way Tony Fields played the dark metal hero Sammi Curr, and I'm getting the same feeling here, especially in the vocals which shift between a lip-curling pout to a double-barrelled watery growl, bizarre yet brilliant. 'Metal Rules' is a pure anthem with solid percussion and driving guitars, and that density caused by under-production which always occurred with these kind of bands back in the day. 'Fight For Your Life' and 'We Will Rock' have that same doom-laden chug of sinister abandon. Many reviewers found this dark quality whilst talking about the records by Deliverance, who were abit of an obscure yet overtly satanic group, who turned out to be a bunch of geeky teenagers who somehow, in the deep bowels of genius, got their finger on the pulse and produced classic, eerie metal. Tyrant are part of that absurd clan, and 'Metal Attack' is one of those records that needed to be heard by innocent teenagers who wanted to know just how fiery metal really was.

Makes Iron Maiden pale into insignificance...

8/10

Overdrive - Swords & Axes (1984)

Doom-laden classic metal from the '80s. These Swedes, alongside Heavy Load, provide fire, imagery and startling heavy rock with an ease that should suggest vast fame and fortune. Of course, Overdrive weren't all that popular but this stomping album once again proves that all the best bands are forgotten. Solid heavy metal conjuring images of great dungeons, damp castles and darkened skies, punctured by the streaks of guitar lightning and drumming thunder. And of course, the enigmatic and suspenseful 'Dream Away', touted as a forgotten classic in metal circles. An acoustic intro that soars like some iron albatross into the zenith before galloping like some metal horse. A message for youthful rebellion if ever there was one, casting images of pumping fists and warrior yells. 'Mission Of Destruction' rumbles, 'Black Revenge' chugs...it's an album to discover at any point of your life, and will bring out the hardest metaller in your soul.

8/10

GGFH - The Very Best Of... (2001)

Are you telling me there's a demand for this kind of scary music ? Well, I guess I'm proof of that! GGFH are depraved, unhinged serial killer-obsessed lunatics who play an industrial-electro style of obscure weirdness that will have you lunging for an escape route. Their classic albums 'Disease' and 'Eclipse' are difficult to find so how wondrous for the planet that Peaceville has assembled this package of sleaze. Littered with film samples and creepy dialogue, the 'band' create a soundtrack to some disturbing nightmare you can't wake from. Yep, all the classics are here, 'Room 213', based on the exploits of serial murderer Jeffrey Dahmer, the cyber-rock of 'Fiending Korpse' and 'Nothing Left Inside' , which will make you bath for days! Dark, throbbing and downright unnerving, GGFH want you to know that they've been peeping through your letterbox every night and they are coming for your children.

7/10

Badlands - Badlands (1989)

Reviewer Martin Popoff gave this sultry, swooning, strutting bluesy metal record a whopping 10/10..I'm not having that!! Well okay, it's a very good record, tinged heavily with shades of Deep Purple and Zeppelin magic, mainly because of the extraordinary guitar work of Jake E. Lee, who was one of the best guitarists of the genre for me in the '80s, and the band is fronted by the late Ray Gillen, whose voice is a smooth, caressing yet driven croon. Some big songs on offer, blazing a trail for '80s metal without the influence of Satan...'High Wire' is pure sex as it pivots on that ecstatic riff and Gillen shimmers and shakes, whilst 'Dreams In The Dark' drives like a bigger Whitesnake. Hard metal all over, played for real without the showmanship, and yet somehow this was lost on most but when you hear that rhythm of 'Dancing On The Edge' and the explosive crash and banging of 'Streets Cry Freedom' you'll be reaching for that guitar you never learnt to play. But...BUT...this isn't classic, faultless metal because for me it lacks the darkened edge of metal, and the home fire's burning here had already been lit by the previously mentioned Purple and Zeppelin. Even so, it's still classy metal but it was one of those records that many may have ignored due to its watered down packaging (dull band shot), but Lee's riffs alone are worth the purchase.

7.5./10

Claytown Troupe - Through The Veil (1990)

Anyone recall this little gem ? For some reasons comparisons to U2 and The Cult emerged when 'Through The Veil' was released, and of course, it was pigeon-holed alongside the likes of Faith No More, Last Crack etc, simply because it wasn't run of the mill metal. Soulful music indeed, Claytown Troupe are simply a cool band with nice grooves, varying tempo's, a little like mood swings they can be at once buoyant and bolshy, the next pensive and reflective. All the while, this is decent British rock, long forgotten, barely audible among the masses of lesser talented artists seeking a glimmer of the limelight. Yep, it'd the same old story as another fine, thought-provoking rock act goes to waste. The problem is, that despite some of the soaring anthem's on display and an energetic live show, which saw the band support The Mission, The Cult and Pearl Jam, we can see the confusion on the audiences faces. Are these guys metal ? Rock ? Alternative ? Indie ? Unfortunately, these need to categorise everything has its problems and so 'Through The Veil' slips into the realms of folklore as what could have been...after the second album, which once again saw them support Pearl Jam at big venues, the band folded. However, almost twenty years later they are back...but will the world be lost once again on Claytown Troupe ?

8/10

Laibach - Opus Dei (1987)

These kind of bands were always sitting in the 'Indie' or 'alternative' racks in my local vinyl shop, and yet it was strange how numerous metallers purchased this kind of industrial stuff, alongside real Gothic music and even a bit of punk. I guess not all metallers stayed put in their chosen genre, and it was great experiencing bands such as Laibach, Ministry, and The Young Gods, in fact, a lot of industrial bands released fantastic records, yet for some reason such stirrings where best heard on tinny cassette! 'Opus Dei' will probably have sceptics screaming, "Nazi!", as this militant juggernaut crashes through the land, but Laibach were far more satirical than given credit for, and this was a time when 'alternative' actually meant something as bands like the Dead Kennedy's spat their venom. This kind of music couldn't be digested for too long, but the musical structures are at once arrogant, militant and diverse, making for an unpredictable listen. In fact, anyone who takes 'Geburt Einer Nation' serious needs a head check as the band completely rip off Queen's 'One Vision'. Elsewhere, the band stomp, orchestrate, assemble and rock out various political soundscapes, painting pictures of marching armies, dramatic scenes and government inadequacy. Laibach are a huge machine, a churning, turning cog of surrealism and mechanised Euro-pop. Ya just gotta like it...

7/10

Exciter - Thrash Speed Burn (2008)

No real mystery here...Exciter still prove, that many years after the arrival of the '80s thrash scene, they can still mosh, thrash and burn with the best. Who needs new bands trying to re-create a sound that's never gone away, ands the originals are ALWAYS the best. Incredibly underrated, yet supreme in the thrash field, Exciter should have been in the major league for all of their existence, and this album proves why. Face-melting thrash akin to Exodus, Overkill, especially with new throat Kenny Winter at the helm, yet with a sharper edge than those mentioned. 'Betrayal' is by far my favourite rumble in the jungle, some superb guitars and drums on this. The album hurtles past as a blistering pace, but it's the kind of thrash to get yer teeth into, so, succumb to the rage, let your hair down and thrash...speed..then burn.

7/10

Jellyfish - Spilt Milk (1993)

What a surprise..with a tragic name like Jellyfish you'd expect some sugary yet flightless lump of plasticine, but instead, we get memorable, catchy, colourful and naturally psychedelic odes to The Beatles. Imagine outtakes from 'Magical Mystery Tour', and as the breath of 'Hush' sweeps across the valleys like some Sunday hymn, you've every right to feel blessed. And then, it's The Beatles via 'Revolver' for the fantastic 'Joining A Fan Club', McCartney-esque against a backdrop of fuzz guitars...ditto for the superb 'Sebrina...', with it's 'Penny Lane' bounce and Beach Boys harmonies. Hey, even Enuff Z Nuff forget these melodies....wonderfully uptempo, each time reaching beautiful pinnacles, never stabbing with any swishing guitar licks, instead always remaining brisk, possibly haunting beneath a blazing sun.

This is a cracking little record you might have to play quite a few times simply to be absorbed in its technicolour joy. One minute The Kinks could be cartoon characters in your front room, the next we are a buzzing Beach Boys imitation, but all the while remaining credible with the quirky songs of hope. Not for your average metaller seeking dungeons 'n' dragons, but for the cold, lost souls looking for quick warmth and a sugary hit.

7/10

Red Kross - Third Eye (1990)

Wrapped in one of those sleeves that screams, "We are alterno-rock", 'Third Eye' is in fact a jolly bubblegum ride of hippy rock and jangly, summery indie cool. Don't expect leadweight metal riffs to come crashing in or for the band to even resort to a Saigon Kick unexpected heaviness, no, this is bright, breezy and undeniably catchy rock/pop. 'Faith Healer', 'Zira', etc, are a heady, psychedelic mix of a watered down Kula Shaker, elements of The Beatles and maybe some of the alterno-metal types already discussed on this site. Very feminine, smelling of incense, this could be a multi-coloured Wonder Stuff accidentally dumped into the early '90s metal scene with the likes of Underneath What and The Nymphs. Tambourines at the ready and a trip to retro Oxfam to buy some kaleidoscope flares.

6/10

Pestilence - Resurrection Macabre (2009)

So, they have returned. A resurrection indeed. My once favourite technical death metallers who released the early classics such as 'Consuming Impulse', and the later complex epics such as 'Spheres'...and, what goes around comes around, because for some reason, the new Pestilence is attempting to recreate the old. Out with the new, in with the old, and I'm not sure I'm liking it! Back in the early '90s death metal took a refreshing twist when a majority of bands, Atheist, Cynic and these guys, dabbled in a little bit of experimentation within their already extreme sound. The bands became cult heroes even if the jazzy elements and odd, progressive interludes alienated some headbangers, but hey, these bands were masterful musicians, so to hear these godly deathsters pounding out this almost one-dimensional blur is a little disheartening. Sure, it's pretty brutal, vocally far more dense than even the bands early classics and the music is relatively punishing, but where is the identity of this band ? Nowhere to be seen I'm afraid, and it hurts to say that.

Death metal was once a relatively narrow-sounding field with countless bands sounding similar, and now Pestilence have simply gone back to that bog standard style of thrashing, with the frantic drums and hurtling guitars. Yep, there's plenty there for the ferocious headbanger, but when so long has passed between albums, as a resurrection this falls flat on its face like a zombie with no legs. Hardcore death metal freaks will disagree, but those who remember Pestilence will be very disappointed.

5/10

Beliver - Extraction From Morality (1989)

I was introduced to Believer via the excellent 'Sanity Obscure' record. Technical thrash of some quality which for some reason or other was criminally ignored simply because the band were Christians! I think at the time alot of overly Satanic music, such as Deicide, was hitting the racks and alot of metalheads were certainly against bands like Stryper who preached God's message. However, Believer are nothing of the sort, but simply a very cool band who thrash out a raging, chugging techno-fest something akin to a healthy mix of early Voivod, Death Angel and that Bay Area crunch. Believer however mix more original atmospheres and structures, giving their thrash groove a deeper more intricate soul.

Nine very cool tracks on offer, the chorus of 'D.O.S.' a nifty Anthrax shift of gears, whilst the strut of 'Stress' has more in common with Mordred before it rattles at a pace. Believer are very much a cult act who've bettered with age.

7/10

Monstrosity - Millennium (2002)

Amazing when you consider how long some of these death metal bands have been churning out quality music. Sure, Monstrosity never reached the heights of the likes of Obituary, and what they grind out is nothing new, but the complexities within the framework of the sound and the fact that I simply like Monstrosity, means I'm always willing to lend an ear. George Fisher would make this his last gurgle and join Cannibal Corspe, but despite its lacking in the originality stakes, 'Millennium' pounds and stamps as hard as most. A cult act for sure, you can slot this act alongside the likes of Gorguts for an almost no-thrills guilty pleasure.

'Fragments Of Resolution' and its slow, sombre stomp being my favourite track on offer, the drums of Harrison are precise and thunderous, but so many of these kind of records are based upon the foundations of the guitarwork and that's where death metal is often overlooked. These are fantastic musicians, but to the ignorant ear this may just sound like a nonsensical blur, when the reality is the terchnical prowess has to be admired as these kind of bands consistently startle with their extremity yet complexity.

7/10

Denial Fiend - They Rise (2007)

And whilst on the subject of Massacre....this is a relatively new effort featuring the guttural growls of Kam Lee and Terry Butler, and a fine effort it is to, and if anything, I'm digging this more than the 'From Beyond' opus of so many years ago. This is fresh sounding gory/punky death grind, with a horror theme, and it has the classic qualities of early '90s death metal. Eleven cuts on offer, full of zombiefied screeches and gurgles, yet often decipherable vocals and the occasional moshing chant, heavy chugging riffs and some superb drumming.

It proves that there's still room for this kind of stuff because the old masters still rule the roost. Hopefully this will find a cult status among death metal fans who still worship the qualities of a time we thought had faded, but which time and time again resurface. Cool comic horror cover too...

7/10

Massacre - From Beyond (1991)

From the opening strains of 'Dawn Of Eternity', Massacre carve themselves into death metal folklore with this much acclaimed record which, alongside Morbid Angel's 'Chapel Of Ghouls', 'Slowly We Rot' by Obituary, and a handful of others, remains a cult classic. Again, the guttural growl attack, from Kam Lee, but the album's main point of focus is the superb guitar work of Rick Rozz who impressed greatly on Death's classic 'Leprosy'. Many fans saw Massacre as competition for Chuck Schuldiner's Death, after all, the members has all previously worked with the master. Personally, Death's recorded output has never been equalled for consistency and Chuck's ability to progress within the genre, but 'From Beyond' although at the time splitting critics, emerges as a fine death metal record. A solid mix of speed, heaviness and complexity, although I don't think the record harbours enough to compete with some of the more diverse and heavy acts of the genre.

'Succubus' and 'Symbolic Immortality' are excellent death metal tracks, others have argued that 'From Beyond' displays to many generic and dull moments, and although I wouldn't be so harsh, I feel that 'From Beyond' despite its quality and cult status, lacks the intensity of say early Obituary and even Deicide, or the sickness of Morbid Angel.

Overall, 'From Beyond' is a decent death metal record that has stood the test of time, but it's not a record that finds its way to my stereo all that often..

7/10