Skyclad - The Wayward Sons Of Mother Earth (1991)

After his shock departure from UK thrash gods Sabbat, Martin Walkyier set up his stall at the carnival bizarre with Skyclad. Another truly brilliant and mesmerising thrash act of medieval stature and with the wise nature of an ancient owl, essential not only for Walkyier's demonic growls but those amazing structures, filtering through a menagerie of instruments from flutes to violins, all the while encased within a speedy, sinister cacophony of thrash. Way ahead of its time, very British, oaken and majestic, and every bit as poetic. All one needs is a roaring woodland fire and an imagination, because Skyclad is every bit as fantastic and elven as Sabbat, casting grim spells and spinning a myriad of yarns. Not once falling for cliche, this is the perfect background to Tolkien's march of orcs. This is pure molten metal but it exists beyond the dreams (and nightmares) of a majority of other bands, so gifted is it its medieval madness. 'The Sky Beneath My Feet elevates Walyier as a songwriter, placing him in his own magical realm, untouched as those guitars speed around him like Gothic doves. 'Our Dying island' and the spectral 'Mongleam And Meadowsweet' are like nothing I've ever heard before, so intricate and interwoven by melody and fantasy, one hardly gets time to drawn breath before they are enveloped by another gleaming forest glade or entangled in the crawling roots of a vampyric tree.

I still prefer the first two Sabbat records, but Skyclad and Sabbat are two very different bands,  and to them, annually we must forever offer a gift in worship.

8/10

Onslaught - The Sounds Of Violence (2011)

In the '80s British thrash was given a hard time and never reached the dizzy heights of the US and some of the European bands. Now however the UK scene is a real force, and veterans Onslaught, with their last two albums, this, and 'Killing Peace', have really found their niche and simply blow away anything the new wave of US thrash acts are doing at the moment. There is something so monstrous about the strains of 'Born For War', and the nuclear 'Hatebox', a furious mix of clear production, fiery guitars and aggressive vocals. If this was an American band it would be up there with the last batch of Exodus and Overkill albums, the monolithic 'Code Black' showing how Slayer should have thrashed in the '90s, hell, even Pantera sneak into a few of the riffs and vocal growls. It's great to hear the bands of old showing the new kids how its done, and that initial groove on 'Godhead' is pure maniacal magic with a lashing of thrashing Slayer. Violent sounds indeed. "Children of good you're fucking eviiiilll.....AAARRRGGGHHHH!"

8/10

Hour Of 13 - Hour Of 13 (2007)

For those of you who've been fortunate enough to experience the cult that is known as Pagan Altar, may find similar spells cast by Hour Of 13. Imagine a more polished Ozzy, over a buzzing, grey riff, and you might have an idea what Hour Of 13 are about, but of course, it's much more than that. Hour Of 13 create spooky gloom by their simplicity, providing great atmosphere and lyrics which the likes of Ghost could only bore with. the massive 'Call To Satan' evokes images of strange shadowy figures and fog-ridden graveyard's, always hinting towards the Sabbath megalomania, but then again, it's so hard not to, but the tone and tempo is then lowered for the grimoire 'Hex Of Harm'. Hour Of 13 are a pair of warlocks happy to reside in some dusty woodland cabin and conduct clandestine rituals whilst a dirty, stormy riff directs proceedings from the distance.

7.5/10

Vektor - Black Future (2009)

Well, this is a turn up for the black books. Vektor, like Bastardator, have no time for the retro thrash revival, instead they seem intent on crawling back to the toxic lair of Voivod, Destruction, and the likes and creating a mind boggling factory of black fumes and intricate evil. fans of Anacrusis and the likes will lap up this formidable assault of black thrash, propelled to even greater charcoaled insanity by the vocal rasp of DiSanto whose throat must be shredded after this! Rumour has it these guys are immense live, the black and white sleeve hinting at what holocaustic nightmares of thrash these guys can construct. Complex indeed, nothing simple on offer, just an array of jerking rhythms and jolting structures which paint pretty little pictures of alien worlds besieged by chaos and murderous frenzy. Some may find the violent dynamics of the title cut a little too 'black metal', and the parched 'Oblivion' has no interest in trends, marching through the ash-caressed streets like some armour-plated dog of war hellbent on thrashing beyond comprehension. The punkoid noise is refreshing on my eyes, the wondrous 'Destroying The Cosmos' drips into the room like oil seeping from a sunken rig before those jarring guitars trigger epileptic drums of grim fury. Immense stuff that blisters the fingers in its unrelenting arrogance. 'Black Future' buzzes like a titanic pylon in a world ending storm.

8/10

Gothic Slam - Just A Face In The Crowd (1989)

No joke thrashcore from New Jersey laced with angst toward a depressive society, which comes across in the pretty furious, albeit slightly mundane music, except for those punchy choruses and heavy guitar crunches. Certainly not a stereotypical mosh assault, the angry 'Who Died And Made You God' being the album 'hit', although personal faves being the mellow 'Demented Obsession' which leads into a mid tempo chuggernaut, reminding me of Metallica, and the five minute 'Battered Youth' which gallops in on a thunder bass and heavy riff. Somehow this type of stuff was so appealing and I find myself even more intrigued by it many years later, maybe it's the hint of groove and the sincerity of it all.

7/10

Noisy Mama - Everybody Has One (1991)

Terrible album cover and name, doesn't really enable the listener to grasp what this is about, but delve beyond the flaws and you'll find this a cracking little sleaze album, elevated by the oomph of the vocal wheeze. Sounds like Faster Pussycats Taime Downe with a bad case of asthma! The superb 'Long Way From Home' is a lazy, bluesy stroll through the desert, reminds me of War Babies in its effortless glide, cool stuff indeed. 'Little Brown Jug' starts with a Zeppish jig, supplying the ears with a Black Crowes/ Rolling Stones swagger and a most definite nod to AC/DC, whilst 'Dirty Dog' and 'Heart Of Stone' keep the bluesy metal flag flying. So many bands have tried this party rock and usually end up a pale, watered down version of their heroes, but Noisy Mama, despite the dodgy cover and band name even give Dogs D'Amour a run for their money with that gravel voiced drunkenness. All a bit of a mystery to me, but so sownright infectious, it'll make one want to smash up a few hotel rooms. Sadly, almost out of its comfort zone, but again, like War Babies, kinda stands alone. I wouldn't trust these guys!

7.5/10

Piece Dogs - Exes For Eyes (1992)

Mmm, very much groove based metal I guess, I'm thinking a dense version of The Organization, lacking thrills, packing beef. Could be a bit of Alice In Chains, but also Bad Brains circa 'Rise' but without the alternative takes. Maintains a hold without ever adjusting its stance, packs a punch as a meaty, early '90s record, losing itself in a stoned Mindfunk mire mixed with a darker Anthrax chug. Don't know an awful lot about it but sums up metal from the time, because anything that wasn't crushed by Nirvana may have lacked direction, so it's no surprise that Piece Dogs sound pissed off and indeed they do like to snarl and wave a baseball bat. Kinda cool without being flashy, and exists for no real reason except to remind us that there was a heartbeat beneath the grunge fluff.

7/10

Razor - Violent Restitution (1988)

Probably one of my favourite thrash records ever, Razor were simply a great band who never received the accolades that so many other bands did. Even so, in a way this makes these Canadian guys even cooler. Let's face it, vocally, there aren't many guys who can match Razor's Stace Mclaren, especially in that opening scream on 'The Marshall Arts', a ferocious introduction for anyone who has never experienced this band before. Razor have mastered the art of violent thrash and refuse to let up even as the choke hold renders one dead. Criminally underrated this may be, but the anger and fury that seethes from this record is second to none, a tour de force of terror that completely obliterates all in its wake. There is no time to inhale or exhale, 'Eye Of The Storm' and 'Out Of The Game' massacre the senses as Carlo's guitar plays havoc with the brain cells. This really is hyper thrash that dazzles in its ferocity, at times touching on early Slayer but this is constantly fast, brutal, bone slicing and cold in its execution. The musicianship is extremely tight, and it makes a rather bad example of the thrash revival, because this type of speed is untouchable and very much of its time. It may cause a lot of blood loss...

8/10

Whiplash - Ticket To Mayhem (1987)

When I first got into metal, bands like Whiplash were always a terrifying prospect. Although Slayer would certainly enable metalheads to appreciate underground thrash, when all this stuff was new to the ears, there was a real obscure, underground feel to it, and somehow the cover to 'Ticket...' seemed sinister! The content of such a record wasn't to disappoint either because Whiplash were a vicious assault to the throat, combining a powerful and seething black thrash with an alcohol-fuelled madness. There was always a sense of foreboding buying this type of record, knowing that any acoustic passage, of say, 'Last Nail In The Coffin' would provide a false sense of security as the listener would soon be bludgeoned by that sledgehammer of guitar and bass and those thrashing drums. To me, bands like Whiplash were real thrash heroes, and tracks such as the evil 'Snake Pit' for the original forerunners to the apocalyptic black metal scene - this grim pile of sewage sitting alongside Bulldozer and Venom as a metallic yet rusty knife to the guts. And then there's that killer riff on 'Burning Of Atlanta' and the echoing vocals of Portaro, cavernous to the extreme. Cult in every aspect, a band that must be owned by an self respecting thrasher. Who needs to mosh when you've got a ticket to mayhem.

8/10

Despair - Decay Of Humanity (1991)

Old school...or easily just as new school, German thrash, when you consider how talented these guys were. Nothing better than complex, dry, caustic thrash, and Despair were the epitome of that style of with those intricate drums, aggressive vocal sneers and no thrills frenetics. Euro thrash always had a colder edge than the US relatives, combining mid-tempo mechanics and unexpected changes, difficult to headbang to indeed, but instead bands of this ilk were masters of their trade. The opening title cut a complex web chord shits, trigger drums and bubbling bass, melting into the immense 'Cry For Liberty'. This is the sort of stuff we need back battering the eardums, not countless buffoons attempting to recreate that moshing chug. Some fine vocal arrangements here, whether as a death grunt, thrashy rasp or echoing soar, the record always maintains an air of the unexpected. The reality is, after hearing tracks such as 'Radiated', that European thrash was always the king, always remained a cult, and boy could those guys play. Deadly serious mechanics and metal for the intelligent.

8/10

Electric Boys - Funk-O-Metal Carpet Ride (1990)

For me this is a massive sounding alterno-rock record, combining the more lush elements of Aerosmith with a Zepp swagger whilst hinting at a psychedelic funk that made the likes of KikTracee and Saigon Kick so beautiful. 'Funk-o-Metal Carpet Ride' may be one of rock's worst album titles, but what lies within is indeed a multi coloured magic carpet ride of splendour, grace and gargantuan grooves, a kaleidoscope of layers caressed by Conny Bloom's chocolate flavoured tones. Funky in the sense of its soul rather than any irritating twangs, the likes of 'Captain Of My Soul' exist as mercurial mosaics of spiritual abandonment, whilst 'All Lips And Hips' is a swaggering, sleazy joint with tassels on. Not sure how popular these guys were but three albums spilled from their loins and what amazing fruits that blossomed. Glorious as a Technicolour dream, and big sounding in every way, whether its the soaring horns or lava-lamp swirling guitars. All very smooth and as intoxicating as a burlesque dancers boudoir. Plenty of incense makes the heart grow fonder and I'm getting higher every minute. Somehow luxurious and flowery but not once does it travel bereft of weight.

8/10

Hericane Alice - Tear The House Down (1990)

I expected a lot more from this band, and am amazed to see copies of this being sold at astronomical prices on the net. Any buyer must surely be an avid fan...if there is such a thing, because musically this is all rather standard. Sure, Danny Gill is a fine guitarist but I'm hearing a typical, middle of the road Whitesnake style of rock, complete with floozy ballads, 'Too Late', and the more uptempo melodic rockers, 'Wild Young And Crazy', 'I Walk Alone'. This sort of stuff is best suited to a late night radio station because at least then the listener only has to sit through one track, but as an album 'Tear The House Down' makes me do exactly what the title suggests, because all this is frustratingly mundane, to the extent that I'm running out of words to describe it...

5/10

Lisa Dominique - Rock & Roll Lady (1989)

Lisa Dominique was an example of how some women in rock were all boobs and no brain. I'm sure this rather sexy looking mistress adorned many a metalheads wall, but unlike Lita Ford, Joan Jett, Femme Fatale, Vixen, Lisa Dominique doesn't have the ability to rock, and instead, or so it seems, her lacy bra and tight jeans were used as the selling point. This is very bland boogie rock that boasted the awful 'Jealous Heart', a lightweight, ballroom boogie in which Lisa seems terribly out of tune over a mild tinkering of tragedy which I'm sure she may have called metal. I guess some metalheads may have been bewitched by Miss Dominique pouting on the cover, but throw that aside and all we get are weak and dire 'rock' tracks that barely rise above a pop plod. The title cut steals a Bolan riff and then transforms it into a barn dance. This is cheesy pop, confirmed by the atrocious video's of Lisa cavorting around like an '80s Page Three model. Too much of a "Grab ya partners by the hand..." if you ask me, and only gets a mention on this blog to dispel the notion that this album was metal...Nice lips, shame about the music.

2.5/10

Femme Fatale - Femme Fatale (1988)

When Femme Fatale emerged on the metal scene in the '80s some people mocked. Metal acts fronted by rather gorgeous looking women were often the butt of many a joke whilst sceptical metalheads still thought it was okay to drool over the front-woman. However, Femme Fatale were one of the few bands to rise above the mockery and belted out a rather solid metal sound that enabled the band to shift over 200,000 copies...Lorraine Lewis was the voice, a hearty soul who not only adorned the walls of many a metalhead, but a woman who had balls and whose voice stood up to the music. Femme Fatale were not startlingly original, but like Chrissy Steele, this was all about the songs and this record boasted quite a few decent numbers which gained airplay and of course enabled Lorraine to display her form on MTV. The big hit was bubblegum stomper 'Falling In And Out Of Love', whilst 'Waiting For The Big One' was a hot, searing rocker, easily contending with the likes of Lita Ford and Vixen whilst hard rocker 'Touch And Go' boasted the line, "Do it to me all night long..." which I'm sure would have had a few teenage boys salivating!

Femme Fatale were proof that that bands fronted by a woman could rock the airwaves, it's just a shame they never got the recognition they deserved.

7/10

Wolf - Legions Of Bastards (2011)

You can't really go wrong with Sweden's Wolf. With the last few years being swamped by the retro thrash revival, Wolf symbolise '80s metal at its finest and most sincere, and rather than irritate with their repetitive nods to the past, they still are able to move with the times and rock. Wolf have shed a few albums now, each one burning brighter than the last and boasting an array of energetic metal anthems for anyone not only interested in the '80s scene, but also new fans seeking something in the modern climate to get their teeth rattling. 'Nocturnal Rites' is the stand out track, a cut of menace and vigour that exists on a doom laden riff and sneering vocals. 'Scull Crusher' has a classic Maiden gallop and 'tales From The Crypt' gets a dose of Priest savagery. there's nothing corny about Wolf, they play the metal game for real and certainly wouldn't have been out of place back in the '80s and yet maintain a cutting edge to see them move into the future. Wolf are a prime example to any band who wish to wear their influences on their sleeve but not become too besotted by the past.

7.5/10

Adrenalin Kick -Bad Reputation (1991)

Another band the '90s passed by. I always thought Adrenalin Kick were more Skid Row than Kik Tracee, but before I heard them I hoped they'd impress like the latter. Instead, this is a pretty noise, one that attempts to swagger and breeze but at times drags slightly. The band aren't afraid to throw in a few chugging riffs, 'Beware The Stranger' boasts soulful vocals and a sharp riff, and 'She's Got Me Running' is a Cult/Hanoi hybrid. I can see how this record may have been thrown in with the alterno-metal crowd, but it lacks the breeze of say Law And Order and doesn't change its colour enough to satisfy. 'De-Humanizer' is a swaggering heavy glam cut but for the whole record lacks the glitz I anticipated. The rather dour album cover sums it all up really.

6/10

Havok - Time Is Up (2011)

Havok's return to wax sees the band up the anti and deliver a more aggressive style of thrash since their last outing (also reviewed elsewhere) but, like Merciless Death, it leaves me aching for something more original. Okay, so these thrash acts of today are eager to bring back that '80s feel and design, but if I want that then I'll go and put my Nuclear Assault, Defiance et al records on, and believe me, they thrash far harder than the acts of today. Havok immerse themselves in the '80s but seem so obsessed that they are forgetting to find themselves, instead reliant on those riffs which I've heard countless times before on Testament records, but Testament and the likes weren't simply derivative, they were monstrously talented and still to this day sound fresh, whereas bands such as Havok and Merciless Death, despite their hunger, drive and aggression, are, sadly, nothing more than pretenders, but respect to them for striving to re-enact a time I experienced, but it's just not the same.

6.5/10

Merciless Death - Evil In The Night (2006)

The thrash resurgence sees bands such as California's Merciless Death enlisting the artful talents of Ed Repka. The negative aspect to this frothing scene is the rather formulaic feel to it all, band after band taking that retro approach and giving not an ounce of freshness to a scene which, in the '80s, was extremely potent. Whilst it's wonderful to see thrash back in a big way none of the bands are fit to lace the boots of the bands they cite as influences. Merciless Death have released a fairly standard record that zips by at quite a pace yet with no real effect. 'Exumer', 'Command Death', Ready To Kill', all reek of Slayer, but never once come close to lightning the candle of the thrash titans. Torres' vocals are reasonably aggressive, but the riffs which litter each track don't exactly jump out, making this short platter seem like one long track. Back in the day there were so many different bands to experience, whether it was the Bay Area thrashers with their quality crunch, or the alien environment of say Voivod or Coroner, and then there were the UK bands, with Sabbat at the helm, and of course seminal acts from Kreator and Sodom, to Anthrax and Death Angel. Thrash is healthy today, but bands such as Merciless Death can barely even hint at those magical times. For me, this nod to the '80s is interesting but there is a possibility that fans could become swamped in very average thrash metal.

6.5/10

Bonded By Blood - Feed The Beast (2008)

Despite the fact I'm being swamped by the new wave of thrash bands doing the rounds, and at times being engulfed in the banality of it all, Bonded By Blood are one of the better chuggers in the recent charge of the mosh brigade. My only real issue being that not one of the current bunch, and I mean not one of many, has been able to produce a classic thrash record, because in such genre, the modern bands seem unable to produce the originality which came in the '80s. Looking back, the Bay Area had an original crunch, then in Europe there were the creators of avant-garde thrash such as Coroner, but in today's metal market there seems a great ability, of that I have no doubt, but the bands seem to have the inability to escape the past. Sure, it's great to wear influences on one's sleeve, but every album I've heard in the last six or so years is all too keen to take so many Testament, Exodus, Overkill and Slayer riffs, whereas the original purveyors of thrash had a unique sound. Bonded By Blood do sound a lot like Exodus, but without the immense quality, bit even so, 'Feed...' does offer a sturdy set of thrashers, fave's being the title cut, the moshing chant of 'Immortal Life', the pulverising 'Mind Pollution' with its immense riffing and the sonic crush of 'Vengeance'.

Of course, the new wave of thrash bands have kind of proven that there is now a limit within the genre, and so instead to bands are sticking to their guns in order to churn out an almost no thrills version of their favourite carnage. All well and good if it works, and thankfully Bonded By Blood do have that quality needed do rise above the mediocrity, but it still remains light years away from the original titans who plied their trade back in the '80s and '90s. There's no need for Exodus and the likes to give up their day jobs yet.

7/10

Tesla - Twisted Wires (2011)

The majestic Tesla, who for me were always alterno-metal without realising it, emerge with a breezy acoustic collection of stirring numbers for quiet summer evenings. From the mercurial 'Caught Up In A Dream', the beautiful '2nd Street', and the magic 'Better Off Without You', Tesla bring tears and smiles and so many emotions in between. Lyrically perfect, and always eloquent, they breathe fresh air into cover versions, yet always maintain an element of rawness, naturally in those gravel vocals which enable the cuts to exist as almosy sleazy in their form. Their cover of the Climax Blues Band's 'I Love You' a fitting and emotionally charged example of Tesla at their most sublime.

7.5/10

Accept - Blood Of The Nations (2010)

Whilst Morbid Angel may have sold their fans short (no, I'm still not over that chuck of disappointment!!), Accept come rushing headlong from the metal vacuum and hit you in the face like a truck. Some may say that such metal lacks any type of originality, but hey, Accept aren't alterno-metal, they are a face-ripping metal act, and they stick with that intention, and kudos to them for it. 'Blood...' is a quality heavy metal album of high craftsmanship and cold steel that not even Megadeth could stick with during the late '90s. The title cut is a marching anthem, Accept are at the front, in the trenches of blood and dirt, with gritted teeth, 'Rolling Thunder' seethes with angst, a horseman of war leading the troops into battle on a Motorhead buzz. Impossible to discredit such a force, and as 'Shades of Death' cracks the clouds and spears the ground with lightning, one realises as to how such original warlords can never be mastered by hew pretenders. New thrash and metal will always be a good thing, but there's no beating the original gods of war and thunder, and Accept are among those, gargantuan titans still capable of crushing all opponent's whilst glancing back proudly at their immense back catalogue of burning fury.'The Abyss' and 'Beat The Bastards' simply confirm that metal is a fortress beyond destruction.

8/10

Blue Murder - Blue Murer (1989)

After the dire techno-noise of Morbid Angel, I'm refreshed by a piece by a piece of late '80s hard rock. Fluid, middle of the road, Whitesnake-esque metal, of big voice, big drums (Appice) and a whole load of smoke for atmosphere. Plenty of brooding atmosphere's and sultry love songs ('Out Of Love') as well as vibrant mid-paced rockers, 'Riot', even if they are a tad overlong. Slot this alongside the already mentioned Whitesnake, and the likes of Baton Rouge, because it's all very fleshy and masculine although I must admit I prefer the Blue Murder guitar sound when it gets going. 'Save My Love' and 'Black Hearted Woman' being my fave cuts, the former a misty, swaying late night track with some cool crooning courtesy of Sykes.

6/10

Morbid Angel - Illud Divinum Insanus (2011)

The sighs of disappointment can be heard from here to Hell. The mighty Morbid Angel, Florida's answer to all fevers and plagues, return with arrogant devil king David Vincent at the helm, and yet the fans are heckling, in fact they are stoning the idol in disgust. The horror is that despite the gap between Vincent-fronted albums, MA have returned with a less than invigorating sound, one which is using all too many industrial samples and completely losing its fan base, despite the occasional twisted riff of Azagthoth still finding its way among the withering coils. Naturally, Vincent's voice lacks the menace of the early classics, but the record as a whole is so bereft of malevolence and swagger, that this return is even more disappointing than that of Pestilence. Without a shadow of a doubt 'Illud...' is one of metal's biggest disappointment's that can only be rectified by the band running back to the studio, because this record is not much heavier than a Rob Zombie record, displaying all too many attempts at experimentation, which at once destroys any hopes we may have had of a death metal classic. The decent stuff is few and far between, 'Nevermore', a track which many have known about for a while, misleads us into thinking this is another twisted record of carnage riffing, but no, steadily the records declines, littered with techno excrement that doesn't even have the ability to challenge the mildly intense industrial bands - in fact it's as if the band have no love for death metal, instead injecting their deathly veins with watered down blast beats and the like. there is nothing here that invokes Satan, in fact I'm sure he left the building years ago, knowing full well this alleged return of the titan would crumble to ash.

The fact that Morbid Angel have gone groove-based isn't the only horrendous ingredient, the biggest shock is how timid this record really is, reeking of an ego that has disappeared up its own cavernous arsehole. Whatever the band members are listening to of a night should not reflect on the fact that Morbid Angel used to be a pulverising death metal band, but incorporating a hip-hop beat here, and an almost nu-metal groove there, is simply blasphemy. Those who find this record even half-decent deserve to be crushed under the rock these guys recorded this opus. Slipknot fans may hear this and set up a mosh pit of personal issues, but death metal fans will be reaching for the exit, and by the time 'Radikult' has puked its final dance beat, the area will be a ghost town of caretaker's and event staff, sweeping up the piles of shit from the stage that were thrown at the band. This really is a bad record, a record that pushes the riffs to the back, in favour of some kind of cyber-rock darkness, the type of cold, boring sound that was injected into the black metal scene a few years back. Fans are setting fire to their vinyl and cd's rapidly, and the band must surely take not at such actions, but it wouldn't surprise me if Vincent and co' produce another lump of this puerile crap just as a middle-finger gesture, but that's fine by me, because when they churn this excrement out live, not only is it going to give the classic cuts a band name, but I'm hoping that fans of any sense will be walking out the door. This is NOT Morbid Angel, this is not how to experiment within your genre, and lyrically it's offensive in that it's so poor. The thousands of negative reviews on the internet speak for themselves, but if you don't believe how bad this is, just try and steal it from somewhere because it's not worth the paper it's printed on.

I'm interested to see where MA go from here....I'm thinking the dustbin. Rest In Peace, you're lucky to get a '3.5'.

3.5/10

Ghost - Opus Eponymous (2010)

Abit of a mystery this one...many music fans finding much to rave about in this brooding cauldron of eeriness. I'm not so convinced...for a start, any band that dresses up as monks on stage is going to find it hard to be taken seriously, and the whole occult ethos breaks new ground, some in fact are saying that Ghost are nothing more than Mercyful Fate/King Diamond imitation. I tend to agree, because despite the atmosphere it creates, i.e. that of a cult congregated in a castle, this record begins to bore quite rapidly. 'Con Clavi Con Dio' is a dark, majestic track of chilling chords and creepy bass, and with an ominous build up 'Prime Mover' disappoints with its lightweight drone. And that's the big problem. Ghost promise sinister echoes, but fail to deliver in the repetitive strain injury of those dire riffs which seem regurgitated track after track. And then there's the vocals...imagine a simply mellow and less evil King Diamond, and that's the sort of demon preaching we have on offer. It's all rather wistful but I'm struggling to realise the chills, even as the stormy, macabre 'Ritual' shuffles in and the creeping 'Satan Prayer' shuffles out. Considering this record was named as the third best album of the decade by a Swedish Magazine, I'm left completely baffled by the hype, instead preferring to flick through my old Dennis Wheatley novels for a more genuine glimpse of darkness.

The band are clearly determined to create some type of mysterious aura about themselves, the vocalist, Papa Emeritus having a tendency to adorn himself in cardinal costume for the gigs. But, as the history of metal has told us, such imagery and satanic influence doesn't necessarily mean quality of music. Don't get me wrong, I love metal with atmosphere, but 'Opus...' begins to drag too quickly, boring me in the same way as Blue Oyster Cult and that '70s occult influence. Sadly, Ghost have the effect of the supernatural form they are named after, in that whilst they clearly are able to spook for the first few minutes, they quickly become no more harmful than Casper, the friendly ghost, the cut 'Elizabeth' a prime example of such Gothic yawning. The whole thing lacks weight and one call to 'Ghostbusters' and this one is quickly exorcised. Extra half a mark for the decent album cover.

6.5/10

Black n Blue - Hell Yeah! (2011)

My oh my, the once prolific hip shakers have returned with a belter...the four albums of the mid to late '80s now a distant memory, because this is damn good rock 'n' roll for the soul. Hints of cheeky Dave Lee Roth with serious Kiss, this is a breath of fresh air considering it's nothing at all new, but as the title cut saunters in on a cool riff, there's that typical '80s vibe but taken into the modern. This stuff is timeless and far from the cheesy innuendo many believed back in the day, the ultra cool 'Candy' a prime example of that cheeky, pompous sway, whilst 'Falling Down' has an almost Ozzy intro with that acoustic breeze and vocal drool. 'So Long', with its infectious chorus, 'Target', and 'Hail Hail' follow suit as real earth shakers. Black n Blue are proof that this formula of metal is still relevant today and you'd be a fool to miss out...

7.5/10

Autopsy - Macabre Eternal (2011)

One of my fave extreme metal acts of all time. Autopsy, the kings of doom-laden gore metal return with another dirty, droning, bubbling, infected noise that, with delight, pulls teeth, desecrates graves, and fucks the dead. Whether it's the doom sludge chaos of 'Always About To Die', or the quicksand dirge of the title cut, Autopsy continue to drag seeping corpses through the mire into their own fetid realm. Vocally morbid, musically gloomy yet so Gothically eerie. there's no mistaking Autopsy, in fact their foul stench can invades the nostrils from miles away like some steaming grave. The hideous 'Bridge Of Bones' writhes like some massive slug of doom from a lair of fog, as the downtuned guitars make way for Reifert's glum tones. Autopsy have always bridged the gap between death metal and doom I guess but still manage to create their own horrible rumble. No gimmicks, just sordid stories from Hell's most rotten nook.

8/10

Bastardator - Identify The Dead (2009)

Finally, a new band don't seem intent to resurrect the sounds of old, but instead where their influences on their sleeves, grab a kg of beer, and thrash til' death. Bastardator are a violent, buzz saw mix of early Voivod, Motorhead, Darkthrone, Bulldozer, Venom, Destruction et al. Instead of being caught up in the new school thrash trend, 'Identify The Dead' exists as a barbed wire rake to the heart. That tumbling bass on the title track is pure Voivod punkoid mayhem whilst 'Conquistador' has a classic metal feel with its '80s Euro groove. Pretty venemous stuff, spitting, spiteful vocals over a clanking noise of rattling solo's and crashing drums - envisioning a nuclear wasteland of toxic thrashing. 'God On Their Side' has a bassy, thrashy Motorhead feel, and also pukes out a Sodom vibe. Y'know what I'm trying to say - basically, if you like your thrash spiky, apocalyptic and bereft of American chug, then Bastardator will provide the whiplash to the flesh you require. War has begun!

7.5/10

Holy Terror - Terror And Sumbission (1986)

Holy Terror will delight any thrash fan looking for something just a little different. The cover art alone suggests a band with an almost European stance to their gothic meanderings, and musically it's chaotically tuneful, particularly in Deen's vicious vocal delivery which is complimented by the killer guitars of Kilfelt and Alvord. This is no predictable chug-a-chug-along but a twisting, cavorting red hot poker of a record that would see the band gain cult following and yet nothing more. The demonic intro of 'Black Plague' transforms into a searing, deathly blow to the senses one of HT's biggest positives being their decent lyrics. 'Evil's Rising' has a black, punky edge and this is where the band find their noisy niche. Quite happy to travel at speed, the melodies are blasted by triggers of vigour and crashing drums, and whilst this could be early Metallica, the band then show their ability to reveal a flip side, a technical, juddering strain of Euro-goth metal, indicative of bewitching speed metal from the time. I could listen to this stuff all day, as the cloaks of 'Mortal Fear' and 'Tomorrow's End' draw round, Holy Terror refuse to mess around with thrash, but instead create a stark, unbidden world that would reveal more of its secrets on the next record, being my fave, 'Mind Wars.'

7.5/10

Exodus - Fabulous Disaster (1989)

I recall my cousin Jez buying this back in the day and we scribbled the words 'Good Friendly Violent Fun' on his hallway wall and as the killer track 'Toxic Waltz' detonated, we spent the entire day leaping on to his bed pretending we were in a mosh pit! Great days indeed. 'Fabulous...' is probably by fave Exodus platter, although originally my opinions on the band changed with the weather - i think at first it was the vocal attack I couldn't grasp, but over the years, as Exodus have become a heavier machine, I've appreciated their old school thrash records even more. 'Fabulous...' is a clattering, battering ram of a record that never lets up, on any occasion and smoulders long after you've turned the stereo off and retired to bed. Ten blistering, chaotic cuts that sum up the whole thrash ethos - it charges, rage, spits, thrashes, flails, and hurtles at a relentless speed, bolstered by the crunching guitars and vicious vocal delivery. Whilst humour is only at a smattering, Exodus have a wonderful ability to always keep it aggressive, even when tomfoolery takes over, and this is exemplified on the thrash anthem 'Toxic Waltz', but the title cut is equally monstrous with those frenetic drums and the infectious chorus. Exodus have always had the ability of social commentary, opener 'The Last Act Of Defiance' and 'Like Father Like Son' being prime example's, but they aren't afraid to thrash, and that's the most important aspect. 'Cajun Hell' may lyrically read like some dodgy slasher film, but the searing musicianship and constant assault on the senses means that any subject the band cover must still slash the ears like a razor.  

Anyone new to the thrash genre as a fan must surely be introduced via way of several special records, and in my opinion 'Fabulous Disaster' is one of those major league maulers. Still sounding as fresh as the day it hit the racks, it never fails to explode in your face and leave human debris all over the street. Pick any track at random and watch the flesh fly.

8/10

Britny Fox - Boys In Heat (1989)

Predictable as hell but good time boogie down party rock full of cliche's but what the hell, sit back and take a swig. Think Cinderella, right down to the vocal rasp, cowboy boots, spandex, big hair, lyrics about roads...yep, it's the late '80s and Britny Fox are on the march and are doing a better job than most if you ask me. 'Dizzy Dean may have the pipes from hell at times, but he's backed up by more than an adequate band and as a bunch they have the ability to write quite beefy and memorable tunes - 'Standin' In The Shadows Of Love', 'Livin' On A Dream', only 'Stevie' makes me cringe, but the rest are admirable during a time when bands of this ilk were two a penny. It was never about being original are who had the biggest hair - they all did - but if you had songs that didn't irritate I guess you were on to a winner. Britny Fox succeeded simply because they concentrated on the music as well as the bars and women.The hip-shaking, whiskey-swigging, hairspraying genre may not have lasted that long but it was a golden time, so hats off to Michael Kelly Smith, Billy Childs, Johnny Dee and the chief rasper for being part of it.

7/10

Quick Change - Circus Of Death (1988)

Pure American chugging, moshing thrash. Anthrax, Overkill, Laaz Rockit, etc, etc, it's all here, the only downside being the band's constant strays into humour, but then again thrash was always considered "good friendly violent fun"!! Wrapped in a cool cover, 'Circus Of Death' gives us twelve solid, fat tracks moshed up by the twin guitar attack of Mccarthy and Anderson. Whitehead's vocals are a tad weak, bit it kind of fits the mid-tempo chugging...strange how so many moshing thrash acts have similar style vocalists...When Quick Change get serious we are pleasured by some decent thrashin' cuts, from the trudging 'Show No Mercy' to 'Injected', but there's almost a loony smile waiting round the corner, 'Leave It To The Beaver' a fine example as to how humour sprinkled '80s thrash. Still, it's relatively heavy, also touching upon the likes of Nuclear Assault and D.R.I., so the influences are decent ones to have, even if it all lacks identity.

6/10

Stryper - Against The Law (1990)

The strutting Stryper bounce back bereft of the yellow and black costumes and finally realise it's time to move with the times and get with the '90s. God decides not to appear on backing vocals and the band decide not to include a handful of heavenly hymns for us to choke on, but instead 'Against...' is a cheery, crystal clear rock record, given star dust appeal by Sweet's almost helium infected voice which soars over the percussion. Ballads and anthems unite, but it's not as overtly cheesy this time round, 'Two Time Woman' could belong to the Warrant catalogue and 'Rock The People' is third-rate Kiss, but a band like Stryper, which clear;y has limitations, cannot exist as anything else, so there's no point picking on such an opus, instead one has to appreciate it for what it is. It's pomp rock made of candy, and oh so nice that several tracks, in their naivety somehow work, i.e. 'Not That Kind Of Guy', although the lyrics are hilarious in their stupidity. Mind you, it's Stryper, so what else was you expecting ? Overwhelmingly harmless!

6/10

Shotgun Symphony - Shotgun Symphony (1994)

I know bugger all about these guys but as the fluted keys swirl on album opener 'Highway To Tomorrow', I'm sensing this is full blown AOR, hair blowing in the wind, satin sheets and feminine vocals courtesy of a guy named Tracy! If you've always wondered what hair metal really is then bands such as Shotgun Symphony will explain, because it's all about the almost power ballad type feel the album invokes, the lovey-dovey tracks, lush production and those swishing keyboards which grace the guitars like an ocean brushes the sand...Thankfully the band aren't too shy on the riffs, 'What Happened To Love' is a little beefy but all too quickly swamped, once again by the keys, but it's all very nice, generally sweeping through the room with no intent. For 1994 it's a record way out of any comfort zone, but much respect for spraying this stuff out at a time when grunge was the only music on everyone's lips. Shotgun Symphony clearly had no time for trend and so frizzed the hair, prepared the pose, and created a handful of sauntering smoochers, from 'Turn Around' to 'She's In Love'. Satan won't be happy!

5.5/10

Honeymoon Suite - Racing After Midnight (1989)

Thrashers, leave right now. Y'know the band shot on the cover suggests a real lightweight style of rock, and you'd be right, because Honeymoon Suite are strewn with keyboards and bubblegum guitars. Run of the mill is an understatement, but I paid £1.99 for this so I'm gonna review it ha! This is pomp rock bliss for anyone seeking something catchy but that rarely becomes audible above a whisper. 'Lookin Out For Number One' is infectious indeed, Johnnie Dee croons all over this as he becomes awash with synths, courtesy of Pruess. The twinkling 'Long Way Back' has a Bon Jovi feel, in fact, the whole record has a chart-orientated feel, never once becoming a metal record, but instead a rock record of polished production and mullets of supreme quality! Not a lot to say, but deserves a review because not much of this stuff litters this blog, but there may some people out there in cyberspace eager for this type of wimpy rock.

5/10

Baton Rouge - Shake Your Soul (1990)

File this middle of the road, keyboard laced rocker alongside Danger Danger, and the more commercial Alice Cooper, especially with that chorus on album opener 'Doctor'. Pretty predictable but mildly entertaining and a record that sways very much in the direction of Whitesnake ('Walks Like A Woman') combined also with the airs and graces of a beefier Def Leppard. All quite macho and big haired, 'It's About Time' is a sultry Van Halen-esque (circa Hagar) heart wrencher, whilst high school pomp rocker 'Baby's So Cool' flutters the lashes. Similar to so many other bands but endearing for its time. I've heard a lot worse.

6/10

Kiss - Lick It Up (1983)

Free of make up, Kiss hit a form that suggests there's some life in the glam rock dog yet. The second album to feature Vinnie Vincent, 'Lick It Up' is a stripped down rock 'n' roll record that in the past they've struggled to make. I'd rate this as one of their best, especially in the sense that gimmicks are few and far between, even the title cut struts with that infectious chorus, but it's the likes of 'Exciter' and 'All Hell's Breakin Loose' which score points. Even Gene Simmons elevates himself to more than just bass player with long tongue, rumbling through a set of ballsy cuts, such as 'Fits Like A Glove.' Still incredibly overrated as a phenomenon, it's a shame that Kiss are so sporadic in releasing decent records, instead their past is littered with so many half-hearted platters, but thankfully 'Lick It Up' isn't one of them, so lap it up!

7/10

Agony - The First Defiance (1987)

Cool album cover, this bucket of Euro thrash throws the guitars in your face immediately, the production values not allowing the vocals or percussion to rise above a wishy-washy whisper, but in its primal rage there's something endearing about the naivety of it all. Eight tracks, straight from the late '80s cavern, lacking any type of direction, the whole seemingly amateurish cacophony melts together as Lundstrom's average vocals are lost in the mix of again, those clanking, buzzing guitars. Nothing spectacular about it at all, but it doesn't bore me and seems very much of its time but of course the competition at the time was formidable, but bands such as Agony clearly existed on their enthusiasm alone. Strom and Sjolin's twon guitar attack seems to over run the record, but it's a steady mess that is leagues below the likes of Kreator and Coroner, but has a basement quality which at times can be cute, as long as one doesn't succumb to too much of it. The image on the sleeve means the band flatter to deceive greatly, but many a thrash head probably owned this slab of primal rage.

5.5./10

Xentrix - Shattered Existence (1989)

The band's 'Kin' opus left me cold, 'Shattered...' tries tow arm the cockle's but still grates as another Metallica mimic, mainly in the form of Astley's irritating vocals. Whilst Bay Areas spawned so many cool acts Britain struggled to spew out a hatful of decent thrash bands, only Slammer, D.A.M, Deathwish, doing any damage and even then it was all rather low budget, only Sabbat rising above the hordes with their bewitching metal. 'Shattered...' is a predictable, lifeless record that rarely shifts pace from that monotone thrash chug, all the while Astley becomes more and more irritating in his Hetrfield's impression. The likes of 'Balance Of Power' and 'Position Of Security' seem timid in their attack, if you can call it that, and I'm left wondering, once again why I've spent forty minutes of my life listening to it. As interesting as dish water I'm afraid. Shattered patience.

5/5

Onslaught - In Search Of Sanity (1989)

Onslaught were UK thrash hopefuls yet confused from the very start. My fave record of theirs, being the dungeon dampness of 'Power From Hell', was lampooned by many, and so from there the band transformed into a more raw, thrashy outfit and recorded 'The Force'. However, album three sees the band bring in chief warbler Steve Grimmett of Grim Reaper fame, and now they are on the quest to become the English Metallica. 'In Search...', for all its attributes, is a timid 'Ride The Lightning' imitation, disembarking on an Americanised route, which at the time was probably advised condisering the lack of fortune among British thrash acts. The guitar attack of Rockett and Trotman is sufficient enough to compliment Grimmett's tones, and the band show their promise on the lengthier cuts such as 'Blood Upon The Ice' and 'Welcome To Dying', which are structurally impressive although again they reek of that style Metallica made their own in the late '80s. 'In Search...' of sees a band striving to find an identity, and yet three albums in they still seem uncomfortable despite their ability. The sound is polished, the only stain being the cover of AC/DC's 'Let There Be Rock', but the gods are casting great shadows over these type of bands who failed to up their anti and so found themselves being crushed under the weight. The Bay Area scene may have harboured many bands with a similar crunch but when UK acts strive for that type of sound it doesn't bound well. Even so, 'In Search Of Sanity' is a half-decent record, but would have been better titled 'In Search Of Self.'

7/10

Infectious Grooves - Grrove Family Cyco (1994)

Suicidal Tendencies vocal loon Mike Muir must be commended for taking a stale, irritating heavy metal trend - funk metal - and breathing some life back into it. Long after the fad had seemingly died, Muir wasn't content to see it as a short-lived phenomenon and so brought the funky ass bassline back and merged it with a metal crunch, and of course, his soulful, choppy raps. Clearly, the more angst-ridden hardcore sound of Suicidal Tendencies wasn't suited enough to this type of Parliament meets metal chug, and so 'Groove Family...', being the third Infectious opus, is rolled out as more than just a goofy side project. Of course, the whole issue of the funk metal trend was it's oh so sickly image and cartoon style, which does of course litter this record, but instead of being a weak-ass attempt at a myriad of styles, 'Groove Family...' shifts towards a wondrously heavy and often sublime groove, even if I'm not really concerned with lyrical content and the like. Stick with it and you may find something of note, but...and this is a big BUT, if you became quickly ill at the late '80s, and early '90s funk metal trend, you may find this too vomit inducing, but still, kudos for Mike for doing his own thing, but for me the listening experience would be a couple of times a year if that.

6/10

Great White - Great White (1984)

I recall seeing these cowboys on one of the Hard 'n Heavy video volumes, making complete prats out of themselves singin' 'Wasted Rock Ranger'. This major label debut however is by far the best record they ever made, quickly sliding down the greasy downhill slope afterwards. This drives straight into action with the sizzling 'Out Of The Night', a ballsy, infectious record that brings to mind the purity of Fastway as Jack Russell attacks the riff of Kendall. There's a distinct '70s feel at times, but always rip roaring (apart from the unnecessary cover of The Who's 'Substitute'), but again Great White lick the flames with the chug groove of 'Stick It' and 'No Better Than Hell.' Sad that Great White became a parody, because this debut smoke's enough to set the fire alarm off, and as 'Bad Boys' and 'Streetkiller' spears from the sky like fork lightning, one has to wonder how it went wrong so quickly...but forget the decline and slap on 'Great White' and you'll find yourself rockin' till your heart's content.

7.5/10

Shotgun Messiah - Second Coming (1991)

SM's second opus before the industrial reinvention that was 'Violent New Breed'. This has all the usual sleaze rock trappings, from Skold's raspy vox and the driving, dirty rhythms- at times better than average, but often mundane when you consider what quality was around at the same time - too many bands refusing to move with the times signalled the end for a genre. Sub-standard G 'n' R grooves, 'Living Without You' could pass for Green Day in today's climate - that's not a good thing, whilst elsewhere it attempts to grab its crotch but never exists beyond a catty, scratchy fever that begins to irritate. Nice work if you can get it I'm sure but I've heard it all before guys.

5/10

Slaughter - Fear No Evil (1994)

Slaughter emerge from the ruins of the '80s metal scene and attempt to rock the '90s, and by gum do they succeed. 'Fear No Evil' is a brilliant record, and goodness knows how many similar '80s bands went into the '90s and released quality material which would have been much ignored. The grunge invasion, or should I say, Nirvana's offensive shadow over the rock scene, strangled the life out of most genre's, but respect to those who stuck to their guns, cut the crap out of their image and returned with venom. This is the rollicking record Love/Hate never made...from the Zeppish opener 'Live Life Like There's No Tomorrow', which Mark Slaughter nails as Kelly's guitar rattles with pace. 'Fear...' is a record that spits anger, but never forgets the subtle side of things, enabling to record to sit wistfully alongside Skid Row's bombastic 'Slave...' The hip-shaking 'Get Used To It' is a piledriver of a cut, on a jagged riff whilst the G 'n' R-meets-Cult twang of 'Searchin' is divine. 'It'll Be Alright' is mystical with its Beatles-esque mellotron...the band may have been mocked in the '80s, despite success and a huge fan base, but this record simply proves these type of bands weren't just about hair. From it's quaking blues to shaking groove, 'Fear...' enables Slaughter to share the same godly space as say Kik Tracee. From the vibrant swing of 'Hard Times' to the acoustic shine of 'Yesterday's Gone', Slaughter makes the dreary '90s all the worthwhile. Fuck grunge, this rocks.

8.5/10

Voivod - Katorz (2006)

Amazing how these once inhospitable orcs of iron carved a career without ever sticking to the same path. Whether from the spiky landscapes of 'war & Pain' or the eerie vacuum of 'Nothingface', Voivod have always moved light years ahead, into the realms they only had the vision to create. 'Katorz', featuring Jason Newstead on bass, is a buzzing menace of a record that instills the same dread as previous but only this time the band create a more punkoid rock 'n' roll garbage truck to drive you through the weird scenes and frenzied psychedelia. 'Katorz' is a thorny, dirty record of jarring rock 'n' roll that will always sound like nothing else. Voivod are the Frankenstein of metal, a monster invented so uniquely that it will always have one foot in its primal cave. From Snake's sneering pipes to Piggy's unmistakable clanking guitars and Away's surreal and vast drumscapes, there is nothing here to hold onto because of it's barbed substance. Voivod, on this record, have become a guttural, primitive new wave punkoid act, a tribe of many, mainly rusted colours that can churn out cuts such as 'Mr Clean', 'The X-Stream' and 'The Getaway' as if they are a new, raw band on the block, a world away from the ironmonger thrash of the '80s or the Pink Floyd mutation of later years. There's nothing more that anyone can say about these guys. 'Katorz' isn't afraid to become a punk record, and because of this it naturally lacks the warfare of early records and the dread-inducing dream sequences. So, the rating reflects the fact that this is a solid record, but a record showing a band becoming slightly more normal, if that's at all possible, and to give it a higher mark would be disrespectful to their other records which for me, particularly in the forms of 'war And pain', 'RRROOOAAARRRR', 'Dimesnion Hatross' and 'Angel rat', are genius.

7.5/10

Naked Truth - Fight (1991)

Naked Truth were an angry, brooding mob who made Living Colour seem relatively joyful. Combining the more aggressive elements of Bad Brains, only with a thicker smoke, and a touch streetwise attitude, Naked Truth were criminally underrated and always flitting between genre's, becoming a melting pot of Mordred, 24-7-Spyz, Fishbone (to a lesser extent), Urband Dance Squad but always of blacker mood. Somehow, despite obvious talent, the four piece were never better thought of, strange when one considers how the alterno-metal wave lapped this type of stuff up, but I guess the brand of brash funk and at times ominous riffage was a little too harsh on some ears, although I found it quite compelling. The urban toughness melted into a jazzed up groove was a surefire hit ingredient in my books, especially on the cool as a cucumber 'Downtown' and monstrous 'Tormented World'. Far more hardening than the pop funk jizz of the Chili peppers, Naked Truth lived up to their name and refused to give up the fight. The struggle resulting in this tough nut of a record that has the word 'soul' leaking from every pore.

7.5/10

Michael Monroe - Not Fakin' It (1989)

The much respected Hanoi frontman gets his gladrags back on and opts for a solo effort that reeks of Stones, Stooges, Hanoi (obviously) and punkoid sleaze. I always thought Mr Monroe should have achieved more despite his huge cult status and the eternal respect he acquired from the bands that worshipped him and yet overtook him, i.e. G 'n' R. Even so, when he knuckles down there's some pretty cool tracks here, 'While You Were Looking At Me', the Faces boogie of 'She's No Angel', and typical '80s late night radio warbler 'All Night With The Lights On'. At times it flirts with Alice Cooper and pouts throughout, Monroe always having a surprisingly effective voice in a genre occupied by so many whines and catty screams. The glam rock hoe-down of 'Shakedown' and fist pumping hair metal rocker 'Man With No Eyes' simply confirm what we all knew, that Michael is a talented guy with a rock 'n' roll soul. Just a shame he never hit the big time despite the trash talkin' jive of Hanoi Rocks.

7/10