Thrash or Die - Poser Holocaust (2011)

The thrash revival is on - big time - but just like all those years ago - the scene is slready swamped by same sounding bands, some simply cashing in by ripping off some of the '80s finest thrashers. However, deep within the screaming horde sits Thrash or Die, fronted by the maniacal Dr Fukk (Ralph Viera). These Miami moshers are simply intent on ripping the flesh from your face whilst they pummel your bones and tear off your ears with their fiery brand of fast-paced crunch. Thankfully, despite Thrash or Die wearing their influences on their sleeve, this is no mimic, instead we have a line-up that is very down with its metal knowledge - if anyone has seen Viera's YouTube channel you'll know what I mean. The guy makes a perfect thrash metal frontman, and vocally it's the sort of raging rasp that'll have you reaching for the throat medication. Thrash or Die can best be described as a full throttle chuggernaut, inspired by the likes of Exodus (particularly in that vocal rasp where Viera at times sounds like Steve Souza and Paul Baloff combined), Heathen, Violence, Laaz Rockit, and so many other '80s bands. This has a real loose feel despite the tight musicianship. The guitars are always in a crunching frenzy, the band rarely let up in the pace stakes and vomit out an array of beweildering riffs, solos and bass-lines, which, when all combined result in a number of skewering thrashers such as the crushing 'No Posers Allowed', the pounding 'Fatal Fury,' and the superbly titled 'Moshpit Messiah.' 'Poser Holocaust' is very much at the forefront of modern thrash mainly due to its ability to mosh hard, pay homage to the past, and yet still remain potent. Buy or die, thrash or die! 8/10

Darkthrone - The Underground Resistance (2013)

For those interested in my review of Darkthrone's 'The Underground Resistance' then please refer to my original review at Metal Forces Magazine by clicking HERE

Kooga - Across The Water (1986)

Blimey I've seen some misleading covers in my time, but this is up there with the Satanic Rites album for not living up to its imagery. Kooga, despite the cover are a rather pompous, keyboard drenched NWOBHM band from the '80s. This is very much hair metal in its sultry, beefy vocals, and lush structures, if anything the title cut is an almost pop-tinged and typical '80s offering. Track two 'Lifeline' drives slightly harder with its guitar and drum attack, but again the synths rush in and we're back to that lukewarm, middle of the road rock. Thank goodness for the cover though because I'm sure any teenager who purchased this record back in the day would have been spellbound by that sleeve. Of course, apart from the cover there's quite literally nothing here to get your grubby hands on - except, again, that cover - because it's just such a lightweight affair, brimming with a power ballad style format, every song drifting by on the breeze like it were some summery sway - 'She Walks In Beauty,' 'Fall From Grace,' et al, just sound like one rather tedious, keyboard-rich tapestry. Oh, but that cover guys...that cover... 5/10

Saxon - Sacrifice (2013)

There once was a time, in the middle of the grunge-swamped 1990s, that a new record from Brit metallers Saxon wasn’t welcomed with open arms. To many, at the time, Saxon were dust-ridden dinosaurs from a long gone and stale era, and, clad in their denim n’ leather they had become a laughing stock alongside just about every other metal band that had refused to play the game at the time. And yet, here we are, almost decades later celebrating one of the genre’s finest bands. Isn’t life a strange thing? Aren’t music fans fickle? Saxon, like Iron Maiden, although to a less successful extent, has become a British institution. They are a group of guys – lead by the silver-haired warrior Biff Byford – who have stood the test of time, and yet are just as comfortable playing sold out arenas as they are in their local pub, but just one spin of their latest opus Sacrifice and you’ll be wondering why the ‘90s were so cruel to them. Just a few years ago I saw the five-piece supporting Motorhead in order to promote their Into The Labyrinth opus and I have to admit that they blew the headliners away. Sacrifice just happens to blow me away too. Amazingly I’d heard rumours that this could well be the bands last record, but on this form, I pray it isn’t. The title track alone is proof that Saxon can compete with the best of them – the crisp production courtesy of Andy Sneap and the raging guitars of Paul Quinn and Doug Scarratt have turned this band into a truly monstrous structure, a writhing, frothing behemoth that sounds as fresh as a demonic daisy. Believe me, slap the title track on any record player (or ipod if you must) and metalheads will be banging their head all night. Anyone who ever said Saxon is over the hill needs their ears checked, because this ten track platter is a real spine extractor. And, if you want further proof of its ability to remove bones from the body, then lend a bloody ear to the slab that is ‘Guardians of the Tomb’ with its sweeping guitar intro and heart-thumping drums courtesy of sticksman Nigel Glockler. This is truly formidable metal made all the more epic by Byford’s distinctive, crystal clear wails and that tumultuous bass from Nibbs Carter. Saxon have moved into the current century boosted not just by the metal revival, by more so by the fact that they have metal heart’s – they no longer creak and stumble like the Tin Man from Oz, instead they are now a well-oiled machine, a cutting metal behemoth able to adapt their sound not just to arenas and festivals, but small heaving clubs which originally gave birth to such a beast. Underrated is not the word to describe these guys, they have been criminally ignored since their inception, and those who mocked will be left eating humble pie once again when they experience another fine record. In fact, the last batch of Saxon records have matched anything Maiden and Motorhead have achieved, and despite devoting, albeit rather cheesily, a track to Formula One racing in the form of ‘Warriors of the Road,’ it’s still a clattering rhino of a cut that drives harder than a Lewis Hamilton machine. Biff is a roaring lion-heart of a man, who once again gives the performance of his life. His voice was made for the AC/DC style groove of ‘Standing in a Queue’ where his vocals take on a Bon Scott style drool as the guitars jolt and jab in true Angus Young style. And for those of you wanting something a little more weighty then check out the ominous chug of ‘Made in Belfast’, this is a Goliath of a track that pounds hard. Anyone with a metal soul should find this track as steely as its subject matter – yep, it’s about a ship – but that’s the magic of Saxon. Whether it’s songs about the wind, or British manufacturing, they’ve always delivered their subjects with conviction. Sacrifice is easily as good as their classic early ‘80s albums but knowing how fickle music fans can be, such a record will probably receive a lukewarm reception, simply because it’s not “fashionable”, but who cares, it’s Saxon, so shut up and buy it. 8.5/10

Attack - Destinies Of War (1989)

Striking Euro power metal from the late '90s, the sort of record that, like Chastain's 'Mystery Of illusion' will have you reaching for the magic potions. Imagine a more oaken Helloween and you might have some idea where Attack are at, this is stormy metal with clear, cold steel vocals and some truly joyous melodies and choruses particularly on the album opener 'Wonderland' which is a fast-paced affair featuring great vocals courtesy of Ricky Van Helden who also plays bass. I guess that by the late '80s this kind of metal was heading for the bowels of extinction but one can't fail to be shaken by the Maidenesque triumph of 'Back To Attack' or the medieval chug and twiddle of 'You're Not Free,' epic in every aspect. Unravel the scroll, read the ancient scriptures and then head off on your quest to slay the evil sorcerer.... 8.5/10

Chastain - Mystery Of Illusion (1985)

Arguably one of metal's greatest album covers and what the artwork hides is an evil little record made all the more sinister by Leather's ferocious vocal sneer. Chastain was a guitar master but not the sort of guy shrouded in his own noodling, oh no, Dave would create several metal masterpieces based around his driving riffs and ominous shredding, and 'Mystery...' is probably his finest outing. This none track debut clocks in at under forty minutes but every track is a surefire winner carved by the same powers that probably constructed the ring of Mordor! This is a fiery record, of that you can have no doubt, it rages through the ears with the likes of the brief but bombastic 'Black Knight' an scorching 'When The Battle's Over.' Any kids desperate for a dose of real metal back in the '80s would have found this opus bang on the nail, Fred Coury's drums march with the orcs and Leather Leone is just a formidable voice. There's nothing more you could want from a burning metal opus, so, dive into the cover, smell the leaves of the forest and prepare to battle all evil - but take heart dear warrior for you shall be accompanied by the wizard that is Chastain. 8/10

Leather Angel - We Came To Kill (1982)

Great band name, great album title, great album cover - or maybe it's just me with the heavy metal beer giggles on. This obscure six track rocker is some smoking hot female basement metal kickstarted by the ominous plod of the title track. Deary's vocals are not the strongest, they seem to be swallowed by the primal drum thud and buzzing guitars, but it's dense '80s metal at its finest. Even the cover of Zeppelin's 'Whole Lotta Love' is pretty tight, but I would've preferred another track from these gals. 'We Came...' is the sort of record I can play today and still get a buzz off and it's an album that porves that '80s metal wasn't just about male metal posing. Hats off to Leather Angel for this platter. 7/10

Hirax - Hate, Fear & Power (1986)

Furious, bass-rattling thrash from these cult metal-heads who spent muc of the '80s in no man's land despite two frantic releases, including this hyper-thrash EP. Somewhat a cult band after their 'Raging Violence' debut. 'Hate...'[ follows a similar face-ripping path with those crossover leanings, particularly in the vocal attack of DePena and those harmful guitars courtesy of Scott Owen. This EP gallops by at such a pace that it'll take at least another handful of listens to catch hold of it. Eight tracks, none of which break the three-minute barrier, and then they were gone, only to return two decades later with a different line-up (although DePena still stars). Hard to pick a best track, nothing stands out, in fact this EP is just a blur apart from the mid-paced chuggery that punctuates 'The Plague.' Bass player Eric Brecht's performance on this opus should be noted, but 'Hate...' just has no ability to dig its claws in, in fact it's an album that deserves a speeding ticket. 6/10

Thor - Unchained (1983)

Something very corny about this record - has a strong New Wave of British Heavy Metal feel, coupled with the cheesy descriptive opera of Meat Loaf in that warrior vocal. Thor is part muscle, part metal warrior boasting typical cheese-ridden warbling over those pretty tepid metal guitars. This is a six track EP that screams from its cover as if its some epic brand of metal, but these Canadian's never really get off the ground despite the macho stance. The title track is ruined by the corny vocals and 'Rock The City' plods in on those lukewarm guitars and harmless drums. Prety mediocre for its time considering the amount of other bands doing this sort of thing. If you want macho metal I suggest you rely on Manowar although if you rerally want your arse kicked then just stick to Manilla Road, Kick Axe and the like. Even so, Thor endears itself because it's so flat. 'Lazer Eyes' is just a dull, pop-edged, and out tune rocker and I'm boring myself here...hard to believe this guy is still going strong! 5/10

Blackwych - Out Of Control (1986)

Killer album cover, and yet this is relatively obscure Irish metal from the '80s. Typical trudging basement metal featuring some killer soloing, slightly off-key vocals but all manner of heavy metal archetypes in the form of belly rumbler 'Death's Dealer' and the stormy clank of the title track. Nothing fancy or formidable for that matter but the cover gets me every time. All hail those mediocre rock bands who are able to worm their way into the collections of us metal freaks just because we were sold on that artwork! 5.5/10