Vain - No Respect (1989)

Quality American glam rock that has more than just layers of lipstick, PVC and hairspray. The impish Davy Vain is at the helm, almost a true rock star cavorting and twisting through a set of refreshing tracks that shoulda put the band into the big time. The album caught out attention with the ballsy 'Who's Watching You' a melodic rush of fresh air and true sleaze anthem but the glorious 'Beat The Bullet' sways like mid-career Crue, surprising when you consider Davy Vain worked with Death Angel on their thrash classic 'Frolic Through The Park'! 'Smoke & Shadows' is far removed from thrash metal, a slow-burning ballad, typical of the late '80s, but Vain give it that credible stance, whilst the title cut is a glam strut, 'Icy' sounds more like traditional metal and 'Without You' is a lighter-waving ballad with some predictability.

Overall though, Vain isn't as hard edged as some would have you believe, but there's more to the record than just fragile persona.

7/10

God - Possession (1992)

Just when you thought God, the ultimate being inhabited some kind of Heavenly headquarters, you'll be at once disturbed my this menacing soundtrack, once described to me as an industrial Mr Bungle. God, the project consisting of Godlesh main man Justin Broadrick, saxophone nutcase John Zorn (on three tracks) and various other unhinged musicians, play a dark, foreboding brand of avant-garde music neither here nor there to be perfectly honest, the eleven-minute 'Fucked' is pretty brain numbing as a wave of industrial hate washes you in sin, 'Black Jesus' rattles eerily and another eleven-minute colossus, 'Lord, I'm On My Way' is similar to a Godflesh work-out, often depressive but laced with Zorn's screaming sax.

Of the eight tracks, most weigh in at a hefty time, usually between six and ten minutes, so this is pretty much an alienating and brooding experience that won't cure any hangover. Personally, it' nothing like Mr Bungle's crazed carnival but more of a cankered murmur from beneath some manhole waiting to ooze out like some fatal disease.

6.5/10

Non-Fiction - Preface/In The Know (2005)

This double offering puts together Non-Fiction's best two records. I'm pretty confident however that not many people reading this review will even know who Non-Fiction are, but the fact that I've reviewed it after Mind Over Four may go a long way to explain them. Non-Fiction are another of those super-cool, unknown, tragically hip acts long forgotten and yet lights years above or beyond most bands in the 'alternative' metal genre. The Soundgarden, yet traditional riffage of 'The My Way' kicks in, a lazy groove of C.O.C. proportions followed by the angry 'Listen' and sheer slab of dark energy 'Mortify Me'. Those seeking a direct comparison may look to Alice In Chains, although Non-Fiction for me occupy that low down and dirty wasteland which Warrior Soul once owned, particularly on the title cut of the second album, 'Preface', its commentary an angst-ridden lullaby to the estranged, whilst 'Peaked' menacingly stomps with its clunking bass-line and 'Sound Decisions' has a doomy roll to its greyness.

Non-Fiction are a clever band, ending with the rock 'n' roll swing of 'One Last Time'. I'm sure many will be bewildered by the technical know-how because this band really are an unknown quantity, but like so many on this blog, ridiculously overlooked and way too intelligent for the corporate masses. Purchase the 28-track cd or forever hold your peace...

8/10

Mind Over Four - The Goddess (1990)

Imagine a sound so classic, yet reflective. Imagine a sound familiar, yet refreshing, innovative, yet somehow normal, but with a style and pose way beyond many other sounds you've heard. Think of a Metallica melted with Watchtower's complexities, or Death Angel strapped alongside alternative metal at its beast from the early '90s. This is the only way I can truly describe the flavour of Mind Over Four. They are a true metal band without a doubt, and yet without veering insanely to the left field, they still harbour imaginings up there with Faith No More, whilst maintaining an almost crisp, sharp and complex edge that wouldn't sound out of place on Megadeth's 'Rust In Peace', and yet the band have never reached any kind of height within their chosen field of unknown metal. There's nothing totally awkward or alienating about 'The Goddess', but it has a supremacy and casual arrogance that enables it to look down on supposedly successful bands, and yet sneer at them for their lack of real talent, but, Mind Over Four have surely become one of those too cool to be famous bands. They are immensely creative, unpredictable without ever attempting the strange, but there is certainly an element of the obscure about them despite their sound coming across like a slower Death Angel yet with a classic groove. Strangely strange but oddly normal!

Spike Xavier is a classy vocalist, reaching any mountainous note with ease, yet there is certainly a stark aura to proceedings to the extent that you'll feel as though Mind over Four can take you to some very alien world's and whilst you will be tempted to vacate to most, the journey will always remain slightly uneasy, as if you're not part of the plan.

Again, don't expect some carnival of the surreal, simply enjoy the heaviness and wonder why you can't put your finger on their beauty.

8/10

O.L.D. - Lo Flux Tube (1992)

Ex-Nirvana man Jason Everman may appear on this record, but please, don't let such a detail lead you into a world of falsity. OLD are a noisy, hardcore-grindcore-industrial-punkoid-surreal mess from the Earache label, a band (!?) of weirdo's who churn out croaking, distorted, unfathomable oddness, not quite in the creepy vein of say Mr bungle, but more of a futuristic form of freakness. O.L.D. stands for Old Lady Drivers, an all too comical name for this apocalyptic experiment, the band rattle through nine songs which'll leave you either begging for more, or running for the door with blood shooting from your ears. The band emerged at a time when metal was branching to such bizarre extremes as bands such as Naked City, Painkiller, Mr Bungle etc, took over the kingdom, leaving the so called 'weird kids' of the world crawling back to their mummies in fear.

Imagine Godflesh but taken up a notch, with added dementia and screaming, black metal vocals.

6.5/10

Treponem Pal - Treponem Pal (1989)

In a weird, cold world inhabited by the likes of Prong and Voivod, also exists Treponem Pal, a French bunch of extraterrestrials whose clattering brand of industrial-hardcore-thrash remains potent to this day. Fronted by the imposing Marco Neves, the band, who formed in '86, are named after a bacteria which causes syphilis, so immediately you are in the know that what TP offer is downright dark, rat-infested and something akin to sewage. Many will be blown away by the fans distorted visions and grim images, and their general misanthropic tendencies coat the record in a layer of gloom. However, this isn't necessarily depressive music, but a scrapyard of violent guitars, sneering vocals and metallic rumblings. Eight tracks, mostly aimed at the state of the world, and their general dislike of humanity, particularly on 'Too Many Humans', will give you a general idea of Treponem Pal's opinions.

A record for arrogant, non-conformist punks everywhere.

7/10

Hydra Vein - Rather Death Than False Of Faith (1988)

Overlook the dodgy cover and you'll find a little gem of a record from these UK thrashers. Unfortunately, the band only lasted two records but if you can track them down, they are worth every penny. Hydra Vein, put simply, sound a lot like old Slayer, but it's not a bad thing or a poor imitation. The record spews a refreshing rawness which many bands are attempting to re-create in the modern day as thrash comes full circle and hits a revival. This is not overly fast thrash, the dark riffs chug and the vocals of Mike Keen at times a ringer for Tom Araya, but the melodies have that basement British feel, giving the band a sinister edge, especially on 'Harlequin' and 'Right To Die'.

I'm pretty sure that if the band hadn't been from the UK they might well have made a few in-roads in the genre, but as it stands, Hydra Vein remain one of those lost bands that should be more appreciated.

7/10