Nitevigil - State Of Emergency (1988)

You probably won't find this monster slab of epic, yet obscure metal anywhere, as this is a demo. These were the sort of recordings only tape traders back in the '80s got to hear. Nitevigil are simply fantastic, heavily melodic - and I mean heavy, those chunky riffs have a strong thrash edge circa old Metallica, but vocally it is all very glam, giving Nitevigil a very distinctive sound, dark, slick and sickly as those massive chugs sweep the brain. Onl six tracks on offer here from these Canadian's, but this is real toothy stuff, typifying mid '80s metal despite the fact this came out toward the end of the decade. Favourite chugger here is 'Outta Your Mind,' with its edgy chorus and the more frenzied 'Break The Ice.' This is better than some of the huge bands out there, and yet these guys faded into nothing, an absoloute disgrace, because with this type of glammed up vocal I'm hearing something so refreshing and yet heavy. Cool as fuck. 8/10

Arrow - Master Of Evil (1985)

Blimey those German's know how to rock hard. Arrow are one of those obscure bands that never got anywhere, and yet the maturity displayed here is astonishing. So sad that they only released two EPs, 'Master Of Evil' being the second, and featuring the magical piano-infusded majesty of 'You Don't See My Soul' and the hell bent for leather rocker 'Heavy Metal Hero.' This is about as pure as metal gets, featuring some great guitar work and cavernous vocals. Everything about 'Master...' is obscure, despite the leanings towards Maiden at times. 7/10

Mania - Wizard Of The Lost Kingdom (1988)

The Gothic intro of the bizarrely titled 'Mufty's Arrival' gives way into a fantastic Helloween-style slab of German thrash/power metal. Don't be put off by the amateurish cover art, Mania were a fine, tooth-wrenching band who specialised in white hot metal often played at speed metal pace, consisting of staggering solo's and fairly epic sounding clear warrior vocals. This has a typical Euro metal feel with those Gothic oevrtones, particularly on the charging title track, where Klauke's vocals reach earth shattering proportions as the guitars rattle away behind him. 'God's Of Fire' is certainly the most Helloween in its structure, but the band take on better shape when they slow things down to a more ominous chug, but of course, they can't refain from those techno gallops time and time again, but personal fave 'Night Of The Blade' has some killer guitar work and crashing drum attack from Heubel, the track chugs along menacingly as an epic power metal chant, great stuff. Mania are a rare exception for me, because so many Euro bands of this ilk leave me rather cold, but 'Wizard Of The Lost Kingdom' drags me into to its icy waters every time, although I'd suggest their more epic sounding 'Changing Times,' but it's all good stuff. 7/10

Slam Alley -21 Fire (2009)

This screams Skid Row circa 'Slave To The Grind', in every aspect, and yet it rocks just as hard, if not harder. These were swallowed up by the confused state of of the mid 1990s and yet this 2009 issue is a welcome one. Slam 21 were a major surprise when I heard them, I expected little, after being made to crineg by the cover which suggested some low budget modern hard rock band, but boy am I glad I leant an ear to this. This is one blazing record that showcases the amazing vocal talent of Christian Dorris, the bastard offspring of Sebastian Bach, but hey, this isn't a Skid Row rip off, this stands on its own two feet as a heavyweight slab of sleaze metal that takes no prisoners. Kudos have to go to the twi guitar attack of Revelle and Camacho who provide some staggering solo's and incinerating riffs. '21 Fire' is,sadly, just a five track EP, but it's a monstrous one at that, a smoking hot record that reminds me of Bach's solo weight, the band only letting off steam on the gorgeous ballad and EP closer 'For Heaven Sake', but in every other case it's the sort of record that pulls no punches, going straight for thr throat with thos enormous juggernaut guitars and thunder drums. Time and time again though you'll find yourself marvelling at Dorris' fantastic vocals, but I'm guessing the Skid Row comparisons at the time probably did them no favours,but now the years have passed we can judge this scorcher on its own merits, and in a tack like 'Cry For Freedom' Slam Alley produce an energetic metal bulldozer that sounds like a band several albums into a career. Prepare for the steamroller known as Slam Alley and wonder why these guys didn't get the attention they so rightly deserved. 8/10

Mystik - The Plot Sickens (1992)

Fantastic name for a record, Mystic have often been hailed as one of the best power-thrash bands you've never heard, and those reviewers could be correct in such a statement. This is crystal clear metal that doesn't rely in gimmicks to get its message across, this is pretty much no thrills but well orchestrated metal, played for keeps. Good, clear, honest vocals and also melodic passages which compliment the heavy riffage in the eame early Metallica made their mark. That's not to say Mystik sound like Metallica, tracks such as 'Psychosis' and 'Death To All...' boast impressive chugging guitars and heavy drums, the only minor quibble at times is the vocal delivery which can be a little too ordinary, but even so, 'The Plot...' is a solid, weighty record that deserves your attention. 6.5/10

Cutty Sark - Die Tonight (1984)

There's something evil about this record, probably that sinister almost spoken word vocal and deep chugging riff on the ominous title track. These German's were underated, this is burning hot metal that should keep any metalhead frothing at the mouth. Whether it's the frenetic gallop of 'Jam To The Ramp' or sinister chug of 'Hard Rock Power,' this is full on, straight down the line metal, leaning towards U.D.O., Priest et al as powerhouse noise. The epic eight-minute 'Vultures In The Air' begins as a mystical, mellow intro which then rages as a oceanic riff before drifting once again into more tranquil passages. Cosmic rock. I have to admit that I never expected this album to be so furious and heavy, so this comes as a pleasant surprise. Cutty Sark rock. 7/10

The Hounds Of Hasselvander - The Ninth Hour (2011)

A sonic blast of fuzzy doom - the creation of Joe Hasselvander, drum lord of such metal kings as Pentagram and Raven. 'The Ninth Hour' is Joe's third opus, here he handles drums, guitar and vocals, coming across like a swampy hybrid of Lemmy and Scott Weinrich of St Vitus, mixing the coffin creak of Pentagram, St Vitus, early Trouble and a doomier Motorhead. This is an immense record that oozes on monstrous sludge riffs and monolithic drum scuzz but isn't afraid to carve out catchy melody, the oaken 'Salem' a prime example of '70s bluesy mulch and creepy Pagan weirdness. The monstrius title cut, sliding in at an epic twelve minutes or so, flutters in with eerie rain fall and one note piano as if creating some type of horror soundtrack before lurching into some type of neanderthal gloom doom, right up there with the likes of Candlemass and the likes, only less glassy, but more so dirty. The track never leaves its slug-like crawl as the guitars wail and the drums reverberate like chilling thunder. This is the soundtrack for the perfect black mass, a stirring, satanic behemoth of a doom record that somehow carves a brand new corner into this tried and tested of genre. Most certainly fans of Pentagram and St Vitus will find this captivating. 7.5/10