Mr Bungle - OU818 (1989)

Long before the dogshit funk metal brigade festered like an open wound, Mr Bungle were spinning dark, psychotic tales of porn, toilet humour and food. Previously t0 this there were other demo's, the band albeit a more comical death-fuzz-cartoon act, but 'OU818' was the demo that started the ball rolling and tongues wagging. Considered a collectible item, this precious jewel sees the band way out on their own, giving birth to this outrageous demo cassette which features five tracks if you exclude the spasticated intro, four of which made it onto the debut record. Put simply' 'OU818' and its contents do not differ from the album except to say that on the album the tracks used are shrouded in carnival atmospheres, comic capers, sinister overtones and surreal evil, whereas the demo cuts, being ''Squeeze Me Macaroni', 'Slowly Growing Deaf', 'The Girls Of Porn' and 'Love Is A Fist' are bereft of much of the atmospherics, but still provide the listener with a fatal overdose to the system. Of course, what the demo offers that the record doesn't is the eight-minute wonder 'Mr Nice Guy', your typical Bungle overload of epileptic weirdness...track this down if you're a real Bungle fan...if not, fuck off back to your Faith No More records.

8/10

The Distillers - Coral Fang (2003)

Too many so-called fans were quick to stamp on this release, claiming that The Distillers had sold out, the band opting for a bigger budget and cleaner sound, although this record was tragically to be their last. For, this is the finest Distillers records, and probably one of the best punk records ever released, even if it lacks that sheer volatile blitz of previous records. This is certainly more commercial, if you can call it that, I'd prefer to say that the band became better musicians and songwriters, and the luscious Brody Dalle found her ideal vocal approach, somewhere between razorblade angel and soulful punk bitch. The coarseness of earlier records is missing here, the band opting for a more melodic approach, however, it's hard to fault the tracks on this offering. 'Drain The Blood' is pure aggression, a punk anthem of the highest order in which Dalle excels herself beyond manly vomit and from here on there's not a duff track, 'Dismantle Me' is truly monstrous, 'Die On A Rope' goes straight for the throat but its the menacing doom of 'The Gallow Is God' that provides a real peak for the record, Brody's harsh chords scraping her throat into the superb chorus, and musically this is a fine record, Andy Granelle's drums batter and clatter throughout, providing a storm of anarchy. Sure, The Distillers now have a rockier edge, but their ability to create heavy yet catchy songs amid the chaos is frightening, one minute thrashing with the most aggressive and then slowing the temp ominously. The title cut is venemous but 'The Hunger' is one of the best songs The Distillers have ever crafted, albeit one displaying more of a mellow side with the introduction of an acoustic melody which soon catches on fire, meanwhile 'Beat Your Heart Out' is another punk rock classic. there's no denying that 'Coral Fang' rocks harder than a majority of alleged rock 'n' roll albums. In Brody Dalle we have one of the hottest voices...and bodies in heavy rock, just a shame they chose to disband, Brody forming her next act, Spinnerette.

8.5/10

London - Don't Cry Wolf (1986)

Here's a sleaze rock band that actually once featured the talents of Nikki Sixx, Izzy Stradlin, Slash and Blackie Lawless. Unfortunately, whilst these musicians went on to far bigger things, London dissolved after lack of distribution but there's no forgetting these guys, even if after a few spins you realise that it's a reasonably unfulfilling record when you consider the past of the band. Fronted by Nadir D'Priest, London thrash out a style of glam rock 'n' roll that is caught somewhere between Crue's 'Shout At The Devil' and 'Girls Girls Girls'. Anthems aplenty, Nadir occasionally off-key but the guitar of Lizzie Grey is worth the money alone. Side Two rescues the record big time as the band crash through 'Fast As Light' which reminds me of Crue's 'Downtown', whilst 'Put Out The Fire' is pure Fastway in my eyes. Maybe it's just me but the b-side seems to have more attitude, or maybe it's the tragic cover of Lennon & McCartney's 'Oh Darling' that turns the opening side into a damp squib, but when you hear 'Drop The Bomb' or 'Set Me Free' you'll realise that 'Too Fast For Love' this most certainly isn't, but if you can look beyond the band members that left, you'll still find a solid party metal album in 'Dont Cry Wolf', but it's bark is most certainly worse than its bite, although the opening riff of 'Hit And Run Lover' will have you frothing, just a shame about the almost timid, lipstick attack of Nadir D'Priest.

6.5/10

King Diamond - Them (1988)

You'll either love or hate the phantom screech of King Diamond, but one thing you can't knock on this concept album is the musicianship. Forget nice, catchy metal, this is dark, gothic and tight musicianship, a real forest of complex threads, branches and roots that tie this ominous tale together. When I first heard this album I was on the fence, at times it dwelt too much in the cheesy side of horror metal, but the sincerity is that Mr Diamond likes to tell a grim tale with every detail, and if that concerns having a cup of tea, then that's what he'll sing about...and then there's the screeching vocal which sends a shudder but may also have you clutching your eyes, but if you want to create a theatrical, Halloween atmosphere then 'Them' is perfect for you. The way King Diamond creates his characters and plays out his horror story is something akin to 'Psycho' the musical...if there ever was one...at times disturbing, very occult and as a metal record well polished and efficiently delivered. Andy La Rocque and Pete Blakk are wizards on guitars and the drums of Mikky Dee take this to a new level. It's not really thrash, but somehow King Diamond carves his own niche, a black streak of venom that provides a story as well as a solid, professional and at times masterful display of heavy metal. King Diamond was always one of the true innovators from his Mercyful Fate days, and although his style remains an acquired taste, his records appeal because of their darkness even if at times cheesiness creeps in and bathes the gothic menace in an untimely light.

7.5/10

Tesla - Into The Now (2004)

I never saw this beauty coming. After a ten year hiatus Tesla return with a supersonic rock 'n' roll that somehow slips into the present as if it was from a striking new act with balls. The sound is heavier and breezier, of course, Tesla will always remain universal, but there's an attitude this time round as the band swagger and swoon through a variety of well produced stompers. This is no regurgitation of past glories, instead the band up the anti, creating anthems aplenty but without any type of cheesiness, instead throwing out a ballsy rock groove that could actually stand alongside Beautiful Creatures, Saigon Kick, but more so Kik Tracee, although it doesn't have the sharpness of BC or alternative colours of SK, this is still a revitalising record. The middle section features two toned down jams which sway with acoustic splendour, but what you must really marvel at is the band's ability to remain in time, and I guess that's why the album is called 'Into The Now'. It's a bold statement from a band who have gone from being consistently good to now very cool. I'm sure this won't go unnoticed with the Tesla fans, but as always, the tragedy is, will the mainstream overlook such a decent record ?

8/10

L7 - Bricks Are Heavy (1992)

At the height of grunge mania, L7, a bullish female foursome, hit the charts with successive big bubblegum hits weighed down by a massive guitar chug and a sound good enough to get them a support slot on the Faith No More tour. Whilst Nirvana, Pearl Jam and Soundgarden took over the world, L7 proved that you didn't need to be overly serious to create waves on the metal scene, their brand of rock 'n' roll may have lacked the fuzz of say Mudhoney or darkness of Soundgarden, but here was a full-on female assault providing catchy hooks and bouncing melody. Opener 'Wargasm' is a great doom-grunge head-ripper but the album also managed to spawn several hits in the form of the 'Monster', the venemous punk of 'Shitlist', the stomping 'Everglade' and more sweeter 'Pretend We're Dead'. L7 proved to be wild children, I'll never forget the moment the lovely drummer on the FNM tour threw a sanitary towel into the crowd...L7 were a band who took no shit, and although their career stalled after this record, 'Bricks Are Heavy' remains an overlooked album from an overhyped scene.

7/10

Kingdom Come - Kingdom Come

I heard that Led Zeppelin had the lawsuits ready when these Swede's released the single 'Get It On' ! Big time imitation of the great Zep but as a debut album this self-titled rocker has enough swagger and sway and I'm not just talking about the big hair or the stench of Zeppelin. This is quality metal but the hooks of Danny Stag and Rick Steier are stolen right from Jimmy page and his scrapbook of creations. At the front we have Lenny Wolf, deadringer vocally for Mr Plant, attempting and indeed pulling off those sultry grooves, and everyone was talking about the 'Kashmir' steal of 'Get It On' the single that got the ball rolling and heads shaking, stirring the ego's of the Zeppelin camp. Even so, Kingdom Come know how to rock, this debut and the follow up 'In Your Face' were excellent hard rock records from a band who never quite made the big time but when you watch the steam rise from mover 'What Love Can Be' and hear the strut of '17' you'll no doubt snigger at the Zepp imitations, but there's no denying the band know how to write a riff and a big tune.

7/10