Innerstate - A Tell Tale Trail (1992)

This is almost nu-metal before nu-metal was invented. Innerstate are a mysterious bunch, I'm guessing this was their only opus, an experimental rock/metal/funk/prog outing that sees the band explore unsusual melodies and original harmonies. At best, Innerstate are half decent alterno-metal/rock with rather light, dreamy, and at times psychedelic vocals that drift along like some kaleidoscopic movie, but occasionally a riff may cut in and a rasped vocal chop may puncture proceedings. However, mostly this is a messy affair, just check out the almost rambling sway of 'Fisher Of men' with its FNM-esque vocal swoon and occasional bubbly bass and lurching guitar quirk. The title track boasts a slightly heavier approach, with a Mordred-style crunch circa 'Vision' but those proggy keyboard effects don't do the sound any favours. It would be unfair to call this a metal album, because it isn't one, but it's the type of rock album that'll appeal to prog heads, and maybe those who were interested in the sickly sweet funkoid fad that swept through the metal genre in the early '90s. In a sense this is too clever for its own good, especially when it throws in a few raps and chugs. 4.5/10

Paradox - Collision Course (2000)

A lot of people seem to think that when thrash practically died in the early to mid '90s, that it didn't return until the more recent revival, but Germany's Paradox are proof positive that some of the old school guys were still keeping it metal into the new millennium. 'Collision...' although far more melodic than the bands '80s efforts, is still is a molten ball of volcano spit, featuring some fantastic musicianship, the title track and particularly the awesome 'Path Of Denial' showcasing the bands melody but also their burning pace. It could be said that this frenetic, yet crystal clear opus left off from where the 'Heresy' record finished, but I beg to differ, this far more modern in its sound, the guitars more cutting and the vocals, although relatively aggressive, harbour more tune. The only real downside here is that some of the songs do actually drag on too long ('Blamed For Nothing' a prime example)without really going anywhere, and I feel that a more concise approach would have benefited the record. Even so, it's great to hear a thrash record so seemingly out of time, and yet one which still stands the test of time. I'm hoping that as more and more people get into the new breed of thrash acts they'll have the investigate know how to seek out some of the masters of the genre. Paradox may not have succeeded in the same way as Testament, Exodus, Overkill etc, but they are still very much part of a wide field, and 'Collision...' is a solid record that shines like a beacon during a testing time. 7/10

Balaam And The Angel - Live Free Or Die (1988)

This opus was the second outing of rainy UK Goth metal band Balaam & The Angel, who, in the late '80s enjoyed minor success with their brand of drizzly, harmless rock. This record is dressed up to resemble a Cult release, and musically it has a little bit of poppy swagger about it, particularly on the infectious 'I Love The Things You Do To Me' with its slightly melancholic feel. For me the vocals of Mark Morris are slightly out of place, almost breezy and bright giving the record an airy feel. This is the soud of a band with no real identity, as equally mystifying as Claytown Troupe I guess. 'I'll Show You Something Special' has a loose, punky riff and once again the strut reminds me of The Cult with less distinctive vocals. I guess I can see how they got lumped in with the whole Goth scene, after all, there are nuemrous Cure-like bass lines and a slightly rainy feel, but maybe that's just the fact they are British. Mild to say the least... 5/10

Contraband - s/t (1991)

Contraband were a one album wonder supergroup featuring the talents of Tracii Guns (L.A. Guns), Richard Black (Shark Island), Share Pedersen (Vixen), Bobby Blotzer (Ratt) and guitar master Michael Schenker. What they produced on their 1991 self-titled opus was a brand of catchy hard rock, sewn together by Schenker's unmistakable shredding, although on a track like 'All The Way From Memphis'(cover version) there was a little too much of a pub rock vibe going on excluding those solo's of course. Vocally Black was a relatively standard vocalist, plenty of beef in the throat but nothing distinctive, sadly. 'Loud Guitars, Fast Cars, Wild Wild Livin' most certainly had more sleazy swagger about it, but it's still relatively mediocre middle of the road American road, except with tighter musicianship. 'If This Is Love' and the lighter waving 'Tonight You're Mine' are probably the album high points. If you're a fan of late '80s sounding heavy rock then you'll probably savour this opus, but for me it doesn't do enough. 6/10

Whitesnake - Forevermore (2011)

This is Coverdale and co's eleventh studio outing, and what a fine record it is. The album opens with the the grooving 'Steal Your Heart Away,' featuring killer harmonica strut and Coverdale's distinctive lion roar over those bluesy, yet driving guitars showcasing the talents of Beach and Aldrich. Some are saying this is the best Whitesnake album for many years, but I am of the opinion that the band have been pretty consistent since the late '80s anyway. 'All Out Of Luck' has a bruising swagger about it, lead majestically by the drum sound Brian Tichy who rocks the beat throughout the record. The heavy groove continues into the funked up third track 'Love Will Set You Free,' but the guys choose to mellow the mood with the more sultry 'Easier Said Than Done,' an almost typical Whitesnake slow burner but the fire is soon to return on the Zeppish groove of 'Tell Me How' and 'I Need You (Shine A Light') begins with a Faces/Stones swagger and strut, great stuff. To be honest of the thirteen tracks on offer there's not a duff moment, the album is littered with cutting guitars, and Coverdale rarely lets up from a full steam ahead vocal attack. 'Dogs In The Street' is driving metal, but it's the epic seven-minute title cut that closes the record that puts the icing on the cake, a reflective acoustic ballad that brings to mind Whitesnake of old before hitting a Zeppish 'Kashmir' type of Eastern groove. So, for old fans, and current fans, Whitesnake 2011 is an accomplished outfit, and a band who, despite being around seemingly centuries, will no doibt attract new fans with 'Forevermore.' 7.5/10

Talisman - Humanimal (1994)

This is the sort of bubblegum metal that died out in the '90s, and yet appealed to European and Japanese audiences. It's also the kind of album that showcases more talent in one testicle than what Slipknot could produce in an entire career. Sure, the sound here is like a layered mix of Kiss, Extreme, Van Halen and a lot of late '80s hair rock, but Talisman aren't justa flash in the pan -s everal albums and side projects down the line, these guys are still selling records. Fronted by the journeyman Jeff Scott Soto - one only has to give this melodic record one spin to hear the well oiled cogs in motion. This is heavy rock with pop influences, typically hair metal to some, but so much more once you peel back the layers. The vocals are meaty, the guitars of Akesson and Lahti are meaty, and behind them sits the bass of founder member Marcel Jacob and tidy drums of Borger coupled with some keyboard injections. The band provide catchy hooks, particularly in the form of the upbeat and commercial sounding 'My Best Friends Girl' but again, there are so many more layers to this record, check out the clever lyrics of the title cut with its hard guiatrs and weighty drums. This is not mere pompous no brained metal, far from it, this is wonderfully lush, at times sugary, but always top notch heavy rock. Soto displays a huge amount of soul in his vocals, coming to the fore on subtle ballad 'Since You've Gone' which would've got the lighters waving if they'd toured this record. Epic track on the album, and one which proves the diversity of the band is the funky strut of 'Colour My XTC' where Marcel's (R.I.P.) bass really showcases itself with that bubbly groove. This reminds me of Extreme in the sense that if effortlessly combines a variety of musical styles, whether in the form of heavy metal or poppy rock or even choppy funk. 'Humaninal' is a sweet record by a band who've consistently churned out top quality records, even if they are much ignored in most countries. 7.5/10

U.D.O. - Animal House (1987)

If you can get used to Udo's slightly unusual vocal style, then you'll find much to savout in the molten metal of U.D.O. 'Animal House' is one of many albums these Germans have released over the years, and you always know what you're getting with German metal - solid percussion, fan tastic riffs and solo's and well crafted songs, for example the clever lyrics and anthemic Euro feel of 'they Want War' with it's child-like chorus and those manic vocal rasps and staggering solo's that litter the record. U.D.O. slot nicely into that pit occupied by Judas Priest, Accept et al, as pure metal warriors. This is stellar stuff at times, never once taking ist foot off the gas, one can only marvel at a mini masterpiece like 'Go back To Hell' with its thrash riff and more sinister bellow whilst 'Lay Down The Law' is equally brain crushing, in fact 'Animal House' features some of the best guitaring you're likely to hear on an '80s metal album, just check out the rattling 'Coming Home' which boasts some epic shredding, Dieth and Szigeti really make this debut album a must have for metal maniacs. 7.5/10