J-Man Of the literally hundreds of excellent metal bands hailing from Sweden, Evergrey is one of my favorites. The band's trademark mix of thrashy power metal, progressive metal, and gothic subtleties gives them a unique identity within the crowded prog metal genre, and the powerful and distinct vocal delivery from Tom Englund never fails to amaze me. On their 1998 debut, The Dark Discovery, the band's morose and edgy progressive power metal sound is firmly established, but it lacks the refinement that made some of their future efforts so outstanding. Evergrey's entrance into the musical world is flawed in many regards, yet the band exhibits a high level of promise that - thankfully - would be fulfilled over the course of their next few observations.

For those unacquainted with Evergrey, this Swedish act performs a style of progressive power metal with a thrashy, American-sounding edge and dark gothic atmospheres. Their sound has moved in a more commercial direction in recent years, but earlier efforts like this one have quite a few progressive overtones. The Dark Discovery is undoubtedly an original album given its time period, and the band's semi-straightforward and morose sound was a refreshing change of pace from the countless Dream Theater and Fates Warning clones that populated the prog metal scene in 1998. Most of the songs here linger in the four to five minute time frame, and these powerful and melodic mini-epics are all really well-composed and quite diverse. Some songs may take a few listens to draw any distinctions between, but a gothic power ballad in the form of "For Every Tear That Falls", for example, helps add some nice variation and memorability to this already solid album. Although the band would take their unique approach to new heights over the next few years, The Dark Discovery is a worthy listen for any fan of Evergrey.

In terms of complaints, the album's real shortcoming is in its tremendously weak production. The guitars sound muddy and unclear, the drums sound distant and blurred, and Tom Englund's otherwise spectacular vocal delivery is obscured by a poor mixing job. This is just a really amateurish sounding album in terms of production and delivery; in addition to the weak production, the band's technical skills weren't quite as sharp as they would soon become either. It's a bit of a shame, actually, because this is a very impressive album from a compositional standpoint. Still, the production does not ruin The Dark Discovery, and its assets are plentiful enough to warrant a listen from any progressive power metal aficionado. Though I'd recommend starting with a masterpiece like In Search of Truth if you're new to the band, The Dark Discovery is a recommended listen to any Evergrey veteran.

J-Man When it comes to Cradle of Filth, the general consensus within the metal community is that their earlier output is far superior to anything they've done in more recent years. That's not to say that most folks will claim that their newer albums are horrible - in some cases, it's quite the opposite - but most of the attention is often given to the band's first handful of records. As a result of this common mindset, many newcomers to the band may be inclined to initially skip over 2008's Godspeed on the Devil's Thunder - a real shame, as I'd actually consider this to be one of the Cradle's finest moments. Complete with a chilling, bombastic, and downright evil story focused around the life and wrongdoings of infamous French serial killer Gilles de Rais, this masterpiece showcases Dani Filth and company at the absolute top of their game. If gothic atmospheres, symphonic overtones, and overblown arrangements are what you crave in extreme metal, it's tough to go wrong with Godspeed on the Devil's Thunder.

Cradle of Filth's sound has become more polished over the years, but their core mix of symphonic black metal and gothic metal has more or less remained in tact since day one. Godspeed on the Devil's Thunder is undoubtedly an acquired taste, as the overblown and pompous nature of the album is likely to turn away quite a few of the more conservative 'purists'. If you're open to the idea of having a choir, loads of keyboards, and classical flourishes in your metal, however, you'll find that symphonic gothic/black metal doesn't get a whole lot better than this. Godspeed on the Devil's Thunder is an exceptionally well-made album, and it's clear that the band put a lot of thought into the compositions and arrangements of this observation. The crystal-clear production allows the listener to easily experience every small detail in the music, and upon repeated spins, many subtle intricacies do begin to come to life. Everything from the eerie choir arrangements to the brilliantly intertwined recurring themes just reek of sheer perfection, and coming up with complaints for an album this good is quite a challenge. A cinematic overture in the form of “In Grandeur and Frankincense Devilment Stirs” instantly sets the mood for the entire album, and the subsequent dive into sinister symphonic black metal on “Shat Out of Hell” is simply enthralling.

Thankfully, the band maintains this level of intensity throughout all of Godspeed on the Devil's Thunder; although the album will be playing for over 71 minutes before it ends, it never feels stale or drawn out. The epic interludes, crushing metal riffs, and chilling narration always mix things up, and this is truly one of Cradle of Filth's finest moments from a compositional standpoint. There's really not a weak song in sight, and the musicianship is also among the finest in extreme metal. The drumming from Martin Škaroupka (or Marthus) just blows me away every time, and his chaotic mix of blast beats, frantic fills, and technically demanding rhythmic patterns never cease to amaze me. The man is simply a monster, and a complete treat to listen to for any drum nut.

Though I am in a rather small minority, I consider Godspeed on the Devil's Thunder to be one of the best albums from Cradle of Filth. The chilling concept about an absolutely vile human being is brilliantly realized to its fullest potential on this observation, and the riffs and arrangements are among the best in the band's discography. Music this pompous is bound to sound a bit cheesy at times, and although this does happen in a few instances on Godspeed on the Devil's Thunder, I wouldn't say that it necessarily detracts from my overall experience. If I'm in the right mood for it, Godspeed on the Devil's Thunder always scratches my itch for bombastic and overblown extreme metal; and, in reality, that's all it really needs to do. A very effective, well-produced, and brilliantly composed album, Godspeed on the Devil's Thunder is an essential listen for anybody curious about Cradle of Filth's music.

J-Man If you've been blown away by the killer technical death metal from newer bands like Obscura or Abysmal Dawn, Relapse Records now has another band on their roster to satisfy that itch for brutal, semi-melodic, and inhumanly technical death metal. Enter Spawn of Possession, a Swedish five-piece that has made their major label debut, and third album overall, with the masterful Incurso. I was, ashamedly, unfamiliar with these Swedes before a promotional copy of this album rolled into my inbox, but 'better late than never' certainly applies here. Incurso is Spawn of Possession's first album since 2006's Noctambulant, and although there have been a few lineup changes over the past five-plus years, the band's technical-edged extreme metal sound remains fully in-tact.

Technical death metal is known by most people as a genre focused on blinding guitar leads, frantic drum patterns, and brutally challenging composition styles, and while this all certainly applies to Spawn of Possession, they take the dizzying sound of technical death metal and showcase the genre at its highest potential. Very much like their labelmates in Obscura, Spawn of Possession is not afraid to sneak some memorable hooks into their otherwise punishing tech-death sound, and I think this versatility and modern-sounding approach in terms of songwriting is what sets Spawn of Possession apart from the hordes of bands that are still trying to relive the classic days of Cryptopsy, Atheist, and Death. Incurso shows the result of a forward-thinking, talented band taking the very best of technical death metal and updating it for the modern age.

After the ominous intro in the form of "Abodement", the band dives head-first into brutal, technical death metal in "Where Angels Go Demons Follow". For the most part, technical death metal is the name of the game throughout Incurso, but frequent changes within riff structures, a monstrous rhythm section, and rather dynamic songwriting keeps the album from ever feeling one-dimensional. The copious amounts of keyboards in "Apparition" even brings 2011's Agony from Fleshgod Apocalypse to mind, with its symphonic flirtations over-top of brutal tech-death working like a charm.

With the musicianship also remaining impeccable across the board (I especially have to give a nod to Henrik Schönström - few drummers manage to kill my self esteem as much as this guy!), it's really tough to find any complaints when we're talking about a technical death metal album of this caliber. Incurso secures Spawn of Possession's place among the elite modern tech-death acts, and I'd recommend this within a heartbeat to anyone who enjoys music from the likes of Obscura, Abysmal Dawn, Fleshgod Apocalypse, Atheist, or late-period Death. In short, Incurso is a modern death metal masterpiece and a landmark album for extreme metal in 2012 - don't miss it!

J-Man If there's any doubt that Napalm Death is one of the most consistent forces in the world of extreme metal, Utilitarian is likely to silence those naysayers. With fifteen albums (as well as numerous EP's, demos, splits, and live releases) now under their belts, the latest from Napalm Death is a perfect example why this famed grindcore band from Birmingham, England is still as relevant in 2012 as they were nearly thirty years ago. Utilitarian is a downright lethal blend of death metal and grindcore, filled to the brim with crushing riffs, brutal technicality, and overwhelming amounts of rage. It's tough to imagine any Napalm Death fan being disappointed by an effort with this kind of quality, and Utilitarian currently stands as one of the year's best death metal offerings.

After an epic instrumental opening in the form of "Circumspect", the band dives straight into their bone-crushing and distinct hybrid of death metal of grindcore with the killer "Errors in the Signal". Utilitarian, like most recent Napalm Death albums, veers much closer to death metal territory than grindcore or crust punk, but there are frequent reminders that the band did start out in the eighties' as one of the earliest grindcore acts. Many of the riffs are definitely rooted in hardcore punk territory, and Barney Greenway's hostile vocal delivery just reeks of anger and raw aggression. Throughout this sixteen track album (or eighteen if you purchase the version with bonus tracks - something I highly recommend), your head will be bashed in by some extremely brutal music, but Napalm Death never forgets to keep their music memorable and exciting. Lots of variation within riff structures, tempos, and vocal delivery always keeps me on my toes, and Utilitarian is an absolute blast throughout its full duration. Not many deathgrind albums are as well-composed as what we have here - believe it or not, Utilitarian actually stands as one of Napalm Death's finest musical efforts thus far. With songs like "Errors in the Signal" and "Quarantined" (to only name two), it's hard not to be left amazed by this exceptional observation.

Utilitarian also shows Napalm Death taking a few risks musically, particularly in "Everyday Pox" where saxophone legend John Zorn delivers frantic squeaking to add to the already frenzied atmosphere. This is a damn solid album from every angle; the band is as tight as ever, the compositions are brutal yet rewarding, the production is phenomenal, and a sheer sense of unbridled energy is always present. Fans of Napalm Death are advised to head out to their local record stores and pick up a copy of Utilitarian immediately - this is yet another fantastic observation from kings of deathgrind.

J-Man American black metal act Shroud of Despondency really blew me away with 2011's Dark Meditations in Monastic Seclusion, and just under a year later, the band has already created their next black metal opus. Entitled Pine, this observation once again shows Rory Heikkila and company exploring the realms of bleak, nature-inspired black metal, but this time around their approach is slightly more eclectic. Whereas Dark Meditations in Monastic Seclusion mainly saw the group dabbling in folky black metal territory, this album offers a more one-of-a-kind mix of black metal, death metal, folk, progressive rock, doom metal, and post rock of the utmost quality. Pine is a very successful album in my eyes that, while still maintaining all the great things about Shroud of Despondency's previous efforts, shows a distinct evolution in the group's music.

Of course, the Shroud of Despondency's core sound is still rooted in folk-influenced black metal, but I think the more eclectic approach on Pine gives the band a totally unique identity. Whilst the variety of styles explored throughout this 58 minute album may initially seem incoherent, well-written songwriting ties the various ideas together quite nicely. The lovely "Unchaining of an Animal", for example, sounds like something that could've easily been off of a record from The Decemberists, and it serves as a refreshing change of pace from the lethal extreme metal of the rest of the CD. This, along with other ventures into prog and folk territory, are really what makes Shroud of Despondency's music so powerful, and I find myself constantly engaged throughout Pine's entire duration.

Initially I was a bit disappointed by this album, but after a few listens Pine really began to grow on me - now I actually consider this to be a small step above Dark Meditations in Monastic Seclusion, which certainly is no small feat. If there's one band in the American black metal underground worth your attention, it may very well be Shroud of Despondency. This is top-notch stuff, and anyone with a desire for some folky, forward-thinking black metal owes it to themselves to check out Pine.

J-Man Nocturnal Torment was formed all the way back in 1988 as a band named Termination, but it's not until 2012's They Come at Night that we finally get to hear the group release their debut full-length album. Aside from a demo released in 2009, as well as an obscure tape released under the monicker of Termination in 1989, this death metal quartet has never released material as a collective unit in their nearly 25 year long existence - which is actually quite a shame considering the strength of the material offered on this album. It's always better late than never, though, and old school death metal fans should be sure to check out what these guys have to offer. While They Come at Night is hardly anything new, it's a solid example of old school death metal done right.

All of the members in Nocturnal Torment have been involved in numerous other bands over the past twenty years, and it definitely shows on They Come at Night. Though the band may not have always been the most active, all of the musicians here are top-notch players with a real knack for writing quality old school death metal. Musically, we're dealing with very raw, early nineties' sounding death metal somewhere between Entombed, Morbid Angel, Deicide, Incantation, and Cryptopsy. Plenty of fat, downtuned riffs bring the glory days of early Swedish death metal back to life, but the rather technical edge also brings a few American names to mind. Nocturnal Torment delivers a captivating and powerful take on old school death metal, and while it's not the most original by any stretch, the band's dedication to keeping the death metal of yesteryear alive will likely satisfy fans of the genre.

Clocking in at over 50 minutes, They Come at Night does begin to lose a bit of steam towards the second half, but I guess that's expected when we're talking about music this raw and intense. This is fifty minutes of very fast-paced and unpolished extreme metal just the way most fans like it. The derivative nature of this album is made up for by its sheer intensity, and overall it's a very recommendable purchase to fans of Entombed, Morbid Angel, and Deicide. Folks that love death metal without breakdowns, sleek productions, or any other modern gimmicks are bound to love what Nocturnal Torment have cooked up for their debut.

J-Man Although all of the musicians in SOT have had quite a bit of experience in the Scandinavian musical landscape, Kind of Saltz is their first recorded effort as a collective unit. And what an impressive debut it is! SOT is a band that's tough to put your finger on, and their arousing blend of jazz, metal, avant-garde, and progressive rock is nothing less than mind-boggling. Very much like some of Frank Zappa's more zany works, the music on Kind of Saltz spans numerous genres through quirky and seemingly disjointed compositions, and yet they somehow sound cohesive and memorable. SOT has delighted listeners with their very unique and interesting debut, and fans of forward-thinking music would be doing themselves a major disservice by not giving it a spin.

On Kind of Saltz, SOT's sound is best described as a meeting point between jazz fusion, avant-garde rock, instrumental metal, and even touches of post rock - while the overall tone of the album is rather dark at times, the frenzied melodies and spastic arrangements often reveal a rather quirky atmosphere. In this regard (as well as a few others), SOT's music sounds like an up-to-date, heavier version of The Mothers of Invention. The music is quite complex at times, deceivingly melodic, and captivating throughout the album's entire duration. Part of the reason why Kind of Saltz is such a successful effort is that, stylistically, I can't think of any other act who does quite what SOT does. Their enticing avant-garde take on jazz fusion and metal has never been previously done in this sort of fashion, and I think this is at least partially do to the rather odd instrumentation by rock music standards. Including Lars Andreas Haug's tuba playing is without doubt a rather odd decision, but I think it works perfectly. This under-appreciated instrument adds a dimension to SOT's music that couldn't have been obtained using a standard 'bass-guitar-drums' format, and this strange (yet highly successful) choice of instrumentation is yet another thing that sets Kind of Saltz apart from anything else out there.

After just one listen to Kind of Saltz, it goes without saying that the other two-thirds of SOT also do their jobs exceptionally well. Skjalg Reithaug's guitar work is the centerpoint for many of the compositions here, and his fluid soloing and rock-solid riff delivery is always interesting and well-executed. Anders Hunstad's drumming often veers on the complex and intricate side, and he always plays these intricacies with complete precision - overall, it's tough to label SOT as anything but an extremely tight, well-rehearsed trio.

The instrumentation isn't limited just to tuba, guitar, and drums either, as I also spotted some keyboards, trumpet, and vocals (delivered in a scat-singing sort of way) before Kind of Saltz was over. Overall, this is a varied and immensely entertaining listen that all fans of experimental progressive rock should check out sooner rather than later. I always have a great time when I give Kind of Saltz a listen, and I have a pretty good feeling most other readers will as well. This is an excellent debut from SOT - I'm definitely curious to hear more!

J-Man Awaken the Reason is the third album from the tech-metal monsters in Outcast, and this time around the Frenchmen have cooked up another groovy, technical, and heavy platter of extreme metal. While the band's primary influences draw from modern thrash metal, liberal dosages of Obscura-like technical death metal and groovy math metal in the vein of Meshuggah keeps Outcast from sounding like the hordes of other modern thrash outfits on the scene. Most metal listeners will notice a strong influence from the likes of Meshuggah and Gojira in Outcast's sound, and while these comparisons are completely valid, Outcast has a unique edge that gives them a rather original sound. Overall, Awaken the Reason is a pretty solid album that should appeal to fans of modern, groove-based technical thrash.

A good portion of the riffs contained within Awaken the Reason are very djenty, but unlike many other modern acts that subscribe to this downtuned, polyrhythmic style of riffage, Outcast makes these riffs groovy and infectious rather than sterile and boring. Of course, this is also due to the fact that the band mixes up the composition style quite a bit throughout Awaken the Reason - in addition to djenty riffs, you've also got plenty of full-on death metal assaults, mind-boggling technical portions, and even some melodic sections. Outcast does occasionally fall into the 'technicality before memorability' trap, but this album is generally quite interesting throughout its full duration. The amount of time-signature shifts, crushing breakdowns, and complex rhythms always keeps the listener thinking, even as their ears are being assaulted with some very dense extreme metal.

The predominately shouted vocals could've used a bit more variation, but they are still very passionate and well-executed. All in all, Awaken the Reason is a very solid effort in my opinion, and while it does occasionally sound a bit too mechanical and sterile for my tastes, the quality of this release is undeniable. Fans of Meshuggah, Gojira, and Obscura will definitely want to hear this!

J-Man With their third full-length album, Italy's Disguise provides a solid mix of black and death metal that's more than likely to satisfy fans of both genres. Second Coming isn't the sort of release that shatters too many boundaries, but the band's firm grasp on how to create high-quality extreme metal is evident throughout the entire album. Although I would like to see Disguise expand a bit further on their experimental side with future efforts, Second Coming is a very competent album when all is said and done.

Disguise's sound relies mainly on black metal in the vein of Mayhem, but there are also plenty of downtuned death metal riffs reminiscent of bands like Deicide, Morbid Angel, and Entombed. Factor in a few melodic and symphonic touches in the vein of Dimmu Borgir and Septic Flesh, and the music that you'll hear on Second Coming is pretty well represented. While the idea of 'blackened death metal' (or 'deathened black metal', in this case) is hardly anything new, the melodic aspect of Disguise's songwriting and liberal use of keyboards sets them apart from many of their fellow, more brutal blackened death metal acts. I still wouldn't venture to call this anything revolutionary, but Second Coming is a very well-played, professionally produced, and engaging album. These Italian lads have plenty of chops, and the talent of the musicians involved is never questioned throughout the duration of this album.

Even though Second Coming may not be an essential masterpiece, it's a damn good blackened death metal album that incorporates enough melodic elements to set Disguise apart from many of the genre's pioneers. This is an exceptionally well-made album and a solid recommendation to fans of dark, heavy, and brutal extreme metal that still manages to incorporate a few modern and melodic trends.

J-Man As the years pass by, it seems like modern black metal can be distinctly broken up into two different categories. On one hand, you have countless young bands trying to re-create the magic of mid nineties' Mayhem and Darkthrone records, and on the other hand you have bands who are genuinely interested in bringing black metal to a whole new level of creativity - Hail Spirit Noir definitely belongs to the second category. If you don't believe me, just take a listen to what they've cooked up for their debut album, Pneuma. Hail Spirit Noir literally sounds like the result of a sixties' psychedelic rock group on a bad acid trip; everything from the vintage-sounding production, retro keyboard styles, and and progressive song structures brings us back to the golden age of psychedelic rock... except there's something different. Black metal-styled riffs, harsh vocals, and a twisted sense of melancholy somehow ended up in the mix, and the end result is unlike anything I've ever heard before. Although Hail Spirit Noir is anything but a 'traditional' black metal act, this debut is an essential purchase for open-minded fans of the genre.

When the term progressive black metal is brought up, the likes of Enslaved, Wolves in the Throne Room, Shining, and Deathspell Omega are usually the first bands that come to mind - many other 'progressive' black metal groups tend to sound similar to at least one of the aforementioned pioneers, but that isn't at all the case with Hail Spirit Noir. In addition to the 'bad acid trip' comparison I made earlier, Pneuma sounds like what would happen if King Crimson got together with Darkthrone for a jam session. The mellotron-soaked style of eclectic prog rock pioneered by Robert Fripp seems like a major influence to Hail Spirit Noir, and the way they manage to also sneak in black metal sections and harsh vocals without ever skipping a beat is admirable. Everything about Pneuma's production just reeks of the late sixties', and I think that's what helps bridge the band's adventurous blend of progressive rock and black metal so well. Just listen to the 12 minute masterpiece "Into the Gates of Time" to hear how much the vintage production helps make Hail Spirit Noir's sound so successful.

Pneuma is one of those albums that may be a bit difficult to grasp at first, but given the proper amount of time, it eventually reveals itself as a brilliant gem. Hail Spirit Noir have made one hell of a debut effort, and while I would've liked it to be a bit longer, this is a downright superb album. Fans of black metal, progressive rock, and experimental music in general should find plenty to enjoy here - this is one of early 2012's musical highlights for sure.

J-Man By the time Fatal Portrait was released in 1986, King Diamond had already established himself as a household name within the metal community through his work in the legendary Mercyful Fate. His distinct high-pitched howl captivated many metalheads on classics like Melissa and Don't Break the Oath, and a 'solo' album naturally seemed like a good idea. Of course, in retrospect, we know that the King's solo ensemble ended up being every bit as successful as Mercyful Fate, but the suspense leading up to Fatal Portrait must've been pretty great back in the mid-eighties'. With a fantastic group of musicians to back up his musical vision, King Diamond delivers nine solid tracks of thrashy traditional heavy metal on this debut. In many ways, Fatal Portrait lacks the maturity and sense of perfection that would be achieved on Abigail, but that's not to discount the quality of this release; although it's not the King's finest hour, Fatal Portrait is still a very worthy debut.

In many ways, the music on Fatal Portrait is quite similar to what was heard on the first two Mercyful Fate albums. There's a bit more of a thrash metal influence this time around, but the roots of the music are still in traditional heavy metal - and, of course, having King Diamond's vocals at front and center is enough to put a unique stamp on any album. The musicians supporting him are all clearly skillful, though it's mostly the guitar playing that really grabs my attention. Both the bass and drum performances are competent enough, but don't strive for much more than that - the fretwork from Andy LaRoque and Michael Denner, on the other hand, is absolutely spectacular. The lead guitar solos are phenomenal across the board, and the powerful riffage doesn't suffer from any shortcomings either. My only real gripe is that, with a few exceptions, the songwriting is generally less remarkable than on later King Diamond efforts. Not all of the songs here are particularly great, but a few excellent tracks like “Haunted” do help save the album from ever feeling mediocre as a whole. Still, there aren't nearly as many jaw-dropping moments as there would be on future releases, and most of Fatal Portrait leans more towards 'average' than it does towards extraordinary.

The production could also be a bit more dynamic, but if truth be told, Fatal Portrait is still a very solid effort from King Diamond. The riffs are powerful, the musicianship is impressive, and the King's vocals are as unique as ever. Fatal Portrait is not a high point in his career, though, and newcomers to King Diamond's music should make sure to check out a few other albums (either as a solo artist or with Mercyful Fate) before giving this a listen. Next time around is when things would really start getting good...

J-Man Before Slayer achieved world domination with a long string of thrash metal classics, they released this humble debut in 1983. While still an eighties' metal classic in its own right, Show No Mercy shows a much different Slayer than what would be heard on albums like Reign in Blood and South of Heaven. Their trademark extreme thrash sound hadn't yet been developed, and in its place is a primitive example of early NWoBHM-infused thrash metal. Considering its context, Show No Mercy is a pretty damn original album, but it's definitely not a flawless entrance into the scene - these American legends would improve quite a bit over the next few years, but for what it is, Show No Mercy is a very solid debut.

Although future albums would prove that Slayer would only get even more aggressive and extreme as the decade progressed, Show No Mercy must've been quite a shock back in 1983. Everything from the Satanic imagery on the album cover to the relentless riffs contained within was pretty radical by 1983's standards, and calling this one of the first thrash releases certainly wouldn't be out of the question. NWoBHM plays a bigger role here than it would on any future Slayer releases, but this is still definitely a pretty heavy and fast-paced primitive thrash release. In spite of Show No Mercy's originality, however, this is still a rather flawed release in many aspects. Legend has it that the entire album was recorded in eight hours, and it's pretty apparent when considering the quality of the musicianship and production. Although Slayer were clearly talented musicians, their performances are much less refined than on future releases - Dave Lombardo's drumming especially pales in comparison to his later works. The thin production also sounds incredibly dated from a modern perspective.

Still, in spite of its glaring flaws, Show No Mercy manages to be a pretty damn enjoyable album. Slayer had a sense of pure aggression from day one, and the raw passion of these performances manages to shine through the album's shortcomings. Newcomers to Slayer will definitely want to check out a few of the band's later releases before listening to this one, but this is still an important early thrash metal document that every fan of the genre should experience at some point. A flawed but enjoyable album like this is well-deserving of 3 stars in my book.

J-Man After releasing their 2009 debut demo entitled Sweet Blasphemies, American death metal act Horrendous scored a deal with Dark Descent Records for the release of their first full length album, The Chills. Like most of Dark Descent's roster, Horrendous sports an absolutely filthy old school death metal sound - and make no mistakes, The Chills takes no prisoners with its onslaughts of early nineties' extreme metal aesthetics. Low, downtuned riffing and an occasional sense of melody bring the likes of Entombed, Edge of Sanity, Dismember, and Grave to mind, and a few American bands like Morbid Angel, Deicide, and early Death are also major influences throughout The Chills. In short, if you're a fan of old school death metal, the sound that Horrendous have conjured should be right up your alley.

Perhaps my favorite aspect of The Chills is the way it manages to incorporate a sense of melody into a grimy old school death metal sound. Not at all unlike Entombed, Horrendous has quite a few guitar melodies alongside pummeling riffs - a song like "The Somber (Desolate Winds)" serves as a perfect example. In spite of this, however, The Chills is not even remotely a melodic death metal album; it's clear that Horrendous' first priority was to create powerful and intense old school death metal, and in most regards they've succeeded tremendously. Though the songwriting could perhaps be a bit more memorable at times, the passionate delivery and strong execution makes this an excellent listen for old school death metal fanatics.

I do wish that Horrendous would occasionally extend their reach beyond what's already been done before, but for a debut album, The Chills is confident and extremely promising. While it may not be an essential purchase, The Chills is a pretty damn good debut from a band worth keeping your eye on. 3.5 stars seems like an appropriate grade in this case - this is definitely worth a listen for those looking for some good old school death metal in 2012.

J-Man Japan may not have the world's most renowned metal scene, but Tokyo's Sigh have gained a reputation as one of the most forward-thinking extreme metal bands on an international scope since their formation in 1990. The band's constantly changing sound and ability to consistently put forth unique albums has impressed avant-garde metal fans for two decades, and In Somniphobia is proof that these giants have no intention of slowing down. This is a weird, weird album that spans nearly every conceivable genre out there, and yet Sigh manages to deliver their sound with consistency and fluidity. Although In Somniphobia is probably too "out there" for your average extreme metal fan, anybody with a craving for forward-thinking and truly innovative metal music is bound to have an absolute blast with what these Japanese masters have conjured this time around.

In Somniphobia served as my introduction to Sigh's music, and although I have since investigated some of their earlier releases, I'm still awestruck by how eclectic this album is. I've really never heard anything like this before, and while some comparisons can be drawn to groups like Mr. Bungle or Unexpect, Sigh is a distinctly different band. The 'black metal' label that is usually used to describe the band is rather minimal, and instead In Somniphobia sounds like a blend of death metal, classical music, progressive rock, jazz fusion, funk, trip-hop, free jazz, pop, psychedelic rock, avant-garde, Arabic music, and just about anything else under the sun. Possibly the most surprising factor about In Somniphobia is that, in spite of its seemingly 'random' nature, Sigh manages to blend all of these vastly different sounds into a cohesive and logical sound - somehow the band makes all of these genres sound as if they were 'meant' to be blended together, and this is unquestionably In Somniphobia's greatest strength.

Take a listen to the twisted, brutal-take-on-lounge-jazz of "Amnesia", for instance. Though most sane people would agree that lounge jazz and death metal don't belong within 100 feet of each other, Sigh begs to differ, and creates a unique concoction of these two vastly different styles - and, most of all, it works exceptionally well. Keep in mind, however, that this is just one out of eleven tracks. Before this album is over, you'll be treated with a strange neo-classical extreme metal sound in "Purgatorium", a Latin jazz rhythm section from hell in "The Transfiguration Fear Lucid Nightmares", a disturbed carnival music opus in the form of "Far Beneath the In-Between", as well as just about anything else the most perverted parts of your brain desire. This is a demanding, disturbed, and extremely challenging record, but Sigh manages to convey their avant-garde sound in a way that still manages to be fun for the open-minded listener.

Although the hour-plus playing time can make for a rather exhausting listen and the unpolished production doesn't quite fit the music in my opinion, these are minor complaints when we're talking about an album that's this damn good. As eclectic and flat-out weird as In Somniphobia may be, Sigh manages to make their one-of-a-kind sound come across as coherent and fluid - something like this can rarely be said about most bands that take a musical approach as decidedly avant-garde as Sigh's. This is a simply spectacular album, and 4 stars is the very least I can give out in this case. Fans of Sigh and avant-garde metal in general owe it to themselves to hear this magnificent opus.

J-Man Metal has expanded in quite a few different directions since the seventies', but bands like Christian Mistress keep the original spirit of the genre alive over a decade into the new millennium. This five-piece act from Washington takes plenty of hints from NWoBHM, stoner rock, doom metal, and classic hard rock into a sound that could've easily passed as something nearly forty years old. Possession is their second full-length album, and it is bound to satisfy most folks' itch for doomy classic metal. Although the musical approach that Christian Mistress takes is decidedly regressive, this is not a bad purchase for traditional heavy metal and hard rock fans.

Christian Mistress has received quite a bit of praise for their frontwoman's vocals, but for some reason Christine Davis' raspy singing style just comes across as flat and powerless to these ears - I'm just not feeling the aggressive and powerful vocals that I crave in a traditional metal album. Luckily, the guitar department more than compensates for the vocal shortcomings, and both axemen dish out plenty of rockin' riffs and killer lead solos. I wouldn't say that any of the songs here are particularly excellent, but Possession is still a fun listen when all is said and done.

Although most of this album is pedal-to-the-medal heavy rock, Christian Mistress also shows their ability to write more diverse pieces of music with the acoustic-influenced "There Is Nowhere", which also sports a killer Iron Maiden-like section towards the middle. All in all, this is a very respectable effort, even if I'm not won over by every aspect of the release. Fans of retro heavy rock are bound to enjoy Possession quite a bit, so I'd say 3 stars is a pretty fair score. Christian Mistress may not be the most inventive metal act out there, but they do what they do pretty well.

J-Man Although the German progressive metal scene has plenty of established veterans like Sieges Even, Vanden Plas, and Mekong Delta, the country hasn't had too many young voices to carry the torch in recent years. Judging by their killer debut album, Effloresce may very well be the next big progressive metal export from Germany - Coma Ghosts shows a band with a very firm grasp on how to deliver amazing prog metal while still pushing the boundaries of the genre, and the fact that this level of maturity is obtained on a debut album is admirable. In short, Coma Ghosts is a professional, memorable, and original observation that should be satisfying metal fans well into 2012 and beyond!

Opeth, particularly on albums like Blackwater Park and Watershed, is clearly a large influence to Effloresce. While their sound is not entirely dependent on these Swedish veterans, the mix of 70's progressive rock, melodic death metal, and folk found throughout much of Coma Ghosts makes the reference almost inevitable. Effloresce makes their main distinction from Opeth by keeping the death metal influences to a minimum, and instead including more traditional-sounding progressive metal sections as well as an occasional gothic atmosphere. Female vocalist Nicki Weber also helps give Effloresce a voice of their own, and her powerful clean pipes and occasional black metal-styled rasps are an integral part of the band's style. Although I tend to think that her harsh vocals could've been integrated into the music a bit more convincingly and delivered with more power, it's a rather minor flaw in the long run since the majority of the vocals here are excellent clean singing.

While the Opeth comparison is rather invalid throughout much of the album (songs like "Crib" bear little resemblance to the Swedes), a song like "Swimming Through Deserts" could very well be the creation of Mikael Akerfeldt with the addition of a beautiful soprano vocalist. The 70's-styled progressive rock with a jazzy, folky, and slightly twisted edge will strike a chord with many prog metal listeners, and Effloresce delivers this style just as convincingly as they do when it comes to pummeling metal riffs. Coma Ghosts is one of those rare cases where, even though I'm able to identify plenty of obvious influences in the music, the style is still wholly original. The strength of the composition and execution is what makes Coma Ghosts a truly worthwhile experience, however, and in addition to crafting exceptionally well-written pieces of music, the musicianship is exceptional across the board. Although Effloresce may be relatively new to the scene, their craft as musicians is never questioned on this album.

As an additional bonus, Coma Ghosts was mixed and mastered by Swedish metal legend Dan Swanö of Edge of Sanity, Nightingale, and Bloodbath fame, so you can expect an absolutely killer sound to top things off. Though the relatively unimpressive harsh vocals and occasionally overtly Opethian influence may keep many listeners from calling this a masterpiece, there are still more than enough assets to make this a remarkable album. Effloresce have gotten off on the right foot with this excellent debut offering, and I'll be ecstatic to hear what they have up their sleeves in the coming years. When December rolls around, I have a feeling this will be praised not only as one of the year's most impressive debuts, but also as one of 2012's best progressive metal records - it really is that good! My rating here will be 4 big stars, as well as an easy recommendation to fans of the more organic and melancholic side of prog metal. This is a must-hear if you're into progressive metal that rarely relies on the 'traditional' sound pioneered by the likes of Dream Theater, Fates Warning, and Queensryche.

J-Man Italy's prosperous power metal scene may be most recognized for bands like Labyrinth, Rhapsody of Fire, and Elvenking, but there are also plenty of lesser-known acts that have been pumping out solid albums for quite a few years. Enter Drakkar, a band from Milan that released three albums in the late 1990's and early 2000's before falling into relative obscurity. When Lightning Strikes is their comeback album of sorts, and marks the group's first full-length outing in the near-ten year period since Razorblade God. Fans of Drakkar's older material will be satisfied to hear that this album is filled to the brim with solid riffs, memorable melodies, and lovably cheesy symphonic keyboards, and while their sound may take a few too many hints from their fellow Italian power metal bretheren, there's no doubt that When Lightning Strikes is an impressive effort from start to finish.

Rhapsody of Fire is probably the most notable point of reference when discussing the style of music played on When Lightning Strikes. Although Drakkar lacks the same level of orchestral bombast as their fellow countrymen, their sound still balances epic power metal, symphonic interludes, and progressive overtones in a similar manner. Blind Guardian is another valid comparison, so fans of heavy-edged melodic power metal with plenty of symphonic tendencies are bound to find lots to love on When Lightning Strikes. Keyboard player Corrado Solarino is actually given a pretty huge role here, and in addition to delivering plenty of symphonic overtones, his organ and synthesizer solos would not be out of place on a progressive metal album. Though his choice of tones occasionally borders on 'plastic cheese overload', there's no doubt that his playing is spectacular. The rest of the musicians are also top-notch, and although Drakkar have been absent from the scene for quite a bit of time, their craft as musicians has not deteriorated at all.

When Lightning Strikes has a cheesy European power metal flair in nearly every song, but I still find myself having a great time every time I put on this album. As cliched, typical, and pompous as Drakkar may be, they are damn good at delivering solid power metal records - people who are able to look past a few corny, yet still catchy and fun, choruses in songs like "We Ride" should be in for a great time. This won't appeal much to people outside of the core power metal fanbase, but fans of that genre should definitely investigate When Lightning Strikes. 3.5 stars are well deserved for this impressive comeback!

J-Man Although it's a fairly established fact that Africa does not have the world's most abundant metal scene, an increasingly global economy has allowed plenty of excellent bands from exotic parts of the Earth to see greater commercial success than ever before. One band that has benefited from the modern age of internet communication and economic globalization is Tunisian progressive metal act Myrath. Though their country is currently in political turmoil, they've managed to see an impressive amount of recognition from metal fans worldwide with their third album, Tales of the Sands. And well-deserved recognition it is, indeed. Myrath's unique blend of melodic heavy metal, progressive metal, and traditional Arabic soundscapes immediately sets them apart from other prog metal acts on the scene today, and the fact that they have plenty of technical chops to back it up makes their music all the more worthwhile. Tales of the Sands is a highly successful effort that is both adventurous and professional; fans of progressive metal who are willing to hear the genre convincingly mixed with Arab influences are going to find lots to love on this record.

At the surface, Myrath's root sound can appear to be roughly similar to bands like Symphony X, Royal Hunt, Anubis Gate, and Kamelot with a few Arabic tendencies thrown in, but this is actually a rather false speculation. Rather than taking the established progressive metal formula and sprinkling Middle Eastern flavorings on top, Myrath instead takes both styles and puts them in a blender, thus allowing the two radically different genres to be thoroughly integrated into a style that can only be described as the band's own. Tales of the Sands is also a very heavy album, especially by your 'traditional non-growling' prog metal standards. The riffs chug along with a clear influence from more extreme variants of metal, the vocals are dynamic and powerful, and the drums frequently veer into fast double-kick sections. In spite of the distinctly modern brand of heaviness displayed by Myrath, they never lose sight of melody throughout Tales of the Sands - most of the songs are rather straightforward from a structural standpoint, but the melodic and catchy choruses keeps the band's 'formula' from ever growing stale. Of course, the spellbinding riffs will have an irresistibly headbanging effect on most metalheads, but I think it's the way these spectacular riffs are melded with memorable, yet entirely cheese-free, choruses is what will truly make this a memorable album for years to come. As nice as it would be to see Myrath venture beyond the five-minute songwriting format, they have obtained such a level of mastery on this style of composition that it's tough to complain.

Tales of the Sands is also incredibly well executed from all fronts, and the sleek production is probably what will immediately jump out to many listeners. The powerful, meaty sound perfectly complements the masculine metal riffs and progressive arrangements, and whilst it may be a bit too polished for some listeners, the quality of the sound is objectively spectacular. The musicians in Myrath are clearly quite experienced, and the tight rhythm section is arguably the band's finest asset - the downtuned, chugging riffs set the backbone for all of the tunes here, and they are simply hypnotizing. Zaher Zorgati's melodic and powerful vocals deliver every melody with precision and emotion, and his mid-ranged singing style consistently suits the mood of the music. His voice bears resemblance to more 'masculine' power metal vocalists like Russell Allen or Ralf Scheepers, but he still manages to sound like himself throughout the full album.

This is a memorable and professionally executed observation from Myrath, and there's really not too much to complain about when we're talking about an album with this level of quality. Tales of the Sands shows a creative young band with the ambition and ability to succeed in the crowded progressive metal climate, and I'm sure their heavy, melodic, and eclectic take on the genre will please many fans of the style. This is a truly excellent album, and I'll play it safe right now with a big 4 star rating. I may raise it even higher sometime in the future, but as of now Tales of the Sands still stands as a near-mandatory purchase. This is one of the most recommendable progressive metal albums from 2011.

J-Man Royal Hunt has been consistently pumping out well-received melodic progressive metal albums for the past twenty years, and Show Me How to Live is certainly no exception to this trend. Although you could argue that the band's most creative and innovative period is behind them, these Danes still know how to dish out relevant and memorable music in today's melodic metal scene. Their blend of neo-classical instrumentation, melodic choruses, and hard-hitting riffs is inevitably lovable, and while Royal Hunt isn't nearly as original as they were in the mid-nineties', Show Me How to Live is still a fine effort that fans of melodic progressive metal ought to check out.

The main format for Royal Hunt's sound is melodic power metal with symphonic and neo-classical overtones, in addition to numerous ventures into progressive territory. This style may not be groundbreaking anymore in 2011, but Royal Hunt proves that they are still relevant by their compositional abilities and top-notch musicianship. This is a group of fantastic musicians across the board, and Show Me How to Live also sports plenty of killer songs. While the epic title track takes the cake by numerous country miles, everything you'll find on this album is well-composed and highly professional. Aside from the occasionally plastic keyboard tones (which, I guess could be a positive for some listeners), there's really not much to complain about on Show Me How to Live - it delivers plenty of goods, and while it rarely reaches a level of true excellency, this is a damn solid album from all fronts.

People who are hesitant to Royal Hunt's brand of symphonic melodic metal won't have their minds changed by Show Me How to Live, but fans of the band will be pleased to know that they have yet another solid platter of hard-hitting tunes up their sleeves this time. Although I would've liked a few more jaw-dropping moments like those found in the title track, it's still really tough to deny quality like this. 3.5 stars are well-deserved, and Royal Hunt fans would be making a mistake by passing this one up!

J-Man Finnish black metal group Azaghal has a reputation for consistently churning out dark, evil, and Satanic masterworks heavily inspired by the pioneers of the genre's second wave, and Nemesis is no exception. Although the album sports a cleaner production and tighter musicianship than many of the lo-fi black metal dungeon recordings of the early nineties', Azaghal demonstrates that they have a very deep understanding of how to effectively convey dark atmospheres and frightening imagery through a musical context. Nemesis is a complex and mightily impressive album, and while it doesn't quite offer enough new ideas to be regarded as an essential work, it's worth a listen for black metal enthusiasts.

The biggest influences I can hear in Azaghal's music are Mayhem and Darkthrone, but these lads are a bit more intricate from a compositional standpoint. Although the first half or so of the album tends to stick to the tried and true black metal formula, the second half is actually a bit more experimental and melodic. While calling Nemesis a melodic black metal album would be horribly wrong, the precise riff structures, touches of melody, and even occasional use of clean vocals assure the listener that Azaghal has a bit more to offer than your average Mayhem rip-off. The title track, which includes generous helpings of fast-paced riffage matched with twisted melodies, especially showcases the band at their most creative and compelling. The songs are generally powerful, dark, and sinister, with the band's tight musicianship preventing monotony from ever setting in, even if the music is quite hypnotic in nature. Although the lyrics do occasionally come across as goofy and cliched (I'm looking at you, "Black Legions of Satan"), the music is strong enough to look past this minor flaw.

Nemesis may not offer too many new ideas for experienced black metal veterans, but the compositions are strong enough to warrant a purchase for those who consider themselves a fan of the genre regardless. While I wouldn't quite call this an excellent album, it's a very solid effort from Azaghal, and a great way to help kick off black metal in 2012. 3.5 stars are well-deserved, and I look forward to more thoroughly investigating this band's discography in the near future.

J-Man Cannibal Corpse is a band that, in spite of their huge following and universal acclaim, has yet to really grab me as more than a fairly monotonous brutal death metal act. Although the talent of the musicians is unquestionable and their influence on future death metal bands is enormous, none of Cannibal Corpse's albums have yet to impress me beyond a mildly enjoyable casual listen. Tomb of the Mutilated, the band's third full-length album, sees the American death metal pioneers continuing down the heavy, technical, and brutal style of Butchered at Birth - this, along with possibly the most disturbing Cannibal Corpse lyrics to date, virtually guarantees that the band has churned up yet another brutal death metal classic. A classic it is indeed, but a rather flawed one in my opinion. The one-dimensional songwriting and indecipherable growling style means that monotony sets in fairly quickly, and even though it is an undisputed classic for fans of the genre, Tomb of the Mutilated misses the mark in my book.

One quick glance at the repulsive cover art (so repulsive that the album was banned outright in Germany and an alternate cover was also offered worldwide) makes it rather clear that Cannibal Corpse had no intent of slowing down after their first two incredibly brutal full-lengths. Lovely song titles like “I Cum Blood”, “Addicted to Vaginal Skin”, and “Entrails Ripped From a Virgin's Cunt” may even suggest that this album shows Cannibal Corpse in a more brutal mindset than ever before. No matter what, one thing remains painstakingly clear throughout all of Tomb of the Mutilated - this is brutal death metal with absolutely no frills whatsoever. For better or worse, the band blasts away at their instruments for the CD's entire duration, leaving very little breathing room for the listener. This one-dimensional approach can be quite entertaining for the length of the album, but unfortunately it doesn't leave much of an impression once it ends. I do like a lot of the riffs here (“Post Mortal Ejaculation” sports some particularly great riffage), but the reality is that I have a tough time picking more than a few of them out in the end - this is ultimately Tomb of the Mutilated's downfall, and even though the musicianship and production are both stellar, the end result comes across as fairly uneventful.

Just like its predecessors, Tomb of the Mutilated is not an album that I'll be revisiting too often, but it's still difficult to deny quality like this. Cannibal Corpse is a group of impeccable musicians, and Tomb of the Mutilated is actually quite original when you consider that it was released in 1992. This is one of the most brutal albums from its time period, and although it has lost a bit of its originality over twenty years of countless clone acts, Tomb of the Mutilated should be regarded as a seminal brutal death metal album. The fairly monotonous songwriting does little for me, but the sheer precision of the riffs and rapid-fire compositions secure at least a 3 star rating for this classic release. While I can think of plenty of brutal death metal albums worth hearing first, Tomb of the Mutilated is still mandatory listening for those who wish to understand the genre.

J-Man Death Comes From Nowhere marks the beginning of Unholy Grave's long and illustrious career that has so far spanned nearly two decades. This Japanese grindcore act has released literally dozens of split albums, demos, EP's, and full-lengths since this 1993 demo, and it certainly wouldn't be out of the question to call them one of grindcore's most prolific acts. Death Comes From Nowhere shows the band playing a style of death metal-influenced grindcore with obvious influences from acts like Brutal Truth, Napalm Death, and Terrorizer; fans of those bands at their most raw and unpolished may want to give Death Comes From Nowhere a listen. This is an unprofessional effort that shows very little originality from Unholy Grave, but enthusiasts of the genre may want to lend an ear anyway.

As expected from an early nineties' extreme metal demo, the recording quality on Death Comes From Nowhere is less-than-stellar. While not a crippling flaw, the muddy sound quality and poorly recorded vocals can be a turn off for listeners who like to hear every note being played. My biggest gripe here is not actually in the poor sound quality, but more in the department of unremarkable songwriting. Although the sheer energy that Unholy Grave exhibits can make for a mildly entertaining listen, they don't bring anything to the table that hasn't been previously done better by other bands. The riffs on Death Comes From Nowhere are standard by the genre's conventions, and there's really not much here to make for a memorable listening experience.

Although Death Comes From Nowhere may not be the best album from a listener's perspective, it does show a young band with the chops to succeed in the extreme metal universe. Unholy Grave clearly displays that, with a bit more originality and polish around the edges, they have potential to create some killer material - and for a debut demo, I guess that's the first priority. Still, Death Comes From Nowhere is fan material only, and avoidable for everyone else. 2 stars are deserved, and I'll be looking forward to giving a few more releases from this band a shot as well.

J-Man After releasing a string of demos in 1993 and early 1994, Austrian black metal outfit Abigor finally took advantage of the full-length album format with 1994's Verwüstung / Invoke the Dark Age. Gone are the shoddy production values and average songwriting that plagued their early demos, and in its place is some pretty impressive and even mildly experimental black metal music. Although Abigor doesn't do quite enough to substantially differentiate themselves from the more renowned second-wave black metal bands, they do exhibit an ambitious attitude on Verwüstung / Invoke the Dark Age; and for the most part, they deliver their sound with great success. This album isn't flawless, but it's a highly promising debut from an unfortunately overlooked band.

Though this may sound strange when we're discussing a black metal record from 1994, one of the first things that grabbed my attention about Verwüstung / Invoke the Dark Age was how tight and precise Abigor sounds from a musicianship perspective. Drummer Thomas Tannenberger is especially on fire here, and in addition to dishing out plenty of lightning-fast blastbeats, his fills are also some of the most impressive I've ever heard. It's clear that Abigor has really honed in on their craft since their sloppy demo tapes, and their abilities as songwriters have also much improved. Although I don't think Verwüstung / Invoke the Dark Age entirely captures the dark atmosphere that Abigor was aiming for, there's no doubt in my mind that this is a great black metal album from beginning to end. The mildly technical style of songwriting immediately sets Abigor apart from the Burzums and Darkthrones of the world, and a few folky acoustic sections and synthesizer parts do further give the band a name of their own. I wouldn't say that the synthesizers are used particularly well, and they do often give off a bit of a cheesy vibe, but it is clear that Abigor is a somewhat unique band, even if they don't stray from the norm too often.

All in all, Verwüstung / Invoke the Dark Age is an impressive and pretty original debut from Abigor. The complex riff structures and twisted sense of melody are a clear signal of a band with a lot of promise, and I'll be looking forward to brushing up on the rest of Abigor's discography in the future. Although I'm missing any truly mesmerizing atmospheres on Verwüstung / Invoke the Dark Age, the band does deliver enough memorable riffs and progressive flourishes to make this a worthwhile experience for black metal fans. 3.5 stars are well-deserved for this impressive debut.

J-Man Quickly following their formation in 1993, Austrian black metal act Abigor assembled this ten-minute demo to get their ideas out to the public later that year. Ash Nazg is, like most black metal cassette demos from this time period, a virtually unlistenable experience - though the band displays a few interesting ideas, they are so obscured by an unbearable production that it comes across as a torturous listen. Fans of Abigor may find minor interest in Ash Nazg from a sheer novelty perspective, but it is far from an even remotely rewarding musical experience.

Although most early black metal demos had a terrible sound quality, Ash Nazg may take the cake as the worst sounding demo I have ever heard. Aside from faint guitar buzzing and shrieking vocals, the rest of the music sounds more like a technical hiccup than an actual recording - the drums are inaudible throughout much of the demo, and the bass is even less noticeable. Musically, this is pretty standard nineties' black metal without any ventures into the band's later, more progressive side. There are a few decent riffs scattered throughout this ten-minute demo, but they are concealed by the muddy production to the point where all that remains is incomprehensible noise.

Ash Nazg is a pretty terrible demo in all honesty, but thankfully Abigor would prove that they were a competent act with their upcoming 1994 debut album. This is avoidable unless you're a listener who devours all things 'kvlt'; even then, it is passable at best. 1 star is of course warranted in this case.

J-Man With two solid black metal albums already under their belts, Norwegian act Ancient decided to take a bit more of a risk with Mad Grandiose Bloodfiends. Although the band was still rooted in their country's black metal scene, this third album sees them taking more than a few hints from gothic extreme metal acts like Cradle of Filth. As if the cover art doesn't say it all, the music here has a lot more to do with vampires and blood-drinking than your average Norwegian black metal record; although it makes for an interesting enough idea on paper, Mad Grandiose Bloodfiends is an exceptionally weak experiment from a band who exhibited tons of potential on their previous two albums. Rather than effectively conveying the dark and ominous atmospheres that Cradle of Filth are capable of, Ancient's attempt at this sound comes across as a cheap and hokey imitation rather than a valid artistic entry. Although I don't quite think Mad Grandiose Bloodfiends is the utter piece of trash that many metalheads make it out to be, it's still an entirely non-essential listen for virtually every demographic.

Ancient's previous album, The Cainian Chronicle, showed the band improving greatly upon the black metal side of their sound - while I wouldn't venture to call this a flawless album, it showed that with a bit of work, they did have a lot of potential to create a truly amazing black metal observation. Mad Grandiose Bloodfiends takes quite a few steps back from these improvements, and the black metal sections are instead supplemented by laughably cheesy gothic overtones that simply destroy any chance of creating a convincingly dark atmosphere. Mad Grandiose Bloodfiends lacks the innovative attitude of Svartalvheim and the impressive songwriting of The Cainian Chronicle - all that's left is a rather dull effort that offers very little in the way of enjoyment. Though the Cradle of Filth influence could've potentially been a good thing (after all, I am a proud fan of Dani Filth & co.), the poor production and soulless songwriting cripple any positive aspects of the release. Mad Grandiose Bloodfiends simply doesn't convey any of the bone-chilling atmospheres that I can expect when listening to a Cradle of Filth album, and the end result sounds more like an amateurish imitation than a recommendable listening experience.

I've been quite disappointed by Mad Grandiose Bloodfiends, especially considering the strength of Ancient's previous two albums. When it comes to gothic-tinged black metal, atmospheres and authenticity are key - effectively transporting the listener to a bleak, dystopian world is essential, and making it seem entirely genuine is every bit as important. Neither of these things are successfully fulfilled on Mad Grandiose Bloodfiends, and the result is an album that sounds goofy and amateurish rather than frighteningly dark and convincingly powerful. Though I've yet to acquaint myself with later Ancient albums, I hope this was more of a one-album fluke than a trend for their future releases; in complete honesty, this is not a good album in any sense of the word. 2 stars are the most I can give here.

J-Man After thoroughly enjoying their debut album, my next venture into the world of Ancient was with 1996's The Cainian Chronicle. Though the band's sound has largely remained unchanged since 1994's Svartalvheim (a big change in direction wouldn't occur until next year's Mad Grandoise Bloodfiends), this Norwegian melodic black metal group did show an increased level in maturity this time around. The Cainian Chronicle shows a possibly less experimental band than what was heard on Svartalvheim, but it's clear that they have also increased their ability to write memorable black metal compositions. My biggest knock with Svartalvheim was that, despite my immense enjoyment for the band's folkier side, their ability to write powerful black metal music wasn't yet quite up to par - that's fortunately been fixed with The Cainian Chronicle, and while the end result does sound a bit more run-of-the-mill than its predecessor, I think the album as a whole is just a tad stronger.

Before one goes into The Cainian Chronicle expecting an average and unoriginal black metal record, that isn't the case - though the focus seems to be in the direction of creating more memorable and less experimental black metal, Ancient still allows plenty of extraneous oddities to pervade their core sound. In addition to a few extended and mildly progressive epics, you've also got the occasional use of clean vocals (both male and female), as well as a beautiful interlude in the form of "Cry of Mariamne". The tribal drumming and strange orgasmic noises in "Exu" make for a pretty lame attempt at creating a dark atmosphere, but it is thankfully followed up by two amazing black metal epics. "The Pagan Cycle" and especially "Homage to Pan" are both excellent black metal songs, and together they stand out along with the four-part title track as highlights of the album.

At over 66 minutes, The Cainian Chronicle is a pretty long album, and not all of the songs are quite up to the standard set by the best that Ancient has to offer - that's not to say that the rest of this observation is bad, but it generally comes across as pretty average in the end. Thankfully, a few standout tracks still make The Cainian Chronicle a worthwhile sophomore effort from Ancient, and while I wouldn't venture to call it flawless, it's a recommended listen for black metal fans. The Cainian Chronicle is a less original album than Svartalvheim, but at the same time it is a more mature and professional work. Although I slightly prefer The Cainian Chronicle, I'll rate it with the same 3.5 stars I handed out to their debut.

J-Man In terms of modern Swedish melodic death metal, Scar Symmetry is one of the biggest names out there. While still showing distinct influences from the classic albums by bands like In Flames, Dark Tranquility, and At the Gates, Scar Symmetry takes the Gothenburg melodeath style straight into the twenty-first century. This band is not hesitant when it comes to including newer trends into their core melodic death metal sound, and the groovy riffs, power metal-styled choruses, and sleek modern production means that old school extreme metal purists will probably find little to enjoy on Pitch Black Progress, the band's sophomore effort. However, if sleek, catchy, and well-written melodic death metal is what you long for nowadays, it's really difficult to go wrong with Pitch Black Progress. Scar Symmetry is a group of impeccable musicians and gifted songwriters, and they have just enough originality to make them a unique staple in the modern extreme metal scene. Although Pitch Black Progress isn't a truly excellent album, it comes highly recommended from this reviewer.

Though Scar Symmetry is rooted in Swedish melodic death metal, there are lots of extraneous influences from other genres to keep things fresh. There's a distinct power metal influence in the clean-sung choruses, as well as plenty of groovy thrash riffs and even a few deviations into progressive metal and metalcore territory. Pitch Black Progress is an album for metalheads with a taste for modern sensibilities and melody, as both of them play a big part in Scar Symmetry's core sound. The musicianship is extremely tight and polished across the board, but it's actually Christian Älvestam's vocals that usually take the cake for me. In addition to a powerful guttural growling style, he's also an excellent clean vocalist who manages to find the perfect balance between power and warmth - there certainly isn't any uninspired mandatory clean singing on Pitch Black Progress.

Although I always have a great time when I listen to Pitch Black Progress, it hasn't yet struck me as an album that will leave much of a lasting impression in the future. Everything is very well-written, but the rather formulaic song structures hold Pitch Black Progress back from being a truly excellent album. Still, that's not to discount all of its remarkably positive traits like the stunning musicianship, professional songwriting, and modern production values. Scar Symmetry are simply a high-quality band, and their striking sense of professionalism and consistency shines throughout all of Pitch Black Progress. This is a pretty impressive melodic death metal album, and fans of the genre should find plenty to enjoy here. I'd say 3.5 stars are warranted.

J-Man Though they don't have a reputation as the most revolutionary group in metal, Primal Fear has gained a large following of dedicated heavy metal fans over the years, many of whom will claim that they are one of the most consistently kick-ass bands in the biz. Listening to Unbreakable is proof that these German metalheads are one of the most impressive bands keeping the torch of traditional heavy metal alive, and while they mainly look to the past for their sound, the amount of ass-kicking you'll hear on this album is enough to justify a purchase from any melodic heavy metal fan. The number of anthem-like choruses, killer guitar solos, and soaring vocal melodies on Unbreakable is almost unheard of - from beginning to end, this is some of the most instantly memorable heavy metal out there. What Primal Fear may lack in terms of innovation is made up by their expertly crafted compositions, and although they may not appeal to the more forward-thinking metal crowd, this is some of the best melodic heavy metal out there. If you, like me, enjoy some ass-kicking throwback heavy metal from time to time, it doesn't get much better than Unbreakable!

Like all Primal Fear albums, the killer vocals from Ralf Scheepers are at the forefront of these melodic and heavy compositions. His soaring vocal melodies are complimented by mean riffs and a rock-solid rhythm section, as well as plenty of breathtaking guitar solos from Magnus Karlsson and Alex Beyrodt. This is a group of top-notch musicians, and there's not a moment on Unbreakable when I doubt their abilities as players and composers. Though most of the songs are relatively fast-paced, there is enough variation throughout Unbreakable (like the surprisingly awesome ballad "Born Again") to keep things from ever sounding dull. Every song is well-written and memorable, although the lyrics occasionally sound a bit cliched - songs like "Metal Nation" sport lyrics that almost sound like a parody, but for those who are able to look past occasionally silly lyrics, there's plenty of top-notch melodic heavy metal here.

Although the style of melodic heavy metal that Primal Fear offers has been done to death over the years, few bands pull it off with as much success as these German veterans. Unbreakable is filled to the brim with unforgettable songwriting and stunning musicianship, and I'd say it's a perfect way to start 2012 for any melodic heavy metal fan. I do crave a bit more ambition and creativity from Primal Fear's core sound, but doing so may very well jeopardize what makes this band so great - they simply deliver excellent heavy metal as it was originally intended, and it is worth checking out for anyone who thinks that sounds appealing. All in all, Unbreakable is a really great album from Primal Fear that I intend to enjoy through 2012 and beyond. 4 stars are well-deserved.

J-Man Ukrainian black metal masters Drudkh have never been a band resistant to experimentation, and 2010's Handful of Stars showed the band adding more post-rock influences into their sound than ever before. Rather than signaling a change of direction for their future releases, Eternal Turn of the Wheel shows that this was more of a brief detour than a radical turnaround. The music here is dark, gloomy, and progressive black metal that signals a slight return to form for Drudkh while still remaining unique from the rest of the band's output. Eternal Turn of the Wheel is a good way to usher in 2012 for black metal fans; its ice-cold atmospheres and unique stylistic traits make it a highly worthwhile listen for fans of the forward-thinking variant of the style. Although I need to brush up on the rest of Drudkh's discography before I can claim that Eternal Turn of the Wheel is one of their finest works, there's not a doubt in my mind that this is one of the more impressive black metal records from the last few years.

While I've heard Eternal Turn of the Wheel described as Drudkh's return to their black metal roots, that shouldn't at all imply that this album is your standard-fare black metal effort. Drudkh still inject their raw sound with plenty of atmospheric soundscapes and progressive overtones, and the entire album is laden with a thick layer of gloom. In addition to plenty of somber chord progressions matched by miserable sounding vocal shrieks, an obscure fog of synthesizer melodies can be found throughout a majority of the album. The depressive and somewhat epic approach of Eternal Turn of the Wheel can make comparisons to acts like Burzum inevitable, but there's also a progressive edge that sets Drudkh apart from your average act in this increasingly stagnant genre. The beautiful acoustic break in "When Gods Leave Their Emerald Halls" is a section that always jumps out at me, and the generally long compositions all have an epic sensibility. This is the sort of album that's absolutely perfect for appreciating with a pair of headphones on a pitch-black evening - the nature-based imagery that Drudkh's music portrays, while often dark and frightening, can take me to the emotional highs that I look for when we're talking about this style of atmospheric black metal.

Though most experts will argue that black metal is past its peak, albums like Eternal Turn of the Wheel prove that the genre is still alive and well in 2012. This atmospheric, mature, and intense journey shows Drudkh at a definite creative peak, and while it lacks that extra 'something' for me to call it a masterpiece, there are a number of times where I'm inclined to do so. Eternal Turn of the Wheel is an excellent listen for fans of Drudkh and atmospheric black metal in general; though 2012 is still young, this should stand the test of time as one of the year's strongest extreme metal releases. 4 stars are very well-deserved.

J-Man Mastercastle is a female-fronted Italian power metal act, and Dangerous Diamonds is their third full-length studio album. Though most folks would be inclined to think of music on the more symphonic and bombastic side when we're talking about power metal from Italy, Mastercastle instead sports a sound that relies much more on traditional heavy metal and melodic hard rock than your average European power metal outfit. The vocals from Giorgia Gueglio are also much more powerful than you may expect, and her impressive pipes are always used as an integral part of the music rather than a dominant force that distracts from the rest of the instrumentation. Though these two likely misconceptions about Mastercastle are false, Dangerous Diamonds is a still a fairly bland release that lacks a unique identity of its own. There is plenty of excellent guitar playing and solid riffs to grab the attention of most melodic heavy metal fans, but Mastercastle will need to offer a little bit more until I'm truly impressed.

The first thing that will probably grab the attention of most listeners is the spectacular fretwork of Pier Gonella - he's a truly gifted guitarist, and in addition to plenty of meaty riffs and blinding leads, he also has enough melodic sensibilities in his playing to set him apart from your average shred guitarist. The rest of the musicians are equally skilled, and if you're looking for solid musicianship on a melodic heavy metal album, Dangerous Diamonds is definitely a good place to turn. Unfortunately, I'm not quite as impressed by the compositions as I am by the delivery, and the majority of Dangerous Diamonds strikes me as "melodic heavy metal-by-numbers" more than anything else. Though there are plenty of solid riffs and great solos, Mastercastle makes little effort to really stand out from the crowd. Dangerous Diamonds delivers plenty of goods, but it sounds too unadventurous and "safe" to really grab my attention.

With that said, Mastercastle still dishes out enough melodic hooks, memorable choruses, and excellent guitar solos to satisfy most fans of melodic heavy metal. Though Dangerous Diamonds lacks enough memorability to leave a truly lasting impression on the listener, it's a highly professional release from nearly every aspect. I'd say 3 stars are deserved in this case. Mastercastle will need to develop a more unique sound if they want to stand out in the crowded melodic metal market, but for what it is, Dangerous Diamonds is a competent slice of modern metal.

J-Man Soulside Journey shows the black metal pioneers Darkthrone in a different light than many casual listeners are familiar with. Before they went on to embrace lo-fi productions, fast tremolo picking, and corpse paint, the band actually sported a death metal sound that was heavily influenced by the Swedish scene at the time. Soulside Journey is an old school death metal album through and through, and any resemblance to Darkthrone's later works is nonexistent - the sound here contains the fat riffs, brutal production, and creepy atmospheres of many Scandinavian death metal bands at the time, but Darkthrone put their own spin on the genre to set them apart from the rest. While fans of the band's later output may have a tough time enjoying Soulside Journey, I think this is an absolutely stunning debut and one of the best death metal releases from the golden year of 1991.

The style of death metal that Darkthrone embraces on Soulside Journey is clearly Scandinavian, but it also doesn't sound like any other single band - the mildly technical, often cold and even occasionally progressive death metal here is distinctly Darkthrone's own, and I can only imagine what would've happened if the band decided to pursue this style on future releases. The band manages to achieve a cold and brutal sound with high levels of success, and the occasional keyboard flourishes help further accentuate the strange atmosphere of the album. Every song on Soulside Journey is also well-composed and memorable; each track contains plenty of killer riffs, and Darkthrone seems to have a very knowledgeable grasp on when to switch riffs and move on to the next section.

While later Darkthrone albums pride themselves on rather sloppy musicianship and lo-fi productions, neither of those are even remotely the case on Soulside Journey. I'm actually stunned by how accomplished the musicianship is here - just listen to Fenriz's killer drumming! The unit is as tight as can be, and Darkthrone consistently dishes out technical licks with an impressive amount of finesse. The fat and brutal production does have a rather raw sensibility, but every instrument is still clearly audible and powerful - this is exactly how all death metal albums should sound!

All in all, Soulside Journey is a pretty great debut from Darkthrone, and I can only imagine what would've happened if the band continued to go down the path established by this album. I'm assuming they still would've ended up being quite successful considering how excellent Soulside Journey is, but it looks like we'll never know. As it currently stands, Soulside Journey is an essential purchase for anyone interested in Scandinavian death metal, and I'd say 4 stars are very well-deserved in this case.

J-Man 1994 was an amazing year for black metal, with seminal classics from acts like Emperor, Burzum, Mayhem, and Darkthrone - to name but a few - making a major impact on the genre for years to come. With so many big releases coming from Norway during this year, naturally a few gems have been forgotten with the sands of time. Svartalvheim, the debut album from melodic black metal outfit Ancient, is one release that has become a bit overlooked by black metal fans over the years - whether or not that's intentional is something I'm not sure of. A lot of black metal fans like to poke fun at the cheesy and gimmicky gothic style on the later releases from Ancient, so they may have dismissed this debut as something of that nature - a big mistake on their part. Though the band later moved away from anything resembling old school black metal, the primitive spirit of the genre is embraced (minus a few twists) throughout the majority of Svartalvheim. An original and captivating debut indeed, Ancient definitely got off on the right foot with this solid effort.

The music you'll find on Svartalvheim clearly has a strong influence from acts like Burzum, Darkthrone, and Mayhem, with its fast tremolo guitar picking and blast beats immediately instilling in the listener that this is not an easy listening experience. Though I wouldn't venture to say that Svartalvheim is terribly unique, it does have an identity of its own - not necessarily in its black metal portions, which are (admittedly) fairly standard, but more in its ability to incorporate folky acoustics, atmospheric keyboards, and even church organ into the mix. The heavier portions are still interesting enough, but they fail at creating the cold atmosphere that I long to hear in a black metal record. It's really the non-metallic sections that grab my attention most. Though I wouldn't call Svartalvheim a particularly progressive album, the band does hint in that direction quite often. "Paa Evig Vandrig" especially shows the band at their most progressive and experimental. This nine-minute long track sports an extremely epic, almost viking-like atmosphere that's aided by lovely acoustic guitars, keyboards (even an extended church organ section!), and creepy whispered vocals. An absolutely splendid track, for sure. You'll find plenty of other goodies throughout Svartalvheim, especially towards the second half, but it's always this one that leaves me with goosebumps.

While a good amount of the album is fairly average and the production is a bit dry at times, there are more than enough jaw-dropping moments throughout Svartalvheim to justify a purchase for anyone interested in black metal. This duo entered the scene with a great debut, and while I'm not yet well-versed in the rest of Ancient's discography, this album has certainly piqued my interest. I'd say 3.5 stars are well-deserved for this impressive, but not flawless, debut offering.

J-Man Beginning as a one-man project from Aphazel in 1992, Ancient quickly turned into a two-piece by adding Grimm to the lineup on vocals and drums for the release of this early 1993 demo. Like many black metal acts from the time, the band made their first statement in the form of a lo-fi cassette demo that can be perceived more as a medium of jotting down their ideas than creating anything worth listening to. While there are a number of early black metal demos worth hearing, Eerily Howling Winds unfortunately suffers from an unlistenable sound quality and a derivative stylistic approach. Ancient would improve greatly for the release of the following year's Svartalvheim both in terms of originality and quality of production/musicianship. This one is only for the die-hard fans.

Musically, we're dealing with fairly standard second-wave black metal, albeit with little dependence on blast beats and furious tremolo picking. It's clear that the works of Bathory, Burzum, and Darkthrone had quite an impact on Ancient, and Eerily Howling Winds has just about everything you'd expect from a Norwegian black metal demo from this time period. There are actually quite a few interesting ideas and riffs scattered throughout the demo's 16-minute duration, but they're so obscured by a muddy production that the end result is hardly listenable. A bit of a shame, especially considering the atmospheric potential of a track like "Det Glemte Riket". Thankfully it, along with the rest of the demo, would see better recordings in the coming years.

While you'll find a handful of interesting ideas throughout Eerily Howling Winds, the fact that the production more closely resembles the sound of a vacuum cleaner than anything musical means this is a fan-item only. This is best avoided, and 1 star is the only fair rating in this case. If you're curious, I'd recommend hearing re-recorded versions of the tracks here instead - this demo is hardly worth your attention.

J-Man Not too long after the release of their debut demo, Darkthrone released another cassette demo in the form of a short, ten-minute long release entitled A New Dimension. While both are undoubtedly marred by terrible productions, there are a few notable differences between the band's first two efforts, especially the fact that this demo is entirely instrumental. With the problematic vocal effects found on Land of Frost now gone, it seems like Darkthrone has finally honed in on a few key issues with their debut, resulting in a demo that is a huge improvement over the previous one. A New Dimension is severely flawed and only recommended to die-hard Darkthrone fanatics, but this shows much more promise than their entirely dispensable effort from earlier in 1988.

Apart from the 47 introductory piece, this demo consists of only one instrumental track. There are plenty of solid riffs found throughout “Snowfall”, and it seems like the band have improved their songwriting skills quite a bit over the previous few months. The transitions between sections are rather disjointed, but there are enough good ideas here to keep boredom from ever settling in. My biggest gripe with A New Dimension is ultimately the terrible production, which (if you're listening through headphones) tends to drift from one side to the other without any rhyme or reason. Though I would say the production here is a slight improvement over Land of Frost, it's still far from competent.

A New Dimension isn't a particularly captivating listening experience, but it's a decent little curio that fans of Darkthrone may find mildly interesting. Though they still had quite a bit of work to do, it's clear that these guys were headed down the right path. Those interested in how Darkthrone progressed in the earliest portion of their career may want to lend an ear to this short demo, but keep in mind that this is virtually disposable for everyone else. I'd say 2 stars seems pretty fair.

J-Man After changing their name from Black Death to Darkthrone in late 1987, these Norwegian extreme metal legends quickly released this cassette demo in February of 1988. Land of Frost is one of those late eighties' extreme metal demos that prides itself with a lo-fi recording quality, utterly intolerable mix, and underdeveloped compositions - hearing this demo from a listener's perspective gives the impression that it was more of a way to for Darkthrone to jot down some of their ideas than to create an actually enjoyable listening experience. Land of Frost is only for the die-hard Darkthrone fanbase, and is nearly guaranteed to be a miserable experience for everyone else.

Darkthrone is best known as a black metal band, but their first album (Soulside Journey) is actually a terrific Scandinavian death metal release. As one would probably expect considering the band's musical progression, this early demo release is more of a death metal one than a black metal ditto, in spite of its horrendous production and raw aesthetics. The fat doom/death riffs are there along with the growling vocals, but they are so obscured by the lo-fi sound quality that it's nearly impossible to tell what's going on. The vocals are also marred by a strange echoing quality that make the demo even more unlistenable - factor in the sloppy musicianship, and it's fairly easy to reach the conclusion that Land of Frost isn't the most successful demo release out there.

Though there are a few interesting ideas contained throughout this demo tape, they are so poorly presented that it's difficult to get too excited about Land of Frost. As a medium for Darkthrone to quickly record their musical ideas at this time, this is a decent release - as a redeeming listening experience, it's totally unnecessary. This is for the collectors and die-hard fans only, and 1 star is the most I can give in this case. Thankfully Darkthrone would demonstrate in 1991 that they do actually know how to create amazing death metal music.

J-Man Though deathcore is admittedly not one of my favorite genres, American flag-bearers Born of Osiris have been one of my favorite discoveries this year. Their progressive and technical take on this now-tired mix of death metal and metalcore is refreshing, and their gifted capabilities as songwriters and musicians makes them even more noteworthy in my book. Looking back on The New Reign (their first EP under the band name Born of Osiris) from today's lenses shows that they didn't start out as an eye-opening act, however - while the band's distinct sound is somewhat in place, it's much more immature and disjointed than any of their future efforts. The New Reign is a fairly mediocre effort that relies far too heavily on conventional deathcore techniques for my liking, and when it does deviate from this well-trodden formula, the results are hit and miss.

The music you'll find on The New Reign is best described as deathcore with quite a few technical and melodic twists. There are lots of technical nuances in the compositions, especially in the guitar department, and the synthesizer flavorings give Born of Osiris a few unique assets aside from your standard 'chug-chug-breakdown' deathcore album. While this is definitely a positive in my book, Born of Osiris was still far from perfecting their sound on this EP - the synthesizer tones sound cheap and fake, and they tend to awkwardly dance above the rest of the tech-metal madness with no rhyme or reason. To further add to this, the songs themselves often jump from one section to another without any warning; in short, this is an extremely incoherent and jagged release from a compositional standpoint. The musicianship is undoubtedly excellent, with the lightning-fast guitar leads and complex drum patterns often leaving me in amazement, but the songs are just so disjointed that it's difficult to get too excited about The New Reign.

It's also worth noting that the production is not quite up to par either, with the dry and rather muddy sound often detracting from my overall enjoyment. All in all, The New Reign is not an EP I enjoy very much, but there are still plenty of ambitious ideas throughout its duration to save it from being considered a poor effort. I wouldn't recommend this to anyone except those who can't get enough of Born of Osiris, so I guess 2.5 is a pretty fair score. Time would prove that these lads would improve immensely over this disjointed debut within the next few years.

J-Man Led Zeppelin's 1969 debut still stands today as one of the most iconic rock albums from its era. Everything from the instantly recognizable cover art to the groundbreaking music contained within the album has become a staple in heavy rock culture, and calling this debut anything short of 'revolutionary' would probably be an understatement. Led Zeppelin began their musical journey with a very firm foot in the well-trodden soil blues rock, but with a level of unbridled heaviness that was quite unique when it was released in January of 1969. While I wouldn't call Led Zeppelin a flawless masterpiece, it is a very impressive and downright essential debut from England's most famous hard rock act.

Many of the chord progressions, lyrical themes, and song structures can easily be traced back to blues rock, but Led Zeppelin had quite a bit more to offer than just that with their debut. The beautiful acoustic guitars in "Babe, I'm Gonna Leave You", stunningly heavy riffs in "Dazed and Confused" (easily the highlight of the album), folk-influenced sound of "Black Mountain Side", and straightforward hard rock of "Communication Breakdown" immediately set Led Zeppelin apart from your average blues rock group - as a matter of fact, this album was nothing short of groundbreaking when one considers the musical climate in which it was released. The more straightforward blues tracks ("You Shook Me" and "I Can't Quit You Baby") don't exactly appeal to my liking very much, but there are plenty of redeemable qualities in both, especially Robert Plant's soulful vocals and Jimmy Page's blinding fretwork.

All four musicians here deliver fantastic performances individually, and collectively they shine even brighter. The chemistry between these extremely gifted musicians is unignorable, and the mix of Jimmy Page's fantastic guitar leads, John Bonham's pounding drum fills, Robert Plant's dynamic vocals, and John Paul Jones' clever basslines and occasional organ sections makes for an album of sheer musical bliss. The production is pretty raw and organic, and I think this sound suits the band's heavy rock style perfectly.

I'm pretty sure that anyone reading this review has heard Led Zeppelin's debut somewhere down the line, but if you haven't, it's obviously an essential purchase for anyone interested in the origins of heavy rock music. Though I don't adore the entire album as much as some other listeners, this is still an ambitious and, more times than not, highly successful effort from these legendary rockers. 4 stars are the least I can give to this excellent and seminal classic. Led Zeppelin got off to a spectacular start, and time would show that they would improve even more over the coming years.

J-Man Lydian Sea is a melodic progressive metal band from Chicago, Illinois that has unfortunately slipped under the radar by most fans of the genre. A bit of a shame actually, since their sound on this self-titled debut album should be right up the alley of prog metal purists. Lydian Sea displays a strong influence from the likes of Fates Warning and Queensrÿche on this debut, and while this is certainly not a unique release by any stretch of the imagination, it's a competent enough debut from these American lads. While I am not yet familiar with the Lydian Sea's later releases to see if they've gained a more original approach over time, this is a good album with an abundance of catchy hooks, intricate musicianship, and memorable choruses.

The music on Lydian Sea is best described as a cross between Fates Warning, Queensrÿche, and Dream Theater, but I'd say the album most heavily relies on the intricate melodic heavy metal formula of Fates Warning's Parallels. Most of the songs here are rather straightforward and chorus-based, yet the intricate musicianship keeps it from ever sounding quite like a standard melodic metal album. While there are plenty of catchy choruses and impressive instrumental showcases on Lydian Sea, my biggest gripe is that it hardly brings anything to the table that hasn't been done dozens of times before. This is a very 'safe' release that does little to establish Lydian Sea from your average twenty-first century progressive metal act with little more to offer than what Fates Warning did back in 1991. The production isn't too great either, and the sound is a bit too muddy for my tastes. While certainly not horrible, the production does come across as a bit amateurish to these ears. Thankfully, the songwriting is generally pretty solid, and the nine-minute "Infinite Journey" is actually an excellent composition to these ears.

This can best be described as a promising debut, but not a whole lot more than that. Lydian Sea established themselves as competent musicians and capable songwriters without much to offer in the creativity department - listening to future albums will determine whether or not the band gained their own identity later on in their career. As far as this album is concerned, it's a decent but entirely non-essential debut that's only recommended to fans of the band and forgotten melodic progressive metal releases. This is average in nearly every sense of the word, so 2.5 - 3 stars would be a pretty appropriate score. While my reaction has been rather lukewarm, I am curious to hear what Lydian Sea has to offer on future efforts.

J-Man For those only familiar with what Opeth would release from My Arms, Your Hearse forward, the first two albums from these progressive death metal juggernauts should come as a bit of a shock. Orchid is the debut album from these Swedish lads, and instead of hearing the trademark mix of seventies' progressive rock and death metal that made them famous, this observation instead shows the band in their musical infancy - while not an immature or unfocused effort by any means, Orchid shows Opeth without the precision and sense of direction that characterized their future masterpieces. This album has more of a black metal influence than any future Opeth albums, and the leanings into jazz and progressive rock territory aren't found too frequently here. While the extremely long compositions are somewhat progressive by nature, most of Orchid's progressive qualities are due to its blend of melodic black metal, death metal, doom metal, and folk music, which (at the time) was quite unique. This is probably my least favorite Opeth album, but it's a very solid entrance into the scene nonetheless.

Aside from two short instrumentals, all of the songs on Orchid are well over nine minutes long; you could definitely say that this is a tough nut to crack if you don't give it your full and undivided attention. I've been listening to this album on and off for quite a bit of time, though, so I have given it plenty of time to grow over the past two years or so. Even though Orchid has a few flaws which I will address shortly, I do have a pretty great time whenever I take it out for a spin - while they aren't particularly concise or cohesive, it's clear that Åkerfeldt and company had plenty of great ideas on this debut, even if the compositions tend to be a bit too sporadic for my tastes. Most of the musical fragments that make up Orchid are individually spectacular, but the transitions between sections are something Opeth would perfect over the course of the next few albums. For songs this long, most of them seem to lack any sort of unifying theme or cohesive structure to latch onto. Most of them kind of just 'happen', and while I do enjoy listening to the album a great deal, it lacks the dynamic power and compositional prowess that makes Opeth such a terrific band. There are notable exceptions ("The Twilight Is My Robe" is one that comes to mind), but the transitions tend to make this a somewhat incoherent release, especially from a band who would later on compose some of the finest musical masterpieces ever penned.

Though Opeth could've still improved as composers at this point in time, they were very accomplished musicians from day one. The fantastic use of acoustic guitars, fast paced metal sections, and melancholic folky parts shows the diversity and talent of these young musicians, and the guitar section has always impressed me here. The twin lead solos are truly spectacular, and I think that (although Opeth would later endure many lineup changes) they were well-rounded players from the very beginning. Unfortunately, the production (courtesy of none other than the legendary Dan Swanö) could have used a bit of work - though the man is undoubtedly a spectacular producer, the sound on Orchid is a bit thin and powerless. Everything's certainly audible, but it doesn't pack any sort of dynamic punch that I would've liked to see.

While I am a bit dissatisfied by the production and generally weak transitions on Orchid, this is still a promising and rather impressive debut from Opeth. Many better things were to come, but it is here that the band began to plant the seed for their unique brand of progressive melodic death metal. And, while the sections joining these sections could've been more fluid, there are still plenty of memorable moments throughout Orchid. This is probably the last Opeth album I'd recommend purchasing, but that's not saying much when you have a discography as spectacular as theirs. 3.5 stars are deserved for this promising and original debut.

J-Man Looking back on Bathory's debut from today's perspective, it's almost difficult to believe that such an album was released in 1984. With just under 27 minutes of lo-fi, fast-paced metal riffage, Quorthon and company truly paved the way for the upcoming second wave of black metal with this groundbreaking debut. Everything from the vehemently anti-Christian lyrics to the intentionally terrible sound of the production would later become a staple in black metal's future, and I'd even venture to call Bathory the first full-blown black metal album. Although it contains a strong influence from thrash and speed metal, there are enough defining black metal characteristics to make it worthy of that title. Bathory is a very flawed album in my eyes, and I do think Quorthon would make better music later on, but this is still a landmark of extreme metal and an essential purchase for those interested in black metal.

Since I wasn't even born yet when this was released, the only way I can listen to the album is in retrospect. Having already been familiar with many second-wave black metal bands when I first listened to Bathory, I already had the advantage of understanding the impact this release would have on future black metal releases. The lo-fi production, raspy vocals, buzzing guitar tones, fast riffs, and sinister lyrics are all here, and this can probably be considered one of the most influential albums in extreme metal. It's clear right from the beginning that this is a highly ambitious, but (at least in my opinion) imperfect, observation - while the buzzing guitar riffs and savage production are an interesting gimmick, there aren't a whole lot of particularly captivating musical ideas throughout the album's short duration. There are some memorable riffs scattered throughout the 27 minute duration, but that still isn't quite enough to grab my attention. Compositionally, this strikes me as a rather shallow release, and while I won't be one to deny Bathory's historical impact, it is a rather flawed effort in my eyes.

Even though you'll have a tough time finding too many black metal albums more important than this one, it's never been one of my favorites. Quorthon would improve as a songwriter over the next few years, and I think those curious about Bathory can definitely find better than this. A confident, original, and groundbreaking debut without doubt, but not the most satisfying as far as I'm concerned. The songwriting is a bit underdeveloped and the production lacks any sort of definition, though the unique ambition still shines through on this effort. 2.5 - 3 stars are deserved for this original, albeit severely flawed, debut.

J-Man As decent as Fates Warning's debut album was, it honestly wasn't much more than a glorified (albeit very good) Iron Maiden clone. Their second album, The Spectre Within, is where they really began to gain their unique voice in the heavy metal world. While still not nearly as influenced by progressive rock as some of their later offerings, this is one of the most progressively inclined metal albums in you'll find in 1985. The Spectre Within is a perfect example of Maiden-inspired heavy metal that's still unique and, at the time, pretty groundbreaking. This will probably appeal more to traditional metal fans than prog metal fans simply because most of the album is riff-based heavy metal, but there's no denying that this is an essential document of early progressive metal. And a pretty damn good one, too.

The Spectre Within is one of those albums that just contains so many kick-ass riffs, amazing vocals (courtesy of none other than the spectacular John Arch), and legendary guitar solos that it's hard not to bang your head like a madman the entire way through. This is a really fun album from beginning to end, and all of the more straightforward tracks are simply fantastic traditional heavy metal songs. I just can't imagine any metalhead not having a blast with songs like "Without a Trace", "Pirates of the Underground", and "The Apparition". "Traveler In Time" and especially the epic "Epitaph" are both some of the earliest examples of progressive metal as we now know it, so those curious about the history and evolution of prog metal are bound to love these as well. When all is said and done, I have a great time with all of The Spectre Within; being a massive fan of both traditional heavy metal and progressive metal, an album like this is right up my alley.

While the musicianship was pretty impressive on the previous Fates Warning album, it seems like they've tightened up even more for The Spectre Within. Jim Matheos and Victor Arduini deliver plenty of blistering leads and impressive riffs throughout the album; some of the twin guitar attacks found here are simply spectacular. But, of course, like all of the early Fates Warning albums, most eyes will probably be on John Arch and his fantastic vocals. To put it mildly, he's one of the most skillful metal singers ever, and that's ever so apparent on The Spectre Within. Just listen to his vocal acrobatics on "Kyrie Eleison" (or the rest of the album, come to think of it), and you'll know exactly what I mean. The production may be a bit too muddy for some listeners, but it hardly ever gets in the way of my enjoyment. Though I wish the drums sounded a bit cleaner, this is far from a horrendous production, especially for a mid-eighties' heavy metal album.

Fates Warning may have released better albums later in their career, but The Spectre Within is still a fantastic observation and a downright essential example of early progressive metal. This is when the band's true ambition began to shine through, and the end result is nothing but a success. 4 stars are the least I can give to this groundbreaking classic. Anyone who is curious about the early history of progressive metal and hasn't heard this (if there are any such people, that is), The Spectre Within is recommendable in a heartbeat.

J-Man This self-titled debut from Burzum is typically overshadowed by some of Varg's later classics like Hvis Lyset Tar Oss and Filosofem, but in reality this is a fairly solid entrance from one of black metal's most pivotal figures. Varg Vikernes and his one-man-band established their unique style on this debut, although it's much more rough around the edges and underdeveloped than what newer fans may expect. Whereas many later Burzum albums have an extensive influence from dark ambient that would later pave the way for depressive black metal, this humble debut is much more of a raw, unpolished, and basic representation of early nineties' black metal. It's clear that Vikernes had not yet entirely gotten a knack for the haunting and mystical songwriting that characterizes his later releases, and while this is still a pretty original album by 1992's standards, it stands inferior to what Burzum is capable of, as well as what black metal at large is capable of. It's a somewhat original and, in many regards, classic debut, but it's not one that I'll listen to all too often.

While this is a bit different from later Burzum albums, you still have a large amount of the mid-tempo and depressing riffs that made Burzum stand out from many other black metal acts. They're a lot more sparingly used, though, and the dark ambient influences here are kept to a few fairly brief synthesizer or sound effect interludes. A few other unexpected influences creep in, though, and the straight up thrash tune “War” surprised me a great deal the first time I heard it. While most of this album is certainly competent, and often times even above average, it simply lacks the torturous and helplessly bleak atmosphere that I look for when putting on a Burzum album.

So even though Burzum is a somewhat original album in terms of black metal in 1992, it misses the mark when it comes to creating the bleak imagery I hope to experience when putting on such an album. The songwriting simply feels too inconsistent and gimmicky for my tastes, often failing to leave a lasting impression even though I do enjoy the album while it's on. A decent effort from Varg Vikernes, no doubt, but it's certainly not one of the first albums I'd recommend hearing from black metal's most notorious figure. I'd say a middle-of-the-road 3 stars are deserved for this very middle-of-the-road debut. Better things were to come.

J-Man The legendary debut from American death metal Deicide still stands today as one of the genre's most defining and seminal releases. Containing a level of brutality that few death metal albums had previously accomplished, as well as some of the most vehemently anti-Christian words ever penned, this 1990 classic is one of the crowning achievements in early death metal. A brutal, sinister, and blasphemous journey indeed, Deicide is also a surprisingly memorable release. All of the songs here are, in spite of being insanely brutal and dense, instantly recognizable - throughout this rather short album you'll find some of the most memorable and powerful riffs in all of death metal. While it can be a bit too one-dimensional at times, Deicide is a classic and (for my money) one of the best American old school death metal albums.

For anyone with any knowledge of the raw, blasphemous, and semi-technical style of American old school death metal, it's immediately clear that Deicide is the absolute epitome of this sound. On this album you've got the fat guitar riffs, fast-paced rhythm section, and rather technical compositions, as well as some of the most evil, anti-Christian, and Satanic lyrics you'll ever read. Glen Benton's tepid lyrical formula got old on a few later Deicide albums, but here his hatred and anger shines through in a way that can only be described as pure brilliance. His unique and insanely gifted vocal techniques which often combine deep guttural growls with high-pitched shrieks sound like a demon straight from hell - I can't think of a more fitting vocal style for lyrics like this. Despite this being only their debut, the other musicians are also exceptionally tight and precise; these guys were gifted musicians and songwriters right from the get-go. Right from the opening lick in “Lunatic of God's Creation” to the cryptic ending of “Crucifixation”, the listener is blown away by highly memorable and insanely brutal death metal madness. Certainly not a journey worth taking for the faint of heart (or, much less so, the religious fellow), Deicide is an angry and irresistible listen if you're in the mood for such an album. Factor in the beefy production from none other than Scott Burns and it looks like we've got a classic on our hands.

Deicide is one of the most important extreme metal releases of 1990, but my praise for the album doesn't stop there. In addition to being an essential classic based on historical merit, this is a damn good record from start to finish, filled to the brim with memorable riffs, passionately pissed off vocals, and some of the most mosh-inducing sections in all of metal. I don't love all of Deicide's later outings, but this debut is a fresh, original, and astonishing sentiment of old school death metal. 4 stars (or pentagrams) are well-deserved for this highly recommendable classic.

J-Man The first thing that grabbed my attention about Crépuscule d'Octobre was, surprisingly enough, the excellent cover art. One look at this beautiful naturalistic photograph with its elegantly simple font and I was immediately intrigued - the music contained within this Forteresse album isn't terribly different from what you may expect after taking a glance at the cover, either. Raw, organic, and nature-influenced black metal is the best way to describe the music here, and Forteresse clearly aims to create brutally hypnotic atmospheres in the form of long and extended compositions with this effort. I have a tough time imagining any black metal fan who hasn't heard dozens of albums similar to this one, but there are more than enough redeeming qualities to allow me to consider this a successful observation.

Although the first two minutes or so of Crépuscule d'Octobre are dominated by atmospheric synthesizers, almost the entire rest of the album consists of tremolo-picked riffing, raw black metal aesthetics, and hypnotic drum patterns. You'll find lots of blast beats and dense walls of sound throughout this 45-minute album, but there's always a striking sense of melody in the guitar playing, even if it isn't always immediately noticeable. This, parred with the generally mid-to-fast paced tempos, makes Crépuscule d'Octobre a pretty intriguing listen from time to time, even if I do occasionally find my mind wandering throughout the album. The melodies do tend to blend into each other, and even after repeated listens, only a few stand out as particularly remarkable.

Crépuscule d'Octobre is not a flawless album due to its fairly standard approach and lack of distinction between tracks, but it has sparked my interest in investigating Forteresse a little bit further. While it may not exactly make my blood boil, this is a very good album and should undoubtedly appeal to fans of old school black metal of the more atmospheric variant. 3 stars are pretty fair in this case.

J-Man Tsjuder is one of the unfortunately lesser-known bands in the second wave of Norwegian black metal, but they have gained quite a cult following since their formation back in 1993. Having previously released three studio albums and a number of EP's and demos, Tsjuder seemed to be on quite a roll until they disbanded in 2006. With the future of the band uncertain, they thankfully soon reformed in 2010 and began working on Legion Helvete as their comeback album. As expected, the music you'll find on Legion Helvete is just about as dark, evil, and cold as old school black metal comes, and fans of the genre are bound to be impressed by Tsjuder's latest offering. While it's nothing new for the experienced black metal listener, Legion Helvete is still worth a purchase for fans of the band.

Legion Helvete sounds a lot like the early black metal pioneers who took extreme thrash metal and added a few extra doses of evil. Bathory certainly wouldn't be a bad point of reference here, and the blackened thrash style just shines through on tracks like "Slakt". The music is just about as raw and evil as black metal comes, and there aren't any atmospheric tendencies or any of that on Legion Helvete - this is balls to the wall black metal, and fans of that style are bound to have a blast while listening to this album. I find Legion Helvete a bit too one-dimensional at times, and even though there are some great songs here, my mind wanders occasionally about halfway through. A little bit more variation would've been key to increasing my enjoyment - but, then again, that would probably defeat the purpose of what Tsjuder was aiming to do with this album.

Even though not all of Legion Helvete leaves me head over heels, this is still a pretty great effort from Tsjuder and I've had a pleasure listening to it recently. If you like primitive old school black metal, but with a few interesting changes and complexities in each song, you're bound to enjoy this observation quite a bit. The musicianship is great across the board, the raw production suits the music perfectly, and most of the album is a great example of cold and sinister black metal done right - I'd call that a successful effort for sure! 3.5 stars are very well-deserved, and I'll be curious to hear what Tsjuder offers us in the coming years.

J-Man Fear, Emptiness, Despair is often regarded as one of the stranger albums in Napalm Death's discography, largely due to its groove-based riffing, dense soundscapes, and experimental song structures. While still keeping a firm foundation in their established deathgrind sound, these UK extreme metal legends updated their style with this effort to keep up with the ever-changing death metal scene - the result is an album that's both rather unique and still mind-numbingly brutal. Fear, Emptiness, Despair is a really difficult album to dive into, and I wouldn't recommend it for the Napalm Death newbie, but it's still a great purchase for fans of the band and forward-thinking extreme metal in general.

Musically, you'll find lots of challenging and dense extreme metal on Fear, Emptiness, Despair. The root sound is a mix of brutal death metal and grindcore, but some groove metal has also snuck into the mix. The riffs have an odd, almost avant-garde, tinge to them, and the end result is a pretty unique death metal album that still never strays away too far from the genre's root sound. Behind all of the dense and impenetrable madness, you'll find hints of dark and twisted melodies that subconsciously manage to make each of the tracks memorable. You'll find lots of killer tunes on Fear, Emptiness, Despair, particularly in the form of “Hung”, “Plague Rages”, “State of Mind” and “More Than Meets the Eye” - to be fair, though, the whole album is so blisteringly brutal and captivating that it can be a challenge to pick out highlights. At just under 40 minutes, this album is a prime example of an 'all killer, no filler' extreme metal release.

The musicianship is absolutely stunning throughout all of Fear, Emptiness, Despair. Mark 'Barney' Greenway's trademark growls are as powerful as ever, Danny Herrera's drumming is absolutely monstrous, and the rest of the band is as tight as ever. The technically demanding compositions have no room for sloppiness, and the sheer precision of the band can make this album a blast to listen to. As muddy and raw as the production is, I happen to think that this sound helps emphasize the dense soundscapes that Napalm Death creates here. An acquired taste no doubt, but it's one that I've definitely acquired.

Fear, Emptiness, Despair has been a tough nut to crack for me, and I remember first listening to the album around two years ago to a rather lukewarm reaction. For some reason or another, it just didn't click with me, and I put the CD back on the shelf without ever really listening to it again. Times have changed, though, and this has since grown to become one of my favorite mid-nineties' death metal releases. The dense and twisted nature of the music can make this a difficult record to appreciate for Napalm Death newbies (this was the first Napalm Death release I'd ever heard), but it's an essential purchase for any fan of the band. This is a great (and somewhat classic) album in my opinion, and as such deserves 4 stars. Highly recommended to anyone who enjoys brutal death metal and grindcore!

J-Man Sweden is known for its massive progressive metal scene, and one of the bigger names in this scene is Andromeda. In spite of this, Manifest Tyranny (their fifth full-length album) is my first acquaintance with their music, so I can't (yet) compare this with their earlier efforts. What we have here is a fairly unique brand of melodic progressive metal that, while still borrowing heavily from bands like Dream Theater, Pain of Salvation, and Evergrey, sounds pretty original. Manifest Tyranny is an impressive modern prog metal release, and while I can't say it's a shining success from every angle, there are enough positive traits to outweigh any detriments.

Musically, I'd say that Manifest Tyranny is best described as melodic progressive metal, but with a more raw and heavy edge. While still quite complex, there are lots of crushing guitar riffs throughout the album, and the raw production further exemplifies the heavy edge that Andromeda favors on this release. While far from revolutionary, Manifest Tyranny does not sound like any other band; Andromeda has their own sound, and deserves to be applauded for this. The lyrics dealing with political stigma, corruption in government, and war are also pretty interesting, and I love the way the band is able to incorporate this relevant message into their songs using voiceovers and sound samples. My biggest gripe with Manifest Tyranny is that there aren't a whole lot of great tracks, and even though the whole album is good, it seldom reaches a level of excellence. I'd say "Asylum" and "Go Back to Sleep" are both great tracks, but the rest of Manifest Tyranny seldom exceeds the 'average' mark. A few more impressive compositions would've really done the album wonders - after all, the musicians playing the songs are extremely precise throughout the full 64 minute duration.

Even though I wish Manifest Tyranny were a bit shorter and had a few more great songs, this is still a fairly easy recommendation for modern prog metal enthusiasts. If you're in search of original and lyrically relevant progressive metal with top-notch musicianship and classy melodies, you're bound to be impressed by what Andromeda offers on this observation. 3.5 stars are deserved, and I can safely say that I'll be checking out more albums from these Swedish lads in the future.

J-Man When it comes to grindcore, you'll have a pretty difficult time finding any album more significant than Napalm Death's legendary 1987 debut. Scum is not only considered to be grindcore's first groundbreaking release, but it has also spawned literally hundreds of copycats over the years; one could even argue that this is grindcore's genre-defining album. Scum is raw, filthy, and unpolished grindcore in its most pure and simple form - after giving this debut even one listen, it's not difficult to understand why Scum is so significant in grindcore circles, especially considering its 1987 release date. From a purely historical point of view, Scum is an album that should be in the collection of every metal fan, simply because its significance alone is enough to label it 'essential'. Unfortunately, when it boils down to the sheer quality of the music, Scum fails to live up to expectations. An interesting and important release for sure, yet I can't help but think that Scum has been outdone numerous times throughout grindcore's history.

Scum is the absolute definition of what the earliest examples of grindcore sound like. There's a firm root in hardcore punk's fast paced riffs and rough production qualities, but there's also lots of blast beats and extreme thrash-styled riffs. Hence, this marriage of hardcore punk and metal was born and named 'grindcore'. All of the songs here are also very brief (which would later become a common characteristic of grindcore), focusing more on unleashing a furious burst of anger than delivering any thought-provoking compositions. The (probably intentionally) terrible production and sloppy musicianship can make this undecipherable wall of anger and noise very difficult to appreciate, and even though I do love the energetic sound that Napalm Death shows on this debut, the music is honestly pretty poor.

This is one of those cases where, in spite of its infinite praise and legendary status, I have to say that I fail to see what's so great about this classic album. Scum is ultimately important because of its ambitious and innovative attitude, but it's a pretty shallow release when it comes to songwriting, musicianship, and production. Still, it's hard to deny the influence and significance this release has, so 2 stars seems pretty fair in this case. Napalm Death would go on to do plenty of better things, though, so I'd recommend starting later in their discography if you're curious about these English metalheads.

One interesting sidenote about Scum is the fact that the lineups of side one and side two of the original vinyl are entirely different, aside from drummer Mick Harris. It's really interesting to hear such radically different lineups on the same album, and it's actually surprising how similar both of these Napalm Death casts sound. Aside from Lee Dorian's slightly more varied vocal approach (Nik Napalm's vocals can best be described as one-dimensional shouting) and a few slight differences in production style, both portions of Scum do sound like they're from the same lineup.

J-Man If heavy, relentless, and ass-kicking thrash metal is your preferred poison, you're probably familiar with American act Toxic Holocaust. Since its formation in 1999, this thrash outfit has evolved from Joel Grind's one-man band to a trio of full-time members. Conjure and Command, the fourth full-length effort from Toxic Holocaust, is also their first album with the lineup of Joel Grind (vocals and guitars), Nikki Bellmore (drums), and Phil Gnaast (bass). While not a terribly unique and memorable observation, Conjure and Command is an impressive slab of relentless thrash metal that should satisfy fans of the genre.

Toxic Holocaust plays a brand of thrash metal that, while still containing a few modern tendencies, relies mainly on the foundation set by the more extreme thrash acts of the eighties'. Expect plenty of furious riffs, pummeling drum patterns, and torturous vocals - this is the sort of album that's just perfect to get your blood pressure up! Conjure and Command is a pretty short album that clocks in at just over 32 minutes, but I personally love how quickly the album ends. A short, fast 'punch in the face' is exactly how a thrash album of this caliber should be packaged - and, thankfully, that's exactly how Conjure and Command is released. The raw production leaves plenty of room for gritty guitar tones and earthy drum sounds, and I personally love the way Conjure and Command is produced.

If we're being honest, Conjure and Command hardly brings anything to the table that any thrash veteran hasn't heard dozens of times before. Still, when the quality of the music is this high, it's hard to imagine a fan of thrash metal not having an absolute blast when giving this one a spin. Toxic Holocaust have crafted an album with enough fury-inducing riffage and angst-filled compositions to satisfy most metalheads, and I can confidently say that I'm glad to have heard Conjure and Command. While not the most unique or essential sentiment of modern thrash metal, this is a pretty great album worthy of 3.5 stars.

J-Man Across Tundras is one of the more unique bands on the modern doom metal scene, and their one-of-a-kind mix of sludgy doom metal, southern rock, and psychedelia has given them recognition throughout their own local Colorado scene, as well as the doom metal community at large. If one could imagine a sixties' Western film with a doom metal soundtrack, Sage is exactly what that would sound like.

There's a distinct Americana vibe throughout the album, and I'd say that's what gives Across Tundras their 'western' sound. Match that with psychedelic experimentation and pummeling doom metal riffage, and it looks like we've got a pretty unique album on our hands! While none of the songs are particularly great, there's enough variation and new ideas to keep me entertained all the way through. Sage also sports a professional production and excellent musicianship; I have no complaints when it comes to discussing how well-made this album is.

Sage is ultimately a pretty fun release from Across Tundras, and the country-styled brand of psychedelic doom metal exemplified on this release is unquestionably their own. My biggest knock is that there aren't really any great tracks here, but it's still a satisfying listen in my mind. I'd say 3 stars are deserved here. People looking for modern doom metal that's anything but Black Sabbath and Candlemass worship are bound to enjoy this one.