Keishiro Maki
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5 reviews/ratings
JUDAS PRIEST - Sad Wings Of Destiny Traditional heavy metal | review permalink
JUDAS PRIEST - Rocka Rolla Hard Rock | review permalink
GADGET - The Great Destroyer Grindcore | review permalink
JUDAS PRIEST - Sin After Sin Traditional heavy metal | review permalink
ANAL CUNT - I Like It When You Die Grindcore | review permalink

Metal Genre Nb. Rated Avg. rating
1 Grindcore 2 3.75
2 Traditional heavy metal 2 4.50
3 Hard Rock 1 4.50

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Album · 1977 · Traditional heavy metal
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"Sin After Sin" is known as JUDAS PRIEST's third full-length album and their first shot in their golden "authentic heavy metal" era, and (at least for me) looks like one of the most 'unfavourable' stuff for every progressive rock fan. The material in this album would have been composed, created mainly by Rob HALFORD (voices) and Glenn TIPTON (guitars), and been produced by Roger GLOVER ... their strong intention for shooting pure heavy metal out into the rock scene could be heard through it, I suppose. On the other hand, their sound-making, engineering and production should be pretty developed, which make us enjoy more and more keener, stricter soundscape.

The opening shot "Sinner" can be called as one of their masterpieces, and one of masterpieces in heavy metal world definitely. Heavy and speedy riffs via powerful guitars and Rob's high-tone voices ... both can be perfectly synchronized and crystallized. A tad theatrical and dramatic voyage round the metallic world is quite impressive. Yes they are powerful voyagers. "Diamonds & Rust", needless to mention here, was composed and originally released in 1975 by Joan BAEZ. The original one by Joan is acoustic and lyrical indeed, but Judas' cover version sounds harder, heavier, clearer, and more sharp-edged. Rob's not launched so high-pitched voices as other songs around in this album or something, but please listen carefully, and we can realize he would sing with less pressure and more pleasure. Forgive my overmention but enough might be only listening to these tracks (no, no, though). A heavy and ardent ballad "Last Rose Of Summer" will stabilize our inner soul. Crying guitar sounds are very cool in "Here Comes The Tears" filling tears in our eyes.

Again mentioned, but cannot understand the reason this album is underrated, and there is no suspicion this should emit crazy well-matured heavy metal flavour. Yay.

JUDAS PRIEST Sad Wings Of Destiny

Album · 1976 · Traditional heavy metal
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"Sad Wings Of Destiny" released in 1976 is JUDAS PRIEST's second full-length album and, as every Judasist or every progressive fan knows, is the most progressive one of all Judas' library. Mysteriously (and as usual lol) I've purchased this stuff as my first Judas' album "because of the sleeve of charm" and got quite surprised at and immersed in their superior dramatic development of a fairy tale.Some points worthy of special mention are, firstly Rob's voices have got more and more active and characteristic (highly pitched voices) all over the album, secondly K. K. Downing's colourful guitar plays full of passion are pretty awesome, and thirdly their composition and storytelling have got drastic, theatrical, and simultaneously dramatic and comprehensive.

"Victim Of Changes" can be called as the central tower upon this creation. Based upon strict rhythms and tight riffs, the combination of K. K.'s crying guitar sounds and Rob's enthusiastic voices should be kinda musical gem. No bombastic phrase nor metallic trace is there but heavy, deep texture can be apparently heard here and there. Rob sings kaleidoscopically ... sometimes powerful and ardent (e.g. in the opening one), sometimes cool and theoretical ("Ripper" etc.), and sometimes quiet, depressive, but lyrical ("Dream Deceiver ~ Deceiver") ... what an amazement. The B-Side is completely a "hard rock suite", but I'm sure everyone LOVES "Epitaph" that should be impressive, and historically important ballad by a Metallic Collective. Actually this sole track should be worth paying admission fee, believe me.

In conclusion, this superb album would exert much influence upon their golden years and albums later, and at the same time, obviously be different from them in a sense of "structural development for progressive rock".


Album · 1974 · Hard Rock
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Look at the mischievous, playful sleeve, and listen carefully to their well-matured stoner rock. JUDAS’ debut album “Rocka Rolla” should be positioned as one of pioneers of stoner rock, and it’s quite surprising that this stuff would get to be a historical cornerstone in 70s rock scene ... even for a debut creation of a British promising rock act. In those days this album got lots of 'negative' reviews which should have made the members sad. It's a pity their non-catchy heavy (not of metal) rock could not be approved by every fan of pop / rock, but let me say this hidden novelty must be re-evaluated and appreciated more and more.

Honest to say their composition is not so novel as their following one "Sad Wings Of Destiny" but we can taste such a monotonous heavy / stoner atmosphere only via this album (lacking of enthusiasm cannot be fit for Rob's falsetto voices though). The first shot "One For The Road" is sorta grand compilation of this whole album. Down-tempo, shoegaze, and depressive anarchism against popular rock for children can be fully heard. In "Run Of The Mill" are Rob's high-tone voices with magnificent passion, not under crying guitar sky but under bluesy stoner clouds. During 40 or more minutes is not any major key nor speedy metallic kick like their golden days. However, their musical attitude at that moment was never blurred. This undoubted identity of theirs should have been called as innovative, I'm sure.

ANAL CUNT I Like It When You Die

Album · 1997 · Grindcore
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What an impression. A masterpiece for me that has broken my traditional values for "rock". A. C.'s third studio album "I Like It When You Die" is kinda killer. At first look at the insane sleeve, and I don't know if you could realize why I purchased this album only "via this sleeve, without knowing them at all (lol)". And next moment an infernal feedback and deep, heavy phrases of Funeral March by Chopin (aka The 3rd Movement of Piano Sonata No. 2, Op. 35) attack us. Seth sings (shouts?) as well too rapidly (smartly?) for us the audience to understand well as words (actually more and more speedier than Napalm Death, such a speed God in the death metal scene). I've attended their gig in Osaka ... about 20 years before (when I was young!) and got completely knocked out by their powerful play and speed itself. And another surprise for me is that all of the three (Seth, Josh, and Nate) play speedily, heavily, deeply, and bombastically. Everyone says this band should be characterized by Seth's quirky voices but sounds like they should be another great heavy slush metal combo, at least for me.

Funny that they always make fun of somebody renowned, or around them (even an ex-member) ... this tendency has been heard especially via the previous album "40 More Reasons To Hate Us" ... not sure this "bad joke" is a kind of ceremony for our pleasure, or their ironic taste for the "sincere" world. Who cares? Why don't we laugh for their fun? "311 Sucks" or "Hootie And The Blowfish" should never betray our expectations really. The first expression reminds us of the artist, and the latter consists just of noisy explosion and violent words as usual. Hey don't look down of the world, the audience, but how interesting their antithesis is. Honest to say this stuff has completely changed my thought. Wondering if everyone could understand me - one of A. C. manias.

GADGET The Great Destroyer

Album · 2016 · Grindcore
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Not only thrash nor grindcore but also a bit melodious and sensitive beneath the dead sea actually. First of all, let me say thanks to Alan Brockway for such a brilliant and fulminant recommendation. My brain has been broken owing to excessive head-banging. Reminds me of my first A. C. experience that completely stroke me. This album (ep?) consists of 17 short (but speedy) tracks and all of them should be unified as a 27-minute suite ... we cannot listen to this stuff with breathing enough eventually.

Bill's drumming is not simply speedy nor precise but enthusiastic and bravery. Every single beat gives us massive pleasure. Through Fred's bass we can get strictly down to the Gadgearth. Completely immersed in intriguing, impressive Rikard's guitar, and finally perfectly blown away into the inferno by Emil's magnificent voices. The terrific quartet please please us all through the creation. On the other hand, it's amazing too the titled track or so has obvious essence of delicacy and tragedy. We can hear "variations" of GADGET core and this variation might give us power of musical life, I imagine.

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