There was a whole different hype going into Nickelback’s eighth studio album, 2017’s ‘Feed the Machine’. Rather than the usual pop ballads, the first single released, the title track no less, was instantly touted for how heavy it was, and you could instantly hear a shift in focus and determination with this album. Were we about to see a whole new Nickelback?

Well, okay, obviously not.

But seriously, this album is fantastic. If previous release, 2014’s rather disappointing ‘No Fixed Address’ was the band ticking every mainstream pop radio checklist, then ‘…Machine’ sees the Canadian quartet do away with that attitude and firmly focuses on strong song-writing, excellent performances and solid lyrics. Whether it was going to get them on mainstream radio or not, they had a vision, and with this release they executed it to perfection.

The musicianship is really on top form here, with the band at times displaying musical prowess almost on par with some of the more technical metal bands. Frontman Chad Kroeger’s fantastic voice is on top-form, and the lyrics are some of the deepest, and, well, “heaviest” the band had written in a long time. There’s lots of shredding for the guitar nerds, and the production is absolutely spot-on. Even the ballads (yes, of course there’s a few), seem more driven by solid song-writing, rather than pleasing pop radio listeners.

Highlights include the title track itself, ‘Feed the Machine’ (which I’m sure has certainly won over some of the metal crowd, but that’s just my opinion), as well as ‘Must Be Nice’, ‘Coin For the Ferryman’, ‘Silent Majority’, the monstrously heavy ‘The Betrayal (Act III)’ and the deeply powerful ‘Home’.

But honestly, this whole album is just one highlight after another. “Focused” and “determined” are two words that keep coming to mind, but it’s really like the band had a vision to release a record that would show there’re more than just a radio-friendly pop band. And while I’m under no illusion that they’ve won over their haters, the artistic merits of ‘Feed the Machine’ speak for themselves, and prove that Nickelback are indeed, a fantastic hard rock band, more than deserving of the fame and success that they’ve had.

Decent enough CD single, let’s see what we have here… ‘Wherever I May Roam’ is a great song. Heavy, grooving, with a nice tasty riff and some big vocals, singing about life on the road, or whatever typical nonsense you’d imagine a metal band singing about in 1991. There’s no denying it though, it’s a great song.

Then there’s a live version of ‘Fade to Black’, which, again, great song, although this could easily be one of the thousands of other live recorded versions of this track and I wouldn’t know the difference. And a demo of the title track, despite the very rough sound, it’s a nice touch, although listening to James Hetfield ‘na na na’ his way through the song is humorous for a one-off listen, but once is enough, thank you.

Overall, can’t really complain. It’s a harmless enough CD for collectors, but music fans today generally don’t really care for CD singles, do they? So yeah, one for the collectors.

I’m sure I’m not the only one who spent years believing ‘Cowboys From Hell’ was the bands first release, but alas, here we are, 1983’s ‘Metal Magic’, the true debut of glam metal/future groove metal legends Pantera.

Turns out, before becoming one of the biggest metal bands on the planet, Pantera had released four independent albums, although, unlike the heavy, gritty and downright dirty sound of their 90’s output, these were more on the glam side of things, so expect spandex, songs about partying, “Diamond Darrell”, and dare I say it… keyboards!

But despite being generally reviled by fans and even the band themselves, the truth is, these albums aren’t that bad. ‘Metal Magic’, while not exactly innovating new sounds or breaking down barriers, still has a couple of nice little rockers on it. ‘Tell Me If You Want It’, ‘Ride My Rocket’, ‘Widowmaker’ and ‘Biggest Part of Me’ are all pretty decent hair metal anthems, and considering how young the members were at this time (Dimebag was only 16!), it’s really hard to not be a little impressed.

Just a shame about the naff production.

Overall, this album won’t change your life, and my God, this is completely different from the Pantera which sold millions and millions of albums in the 90’s, so if that’s what you’re expecting then don’t bother. But ultimately this is an interesting listen to see how the band changed and evolved to become what they are, and you may even find yourself liking it.

After 2019’s self-titled/untitled album, Rammstein were well and truly one of the biggest metal acts on the planet, joining the elite few that made it out of the arenas and into stadiums. With their stage show known for its huge spectacle, they were on top of the world.

Then COVID happened, and the world came to a standstill, and with nothing to do but write and rehearse (socially distanced, I’m sure), it meant that the German industrialists were quick to release a follow-up to their previous album, and that brings us to 2022’s ‘Zeit’.

With huge amounts of hype, its speculative, cryptic name and controversial music videos (so, all the usual Rammstein traits then), ‘Zeit’ is, admittedly, a pretty average affair. I mean, don’t get me wrong, this isn’t a bad album, but it’s quite a mixed bag, with a fair number of tracks sounding like the band are just on autopilot.

But the good songs? Oh boy… When they get it right, they sound incredibly focused and on point. With their classic blend of heavy, crushing guitars, bright keyboard melodies, humorous lyrics and vocalist Till Lindemann’s deep, baritone voice, the band show that they are indeed still the same Rammstein we all know and love.

While ‘Zeit’ isn’t likely to be anyone’s favourite Rammstein record, tracks like ‘Angst’, ‘Dicke Titten’, ‘Armee Der Tristen’, ‘OK’ and the melancholic closing track, ‘Adieu’ are all good enough reasons to own this album, and ultimately, fans of the band will enjoy the album regardless.

Released in 2022 as part of the ‘Lost Not Forgotten Archives’ series, ‘Live At Wacken (2015)’ sees Dream Theater make a stop on their 30th Anniversary tour at the world-famous German heavy metal festival.

With only an hour to spare, the band make a brief run through a number of their albums, with a set list that incorporates all their major elements, both heavy and melodic (‘As I Am’, ‘Panic Attack’, ‘The Spirit Carries On’), and full-on progressive (‘Metropolis Pt. 1’). No easy task, given the wealth of their back-catalogue, as well as the duration of most of their songs.

As expected, the musicianship is superb, with the band on top form and really smashing the instrumental side of things. Sadly, as always, vocalist James LaBrie is tough to listen to at times, especially on the older material. He’s struggling, but he tries anyway. Bless him.

Overall, ‘Live At Wacken’ is a decent enough live album. It’s not essential by any stretch, but die-hard collectors will certainly enjoy owning it and giving it a spin or two.