UMUR "Within the Visceria" is the debut full-length studio album by Danish death metal act Neckbreakker (previously known under the Nakkeknaekker monicker). The album was released through Nuclear Blast in December 2024. A very young band (drummer Anton Bregendorf is for example only 18 years old) from the city of Silkeborg, Neckbreakker was formed in 2020 as Nakkeknaekker and they released a couple of demos before changing their name to Neckbreakker in 2024. An English language version of their original Danish language monicker.

Stylistically they play a heavy and groove laden type of death metal. Rooted in the early 90s old school death metal scene, but there is a bit more to Neckbreakker than that, as they include more contemporary influences too. The heavy sometimes hardcore oriented groove of some parts and the aggressive shouting vocals of Christoffer Kofoed aren´t old school death metal features, but Neckbreakker manage to incorporate those elements pretty well with their more old school death metal features.

The band are well playing, but it´s immediately clear that it´s Bregendorf who is the standout musician in Neckbreakker. Busy, organic, and powerful drumming, which drives the music forward with loads of aggression, heavy swagger, and creativity. You don´t hear that often in this genre of music, and although Neckbreakker doesn´t sound much like Entombed it´s definitely Nicke Andersson´s organic playing style and inventive playing on the early Entombed releases I´m reminded of. It´s not that they have similar playing styles, but it´s the organic groove and constant attention to what is best for the music which they share. Contemporary and very successful fellow contrymen in Baest are bound to be mentioned here too, but Neckbreakker are generally a more diverse and hardcore/groove oriented death metal act than the more traditional old school death metal of Baest.

"Within the Visceria" features a powerful, raw, and overall effective sound production, which suits the material well and upon conclusion it´s a good quality debut release from Neckbreakker, who definitely have the potential to go places with their music. The songwriting is at times a bit too safe and Neckbreakker don´t offer the listener anything they haven´t heard before. It´s not a major issue as especially the musical performances are as strong as they are and the album is as well produced as it is, but a few more catchy and memorable moments wouldn´t have hurt and could have made my overall impression of the album a little more positive. It´s ultimately still a good quality release though and a 3.5 star (70%) rating is deserved.

UMUR "A World Drowning in Detest" is the third full-length studio album by Danish death metal act Detest. The album was released through Emanzipation Productions in December 2024. It´s the successor to "We Will Get What We Deserve" from 2021, which was Detest´s comeback album after not having released a full-length studio album since "Dorval" from 1994, although the two full-length studio albums are bridged by the "A Moment of Love" EP from 2019.

So with a more steady release rate it would seem that Detest are back with a vengeance. Listening to "A World Drowning in Detest", the vengeance part isn´t entirely true though, but more about that later. Stylistically Detest play a predominantly old school oriented death metal style which is based on heavy riffs and grooves and which is mostly played at mid-pace, although the band speed things up on occasion. My impression is however overall that "A World Drowning in Detest" is a faster-paced album than "We Will Get What We Deserve". The vocals are one-dimensional growling and performed without much feeling or aggression. They are just there and lead vocalist/bassist Simon Springborg gets the job done but not much more than that.

The musicianship is overall pretty strong, but I have to mention that some of the lead guitar parts sound a little shaky/out of tune. The worst example of that is on instrumental album opener "It's Over", but the leads are generally not the greatest throughout the album. "A World Drowning in Detest" features a professional and well sounding production job, so it´s the relatively mediocre songwriting and the sometimes shaky musicianship which aren´t fully up to par with some of the contemporary Danish death metal artists which Detest are in competition with like Baest and Neckbreakker. As legends of the Danish death metal scene Detest are supposed to show the new young artists that they are leaders, but on "A World Drowning in Detest" they sound like faceless followers to me. Despite the criticism there are however still quality here and a 3 star (60%) rating isn´t all wrong.

UMUR "Pathei Mathos" is an EP release by Norwegian experimental music act Manes. The EP was released through Aftermath Music in June 2024. Although it´s been quite a few years since the last major release from Manes, they have kept themselves busy releasing a couple of conpilations as well as a couple of singles since the release of "Slow Motion Death Sequence" (Manes fifth full-length studio album, released in August 2018). They have also released the black metal "Innerst i mørket" full-length studio album under the Manii monicker in September 2023.

The EP features four tracks and a total playing time of 23:40, and as something new most of the vocals are female clean vocals performed by M. Hellem (Martyra). Manes still use ambient electronic elements to create atmosphere, but the music features rock/metal instrumentation too and actually reminds me of late 90s/early 90s The Gathering. The Swedes in Paatos is another valid reference (and artists like Atrox and Madder Mortem), and on this particular release the Ulver clone accusations, which Manes are often subjected to, aren´t true at all.

"Pathei Mathos" features a nice raw sound production and the addition of a female lead vocalist has not meant that the music has become more polished or mainstream oriented. It´s still dark and somewhat heavy rock/metal music with ambient electronic elements and a melancholic atmosphere (the music also features gothic rock/metal leanings). Fans of especially The Gathering should find a lot to enjoy on this release. To my ears Manes aren´t as unique sounding on "Pathei Mathos" as they previously have been, but there´s nothing wrong with the quality of the music. A 3 - 3.5 star (65%) rating is warranted.

UMUR "Cometh the Storm" is the ninth full-length studio album by US, heavy/sludge/stoner metal act High on Fire. The album was released through MNRK Heavy in April 2024. It´s the successor to "Electric Messiah" from October 2018 and there´s been one lineup change since the last album as drummer Des Kensel has been replaced by Coady Willis. The latter is known for his work with artists like Big Business and The Melvins. Kurt Ballou is credited as producer. A role he has also played on the last couple of albums by High on Fire. Actually every High on Fire album from "De Vermis Mysteriis" (2012) until this one have been produced by Ballou.

Personally I haven´t always felt that Ballou´s production style fit High on Fire´s music, but on "Cometh the Storm" he has aimed for a more organic, heavy, and meaty tone, which suits the band´s ultra heavy stoner/sludge metal riffs, heavy organic grooves, and occasional bursts of heavy/thrash metal aggression really well. To my ears the sound production on "Cometh the Storm" is the most well sounding production on a High on Fire album since "Snakes for the Divine" from 2010. This album has the right bite and venom dripping from it.

High on Fire are as well playing as ever and the addition of Willis to the ranks is not a bad decision. If you´re familar with his work with both Big Business and The Melvins you won´t be surprised by his high quality output and creative drumming ideas. He adds a lot to the sound of this album. Frontman/guitarist Matt Pike sounds as raw as ever (and has over the years also built upon his arsenal of vocal styles) and bassist Jeff Matz, who completes the trio lineup, is a solid heavy anchor. High on Fire´s relatively unique combination of stoner metal, sludge metal, heavy metal, and thrash metal riffs and rhythms hasn´t changed drastically over the years, and the material on "Cometh the Storm" follows in a similar style to the many preceding releases.

So it´s the songwriting and the production values which set one High on Fire album apart from the other albums by the band, and to my ears "Cometh the Storm" is in the better end of the High on Fire album releases, both when it comes to the memorability of the compositions and certainly when it comes to the sound production (as mentioned above). A 4 star (80%) rating is deserved.

adg211288 We need to be clear about thing before we get into this review for Opeth's fourteenth studio album The Last Will and Testament: Opeth isn't 'back' just because this album marks their return to the extreme progressive metal sounds of yesteryear. They never went away, and have produced a string of progressive rock based albums (the most recent two reintroducing metal ideas in a different manner) that proved that Mikael Åkerfeldt doesn't need to growl in order for Opeth to be Opeth. As a band, they are so much more than that. I for one was quite content with the direction they were going in. No band should be forced to make music they're not feeling just because the fans expect it.

With that said, it's also very difficult to not, after the sixteen years since Mikael last growled on an Opeth studio album (which was 2008's Watershed), not to be excited by the idea of a new Opeth album in their 'classic' style. The burning question is, of course, if The Last Will and Testament does that?

Well yes, it does, and more besides. The album's sound is like a coming together of the old and new, with plenty of different elements being thrown into what is once again a more extreme metal based sound. There's symphonic progressive rock elements which, for my money, appear the most extensively since Opeth's 2014 Pale Communion album. It also verges into more experimental/avant-garde territory and makes use of a bit of flute courtesy of Jethro Tull's Ian Anderson, so also provides some spoken word vocals. Spoken word is music is rather hit and miss for me, but this technique works on The Last Will and Testament by virtue of not being overdone. The album also contains more minor genre references including classical music and jazz rock. It sounds like old Opeth, but new Opeth is in here too. This isn't a throwback album, it's the culmination of their career to date.

As their first concept album since 1999's Still Life, The Last Will and Testament is structured to reflect a will reading. Except for the final song, A Story Never Told, which serves as an epilogue of sorts, the tracks are not named except to be referred to as paragraphs one through seven (denoted by the § symbol). This has the small drawback of not having a clear reference point which to refer to the songs by, but the songs are able to quickly assert themselves apart from each other all the same. Most make use of Åkerfeldt's growling vocals, except for §3 and A Story Never Told. The former is still a metal song but the later is the album's only full progressive rock song. This means that the growls are being used more than on Opeth's last extreme album Watershed which only had them in three out of seven songs. Compared to older Opeth though they've avoided any single songs that cross the ten minute barrier, going for more median lengths between five and seven-odd minutes.

All in all I think The Last Will and Testament is an excellent Opeth album. As a still new record I can't really say how I will feel about it in relation to their other albums a year or two from now, but as an extreme progressive metal album it sits in good company with their earlier work especially the period of Still Life through to Watershed, while also not ignoring that the prog rock era Opeth happened. I don't think this was an album made under fan pressure to go back to their more popular sound, more like Mikael Åkerfeldt began to feel this sort of music again, especially to tie into a concept record. It really is anyone's guess whether this will mark a permanent return to the style, but I don't think it matters either way. Opeth is a band with nothing to prove; they will do what they want and don't have to stick to a ridged style. That is, ultimately, what makes them an exciting band. I wouldn't rule out future observations sounding like either or of their distinct eras, or perhaps something new entirely.

UMUR "Eschatology Of War" is the debut full-length studio album by Ukrainian, Lviv based black/doom/death metal act 1914. The album was released through Archaic Sound in December 2015. 1914 formed in 2014, which is rather symbolic as that year marks the 100-year anniversary since the start of World War I, which serves as the band´s primary lyrical focus, and also their band name. Singing about war is nothing new and artists like Bolt Thrower and Hail of Bullets (and quite a few others) have made whole careers out of it, but off the top of my head I can´t name another artist solely basing their lyrics on World War I (WWI) (I just remembered Kanonenfieber though, so some do exist). The band image, their band photos, and even their performer names reflect the WWI theme. So these guys mean business and their extreme dedication to the project is arguably fascinating.

The lyrics are well written and it´s obvious that the topics are well researched. The band take us through various periods and episodes of WWI, telling stories of mustard gas attacks, the horror, disease, and dread of the trenches, Zeppelin air attacks, machine gun fire, and some historical facts thrown in, which provide the whole thing with the right amount of authenticity and gloom. Needless to say that the lyrics provide the album with a dark and unpleasant atmosphere. Another atmosphere enhancer are the sampled intro and outro tracks "War In" and "War Out", which feature WWI contemporary recording artists Billy Murray and the American Quartet and Charles Harrison respectively performing "It's a Long Way to Tipperary" and "The Last Long Mile". Both tracks are considered compositions related to WWI. The former was often used as a marching song for soldiers during the war.

Stylistically the material on the album is a combination of black metal, doom metal, and death metal. It´s hard to say which of the styles is the dominant one, so my best description of the music would be an equal share of all three. The riffs are sinister, brutal, and heavy, but sometimes faster and more black metal tremolo styled. The pace is predominantly slow and doomy though, but there are also heavy mid-paced death metal styled riffs and rhythms featured on the album (those sections aren´t completely unlike some of Bolt Thrower´s output). The vocals are snarling blackened growling. They are very well performed, intelligible, and passionate, and generally a great asset to the album.

"Eschatology Of War" features a powerful, brutal, and detailed sounding production job, suiting the material perfectly. I personally wouldn´t have minded if the production had been a little more filthy and raw, but the production values are arguably both well sounding and professional. Upon conclusion "Eschatology Of War" is a high quality debut album by 1914. Hitting the right balance between the doom, death, and black metal influences could have proven difficult, but 1914 seamlessly combine the influences and create a sound of their own. The many vintage war themed samples and music snippets combined with the cruel lyrical subjects and the dark and heavy music make "Eschatology Of War" a great listen. A 4 star (80%) rating is fully deserved.

UMUR "Spawned by the Horrors of Thermonuclear Warfare" is a compilation album by US, Seattle, Washington based death/thrash metal act Oxygen Destroyer. The compilation was released through Sewer Rot Records in July 2022. It bridges the gap between Oxygen Destroyer´s second- and third full-length studio albums "Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind" (2021) and "Guardian of the Universe" (2024).

The compilation features eight tracks and a total playing time of 22:50 minutes. The material is culled from various demos and split releases from the period 2015-2019. It´s not a compilation featuring all rarity/minor release tracks from Oxygen Destroyer, which is actually a bit weird since the playing time is so short. They could easilay have put the missing tracks from the period on the tracklist and still kept the album length under 30 minutes. The tracks which are missing are "Atomic Breath" from the 2015 debut demo and the 2017 one-track single song "Vanquished by the Unrelenting Devastation of the Celestial Behemoth". Other than those two tracks you get everything on this compilation recorded and released by Oxygen Destroyer in the 2015-2019 period except the material from their 2018 debut full-length studio album "Bestial Manifestations of Malevolence and Death". "Vanquished by the Unrelenting Devastation of the Celestial Behemoth" however appears on the debut album and "Atomic Breath" also appears in a re-recorded version, along with re-recorded versions of some of the tracks featured on this compilation.

Stylistically Oxygen Destroyer play a relentlessly aggressive death/thrash metal style with a rabid dog snarling vocalist in front. It´s a music style which was at its peak in the late 80s/early 90s with artists like Merciless, Demolition Hammer, and early Vader leading the pack. Since then there have from time to time appeared a new act playing the style, but Oxygen Destroyer are among the more prolific contemporary artists dedicated to playing death/thrash metal and they sound almost one to one like a band from the late 80s/early 90s period, both when it comes to compositional style, the performances, and the sound production choices.

The quality of the material featured on this compilation differs slightly. Not so much when it comes to the songwriting and the performances of the material, but when it comes to the production quality of the various tracks. It´s however predominantly "Relentless Desire for Nuclear Radiation" from the December 2015 demo, which stands out because of the crude, chaotic, and raw sounding demo production. The two other tracks from the same demo which are also included here, do no appear in the demo versions of the tracks, but instead in the re-recordings which were originally featured on the September 2016 "Saurian Warfare" split with Carnotaurus.

Upon conclusion "Spawned by the Horrors of Thermonuclear Warfare" is a good quality compilation of minor release tracks from the early period of Oxygen Destroyer´s discography, and although a few tracks are missing, you still get some great and raw early versions of tracks which would later appear in re-recorded form on "Bestial Manifestations of Malevolence and Death" and a few rarities too which the band never re-recorded. A 3.5 star (70%) rating is warranted.

UMUR "The Dead Are Screaming" is the debut full-length studio album by Australian death metal act Werewolves. The album was released through Prosthetic Records in April 2020. Werewolves formed in 2019 and features among others Psycroptic drummer David Haley in the ranks. Guitarist Matt Wilcock and lead vocalist/bassist Sam Bean are both associated with acts like Abramelin, The Antichrist Imperium, and The Berzerker. So Werewolves is pretty much an Australian underground extreme metal supergroup.

Stylistically this is brutal and vicious sounding deathgrind featuring both deep growling vocals and occasionally raw snarling vocals. Not surprisingly the music is predominantly very fast-paced, but Werewolves also play mid-paced heavy parts. While this is not a one to one direct comparison, I´d say references to an artist like Terrorizer are valid. "The Dead Are Screaming" aren´t the most unique sounding deathgrind release on the scene, although it´s certainly well composed, but Werewolves more than anything win because they are skilled musicians performing their music with great passion and conviction.

"The Dead Are Screaming" features a raw, detailed, and powerful sounding production job, perfectly suiting the material. So while Werewolves still need to tweek their songwriting just a bit to make their songs a little more memorable, "The Dead Are Screaming" is still a high quality deathgrind release, and a 3.5 star (70%) rating is deserved.

martindavey87 Following on very closely to the format of 2004’s ‘Live At Budokan’, ‘Score: 20th Anniversary Tour’ is a fantastic DVD for fans of progressive metal icons, Dream Theater.

The first disc features an almost three-hour concert. Beautifully shot, with excellent sound and clear visuals, the band are on top form as always. The set is interesting in that, while touring in support of their ‘Octavarium’ album, (represented here five times), the band also go through various tracks throughout their discography in chronological order. Ending with an orchestra and treating us to ‘Octavarium’, ‘Six Degrees of Inner Turbulence’ and ‘Metropolis Pt. 1’, the set list is fantastic, and certainly differs to other live releases.

Amidst a number of bonus tracks and animated visuals, the true gem on the second disc is an hour-long documentary on the history of the band. While it’s a lot to cram into 60-minutes, this is still an interesting and enjoyable watch, and includes plenty of live footage, interviews and photos.

Rounding up the perfect trilogy of live albums/DVD’s, along with ‘Metropolis 2000…’, and ‘Budokan…’, ‘Score’ is an exceptional release, sure to please fans, and is an absolutely essential addition to every prog collection.

UMUR "Sweet Hollow" is the debut full-length studio album by international heavy metal act Them. The album was released through Empire Records in September 2016. Them was formed in 2008 by lead vocalist Troy Norr (Coldsteel) as a King Diamond tribute band (hence the band monicker which is the title of King Diamond´s 1988 third full-length studio album). Them played many shows in the next 3 years, before entering a hiatus until 2014, when Norr started working on a band and album concept.

Stylistically the material on "Sweet Hollow" is a powerful, theatrical/horror themed, and melodic type of heavy metal greatly influenced by King Diamond. So in many ways Them is still a tribute band, although they now play their own King Diamond influenced material. Norr is a skilled vocalist with a wide varity of vocal styles and he delivers both high pitched, mid-range, and lower gruff type vocals. He has a voice and vocal style not terribly far from King Diamond. Norr has enlisted a crew of skilled musicians for the project and they all deliver strong and professional performances. Some of the involved musicians are relatively prolific like drummer Kevin Talley (Dååth, Misery Index, Dying Fetus, Suffocation, Six Feet Under...etc.) and bassist Mike LePond (Symphony X, Death Dealer, Mike LePond's Silent Assassins...etc.), so "Sweet Hollow" is definitely a high level musicianship album.

The material is well written, catchy, and powerful (featuring elements of both heavy metal, US power metal, and occasionally thrash metal). The concept horror story works relatively well with themes like demonic possession, a woman burned at the stake by a priest, and a haunted house. If that sounds familiar to you, it´s not that strange as all those elements have also been featured on various King Diamond albums. So the King Diamond connection is impossible to ignore and to my ears "Sweet Hollow" have a lot in common with the post-2000 King Diamond releases, although "Sweet Hollow" features a better sounding production than anything their heroes have released in many years.

So if you´re a fan of the post-2000 King Diamond releases and aren´t bothered by the fact that Them are basically a tribute band playing material which are very similar to the latter day material of King Diamond, "Sweet Hollow" may be the a release for you. To my ears it´s a release predominantly of interest to the all consuming King Diamond fan, who just can´t get enough of music that sounds even remotely like King Diamond. To the rest of us the output of the original band is probably enough. Quality wise there´s however nothing wrong with "Sweet Hollow" and therefore a 3.5 star (70%) rating is deserved.

UMUR "Mourning Has Broken" is the third full-length studio album by UK, Nottingham based thrash/heavy metal act Sabbat. The album was released through Noise Records in March 1991. It´s the successor to "Dreamweaver (Reflections of Our Yesterdays)" from 1989 and features several lineup changes since the predecessor. Lead vocalist Martin Walkyier has been replaced by Ritchie Desmond, guitarist Simon Jonas has been replaced by Neil Watson, and bassist Fraser Craske has been replaced by Wayne Banks, leaving only guitarist Andy Sneap and drummer Simon Negus from the lineup who recorded the predecessor.

Some artists are able to successfully replace band members and carry on as if nothing had happened, or at least with minimal impact, and even in some cases with an improved sound as a result of the lineup changes, but none of the above apply to Sabbat on "Mourning Has Broken". Especially the change on the lead vocalist spot has had great impact. Not only did Walkyier have a distinct sounding voice and vocal style, but his lyrics and pagan image, were a big part of Sabbat, and although Desmond is actually a skilled vocalist with a strong voice, who generally does a good job on "Mourning Has Broken", he has a hard time bringing anything resembling Walkyier´s intensity and uniqueness to the table.

"Dreamweaver (Reflections of Our Yesterdays)" introduced some longer and more complex compositions, compared to the material on the debut album, but on "Mourning Has Broken", Sabbat fully enters progressive territories, and the music on the album can best be described as a technical thrash/progressive metal release with touches of US power metal. Although some may argue it´s not the best comparison, I actually think Confessor is the most valid reference when describing the sound of "Mourning Has Broken". There´s a similar high pitched, bleak, and toneless quality to the vocal style of Desmond, and although not quite as technical or innovative as Confessor are, Sabbat still come off as a pretty technically well playing act on "Mourning Has Broken" (Negus do seem a bit out of his league here though, and the drumming has a tendency to sound a little stiff and awkward). At times I´m also reminded of an act like Sanctuary.

With the departure of Walkyier out goes the pagan/occult lyrics too, and "Mourning Has Broken" focuses more on bleak (even depressive) social/political/religious issues/topics/observations. This is a dark and heavy release filled to the brim with gloom and despair at the state of the world.

"Mourning Has Broken" features a sound production which is not up to par with what you´d expect from a production from 1991. There´s something wrong with the tone of the instruments (especially the drums) and how they are placed in the mix. Ultimately it´s just not a pleasant sounding production job, and even if the remaining parts of the album (performances, songwriting...etc.) were of a high quality, the sound production would still have a negative influence on my overall impression of the album. The performances and the songwriting are however not at all times of a high quality, and especially the songwriting seems directionless and lacking hooks. Sneap himself has in interviews called the songwriting patchy and said that the tracks were thrown together, and that´s also the feeling you get as a listener, when giving the album a spin (some tracks are decent while others suffer more as a consequence of the patchy songwriting).

When that is said I still think "Mourning Has Broken" is a relatively interesting album. It´s not a great album nor is a particularly memorable release, and it´s questionable if the decision to release the album under the Sabbat monicker was a good one, but there´s still something intriguing about the band´s ability to create a bleak atmosphere, and there are also some really sharp and powerful riffs and lead guitar work featured here. As mentioned above Desmond isn´t as unique a vocalist as Walkyier, but he can hold his own, and his US power metal vocal style (high pitched screaming and deeper and more raw shouting) actually suits the material pretty well. So bad sounding production and patchy songwriting, but predominantly great musicianship and a nicely bleak atmosphere are what characterize "Mourning Has Broken". A 3 star (60%) rating isn´t all wrong.

UMUR "Oxygen Destroyer vs. Power Beast: Pacific Devastation" is a split release between US, Seattle Washington based death/thrash metal act Oxygen Destroyer and US, Portland, Oregon based death/heavy metal act Power Beast. The split was released through Headsplit Records in October 2019. It´s a two-track split featuring one song by each artist.

Oxygen Destroyer had at this point released their debut full-length studio album "Bestial Manifestations of Malevolence and Death" (April 2018), but "Sons of the Necrobeast" is a track which is exclusive to this split (at least at the time of release). The "Septic Punishment" track from Power Beast is also exclusive to this split.

Oxygen Destroyer´s track continues the aggressive death/thrash metal of their preceding releases and you´ll find no surprises here if you´re familiar with those. Fast-paced, aggressive, and highly energetic death/thrash metal is on the menu. Power Beast is a different sounding act, playing a filthy, raw, and brutal old school death metal style. Both tracks are well produced, well composed, and well performed and a 3.5 star (70%) rating is deserved.

martindavey87 Pretty standard Metallica live DVD here. Great set, fantastic sound and visuals, and the band all on top form as always (even Lars does alright!). The metal legends, touring to promote 2008’s ‘Death Magnetic’ have gone back to their old-school way of having the stage in the middle of the venue, kind of making this feel like ‘Cunning Stunts’ all over again, except, ten years wiser and more mature. And while they may not have the same drive and ambition as they did in the 90’s, it’s clear to see that this is an alcohol and drug-free band, who are just having the time of their lives up on stage.

Featuring all the hits you’d come to expect, such as ‘One’, ‘Enter Sandman’, ‘Sad But True’, ‘Broken, Beat and Scarred’, ‘Battery’ and a whole host of others, including some “bonus track” surprises, such as ‘Turn the Page’, ‘Holier Than Thou’ and ‘Breadfan’, this is a great DVD that may not stand out in the bands discography as much as previous releases ‘Live Shit: Binge & Purge’, ‘Cunning Stunts’ or ‘S&M’, but is still plenty worthwhile owning, and certainly enough to satisfy any Metallica fan.

martindavey87 Regardless of the results, I’ll always give Metallica credit for not being afraid to try new things. Going from thrash metal to alternative rock, playing with an orchestra, side projects with Lou Reed and now this… a concert movie?

And the results here, as expected, are pretty mixed. The actual movie aspect doesn’t make much sense. With a daft storyline interspersed with the concert footage, and at times tying into the show itself. Sometimes with the band actually even doing little choreographed bits on stage, this all comes across as a bit awkward at times, and is probably more of a detriment than anything.

However, the concert footage itself is absolutely gorgeous! The visuals are fantastic and the high-definition video really gives it a crystal-clear picture, with some very cool camera angles and some awesome close-ups. Along with all the usual Metallica pyrotechnics and on-stage stunts and props, this is like ‘Cunning Stunts’ on steroids.

But sadly, that’s pretty much the only highlight. There’s a whole hoard of extras, including behind-the-scenes documentaries, Q&A sessions, trailers, music videos, and a whole bunch more, but it’s mostly all pretty bland and generic, with the only saving grace being that live footage. I wish they’d just done an entire concert DVD recorded like this, because that part, really is THAT damn good!

UMUR "South of Heaven" is the fourth full-length studio album by US, California based thrash metal act Slayer. The album was released through Def Jam Recordings in July 1988. It´s the successor to "Reign in Blood" from 1986 and like the predecessor "South of Heaven" was also produced by Rick Rubin. Following up an album like "Reign in Blood (1986)", which was an instant classic upon release and greatly boosted Slayer´s profile on the scene, was always going to be difficult if not downright impossible, so Slayer had discussions among themselves about where to go from there and they made a conscious decision not to make "Reign in Blood" part 2.

So while "South of Heaven" sounds unmistakably like Slayer, it´s a completely different sounding album to its direct predecessor. "South of Heaven" features a less heavy, raw, and abrasive sounding production to it´s predecessor, but the less savage power also means the sound production on "South of Heaven" is more clear and detailed than the sound production on "Reign in Blood". It´s just a completely different listening experience, and it´s understandable why some fans felt that "South of Heaven" packed a lot less punch than what they were used to hearing from Slayer.

It´s not only the sound production which makes "South of Heaven" different from the preceding Slayer releases, the songwriting is also quite different. The tracks are more varied, there are hints of melody (even some clean guitars on closing track "Spill the Blood"), and lead vocalist/bassist Tom Araya even sings a few lines in addition to his usual raw shouted vocals. Of course Slayer is still Slayer, and you won´t find any sweet lullabies or mainstream tendencies on "South of Heaven", which is still a highly aggressive, furiously fast-paced, and brutal thrash metal release.

Slayer haven´t scaled down on their controversial lyrics either, and right from the opening title track the listener is treated to anti-christian lyrics, and other subjects on the album include murder, violence and war. Highlights include the title track, "Mandatory Suicide", and "Silent Scream", but some of my personal favorites are "Behind the Crooked Cross" (about soldiers forced to fight for the Nazis during world war II), "Read Between the Lies", and the absolutely brilliant "Live Undead". The latter features a head scratching number of trade-off guitar solos, tempo changes, and riffs. Crazy track that one...

...I always felt the cover of "Dissident Aggressor" by Judas Priest was the least interesting track on the album, but I´ve come to appreciate even that song over the years. Performance wise Slayer are a force to be reckoned with. Fast-paced thrash riffs (and heavy ones too), blistering screaming guitar solos, great powerful and organic drumming by Dave Lombardo, and the distinct sounding and unique raw vocals by Araya in front. At this point they were an incredibly tight playing unit and very few contemporaries were able to match their level of intensity and extremity, while still producing memorable material. Because that is one of Slayer´s greatest assets. Producing really extreme music that you are still able to remember and scream along to.

So while "South of Heaven" is probably the least extreme Slayer album (along with the debut album, which also features hints of melody), it still packs a punch and sounds unmistakably like Slayer. It´s an incredibly bold release considering how relatively different it sounds to "Reign in Blood", and they could have risked that their fans had turned their backs on them, but that´s not at all what happened. Instead the fans embraced the new sound, or at least grew to appreciate it and respect the fact that Slayer did not want to stagnate, and it ultimately enabled Slayer to continue to further build upon their already considerable high level of artistic and commercial success. A 5 star (100%) rating is fully deserved.