UMUR "Muuntautuja" is the sixth full-length studio album by Finnish experimental/psychedelic black metal act Oranssi Pazuzu. The album was released through Nuclear Blast in October 2024. It´s the successor to "Mestarin kynsi" from 2020 and there have been no lineup changes since the last album. Oranssi Pazuzu have since their inception in 2007 (and their debut album "Muukalainen puhuu" from 2009) been one of the more darkly exotic and interesting bands from the Finnish metal scene. Although not mainstream succssful, they are a well known artist on the experimental/psychedelic black metal scene.

...and listening to "Muuntautuja" it´s understandandable why that is. Oranssi Pazuzu create a blackened psychedelic music journey with heavy nods toward early 70s Krautrock and space rock. Artists like Hawkwind and Can haven´t lived in vain. There´s a lot of slow building repetition on the tracks, which provides an abstract hypnotic effect and the many layers of sounds, instruments, and vocals, give the music depth and longivity. The snarling blackened vocals provide aggression to the music, but there is generally a nice punchy forward drive to the music, although the pace overall isn´t high. The songriting is of a high quality and Oranssi Pazuzu are generally a very creative and adventure seaking band. Although they certainly have a core style, they add little twists here and there, which means a lot to a listener.

"Muuntautuja" features an organic, powerful, raw, and detailed sounding production, which suits the material well. It´s an album for those Oranssi Pazuzu who felt that the band had maybe wandered a bit too far in the more abstract noisy psychedelic rock/space rock direction on the last couple of releases, because "Muuntautuja" is arguably one of the band´s most accessible releases. It´s a bit more advanced than their debut album, but I get some of the same raw drive emotions from this release that I also got from the debut. Upon conclusion "Muuntautuja" is another high quality release from Oranssi Pazuzu, who once again prove that they are one of the most intereresting Finnish artists out there. A 4 star (80%) rating is deserved.

UMUR "Opposer" is the fourth full-length studio album by Danish death metal act Deus Otiosus. The album was released through Great Dane Records in April 2017 almost to the day three years after the release of the preceding album "Rise". No lineup changes has taken place, and Deus Otiosus have actually had a stable lineup since 2012.

The word stable can also be used to describe the band´s sound and the quality of their output, because the material on "Opposer" continues the old school thrash infused groove laden death metal style of the preceding releases. The band are still well playing and delivers their music with both skill and great conviction. The vocals are to my ears the weakest link as the growling is a little one-dimensional. Other than that the music is powerful, brutal when it needs to be, and most importantly energetic and filled with sharp organic grooves. "Opposer" features a powerful and well sounding production job too, so upon conclusion it´s another good quality death metal release by Deus Otiosus. A 3.5 star (70%) rating is deserved.

martindavey87 I’ve had this album on my playlist for quite a while now, mainly because I just couldn’t think of anything in particular to say about it! ‘Cloudscape’ is the self-titled debut album by Swedish progressive metal band, uh, Cloudscape. Released in 2004, this sounds very typical of bands in this genre, but with an emphasis on strong writing, melody, and catchy hooks.

The band members are all excellent musicians, and I particularly love the blending of melodic keyboards and heavy, crunchy guitars. And this album has that in abundance, as well as powerful vocals, interesting lyrics, and a fantastic production. There isn’t anything overly unique about this band, but that’s fine. Not every album needs to reinvent the wheel. Sometimes good music just speaks for itself.

Admittedly, with that said, at one hour in duration, the album does drag a little at times, with some of the songs sounding kind of similar to one another. But on the other hand, some of them are absolutely fantastic! ‘As the Light Leads the Way’, ‘Witching Hour’, ‘Everyday is Up to You’, ‘Under Fire’, ‘Out of the Shadows’ and ‘Slave’ are all amazingly well written songs, and should be more than enough to satisfy any progressive metal fan.

UMUR "Rise" is the third full-length studio album by Danish death metal act Deus Otiosus. The album was released through Deepsend Records in April 2014. It´s the successor to "Godless" from September 2012 and the quintet lineup who recorded the predecessor is intact on "Rise".

Stylistically the material on "Rise" continue the thrash infused and organic driven groove laden death metal style of the two preceding albums. Deus Otiosus have found a style and they stick to it...and why shouldn´t they? This is pretty damn solid and powerful death metal with a great organic tone. It´s not the most brutal type of death metal, but it´s not melodic death metal either. There´s a dark primal energy to the proceedings which is relatively unique, so while all elements of Deus Otiosus music are tried and true, they still manage to produce something which is a bit different from the norm. The vocals are relatively one-dimensional and pretty standard for the genre, but they get the job done.

"Rise" features a detailed, raw, and organic sounding production job, which perfectly suits the material. Upon conclusion "Rise" is yet another good quality release from Deus Otiosus and a 3.5 star (70%) rating is deserved.

UMUR "Godless" is the second full-length studio album by Danish death metal act Deus Otiosus. The album was released through Deepsend Records in September 2012. It´s the successor to "Murderer" from August 2010. There have been two lineup changes since the predecessor as drummer Søren Bentsen has been replaced by Jesper Olsen and bassist Jens Nepper has been replaced by Jesper Holst.

Stylistically the material on "Godless" is a thrash infused and groove laden (not groove metal) type of old school death metal. One of the greatest assets of the band´s sound are the many organic driven groove laden drum rhythms (while I´m not sure Deus Otiosus would like to be compared to Arghoslent, they have some of the same energetic drive in their music). Thankfully it never excalates into death´n´roll or groove metal, but there´s certainly elements of both genres in the music. Deus Otiosus are too old school in their execution of the music and in their general mindset to become derailed though. There are quite few thrash metal riffs on the album and the guitar solos also smell of thrash metal, so that influence is definitely the greatest on the core death metal style on "Godless". The vocals are full-on death metal growling. A little one-dimensional in execution but they get the job done.

"Godless" features a pretty well sounding production job too, so upon conclusion this is a good quality sophomore album release from Deus Otiosus and a 3.5 star (70%) rating is deserved.

UMUR "Carnivoracity" is an EP release by Spanish death metal act Avulsed. The EP was released through Malodorous Mangled Innards Records in June 1994. It follows the release of several demo recordings which Avulsed released in 1992 and 1993 since they formed in 1991. The EP features two studio tracks written by Avulsed and a cover of "Demoniac Possession" by Chilean death/thrash metal act Pentagram (not the US doom metal act).

Stylistically the material is a continuation of the old school death metal style found on the May 1993 "Deformed Beyond Belief" demo. It´s grim, morbid, and savage sounding old school death metal with frontman Dave Rotten´s unintelligible growling vocals in front. The Pentragram cover is naturally a little more thrashy, but Avulsed give it the death metal twist. The music features both mid-paced, faster-paced, and doomy parts, and the 8:14 minutes long title track even features some eerie sounding atmosphere enhancing keyboards during the doomy middle part of the song.

"Carnivoracity" features a raw, brutal, and effective sounding production job, and this is definitely a case where the sound production suits the material. Upon conclusion "Carnivoracity" is a good quality old school death metal release and a 3.5 star (70%) rating is deserved.

UMUR "The Scarred People" is the tenth full-length studio album by Swedish metal act Tiamat. The album was released through Napalm Records in November 2012. It´s the successor to "Amanethes" from May 2008. There has been one lineup change since the preceding album as guitarist Thomas Wyreson has left and has been replaced by Roger Öjersson (who would later join Katatonia). Wyreson (originally known as Thomas Petersson) had been a member of Tiamat in three seperate periods 1990-1994, 1996-1999, and 2001-2008.

Stylistically the material on "The Scarred People" is more or less a continuation of the by now fully established gothic metal sound with the occasional psychedelic rock touches which Tiamat have played since he mid-90s. "Amanethes" brought back some of the band´s early extreme metal elements, although they were only a small part of the sound of the album. The heavier and more aggressive elements from "Amanethes" are not found on "The Scarred People" although it´s still occasionally a pretty heavy and dark gothic metal album. Tiamat as usual have written a both memorable and effective release, and the performances and the sound production values are also of a high quality.

Although I personally found "Amanethes" a bit more interesting than "The Scarred People", this is a release you don´t want to miss if you´re already a fan of Tiamat. On the other hand "The Scarred People" is not a Tiamat release which will win over those listeners who haven´t found Tiamat intereting since they left their doom/death metal roots behind now many years ago. A 3.5 star (70%) rating is deserved.

UMUR "Amanethes" is the ninth full-length studio album by Swedish metal act Tiamat. The album was released through Nuclear Blast in May 2008. It´s the successor to "Prey" from 2003 and it´s a comeback album for the band after a 5 year long hiatus. There have been no lineup changes since the predecessor although guitarist Thomas Petersson has changed his name to Thomas Wyreson (if anyone wondered if it was a new member of the band). It would be Wyreson´s last album with Tiamat though as he left after recording "Amanethes". Wyreson was at that point on his third stint with Tiamat, having been a member of the band in the periods 1990-1994, 1996-1999, 2001-2008.

Although the last couple of albums by Tiamat have all been good quality releases featuring a gothic metal sound with touches of psychedelic rock (think mid- to late 90s Paradise Lost with touches of Pink Floyd and 80s goth rock influences), the occasionally more harder edged sound on "Amanethes" is a welcome addition to Tiamat´s sound (best heard on "Equinox of the Gods"). They haven´t included extreme metal elements like this since the early 90s. When that is said this really isn´t that extreme and it´s only on occasion that Tiamat dig deep and present the listener with a few extreme metal parts and elements, but it´s quite effective when it happens. Otherwise "Amanethes" in most other ways pretty much continues the gothic metal/psychedelic rock style which Tiamat have played since the mid-90s.

The musicianship is on a high level on all posts and although lead vocalist/guitarist Johan Edlund maybe isn´t the most skilled or distinct sounding vocalist, he still manages to deliver some both effective and memorable vocal parts and melodies. He is the classic example of getting much out of little. "Amanethes" features a well sounding production job too, and it´s a good quality release on all parameters and even manages to stand out a little from the last couple of releases because of the return of the exteme metal elements (however few and far between they are). A 3.5 star (70%) rating is deserved.

UMUR "Panic Prayer" is an EP release by US death/thrash metal act Inhuman Condition. The EP was released through Listenable Insanity Records in July 2023. It´s the follow-up release to Inhuman Condition´s second full-length studio album "Fearsick" from Jule 2022, although the two releases are bridged by the August 2022 "Covers" EP, which features covers of artists like Death, Metallica, and Faith No More. "Panic Prayer" features three new original tracks, a cover of "Godzilla" by Blue Öyster Cult, and four live tracks, which in their original studio versions appear on the band´s first two full-length studio albums.

Stylistically the three new original tracks continue the powerful and raw death/thrash metal style of the two preceding albums. It´s music which can´t be called either death metal or thrash metal, but features elements from both genres. Drummer/lead vocalist Jeramie Kling has a commanding and raw growling delivery which is fully intelligble and the music is loaded with raw heavy riffs and powerful pounding drumming. It´s music designed for a live environment and I can almost see the mosh pits and headbanging crowds before my eyes.

"Godzilla" was originally one of the greatest hits of Blue Öyster Cult (the opening track from their 1977 fifth full-length studio album "Spectres") and it´s given the death/thrash treatment here, and actually blends in pretty well with the original material, which means that Inhuman Condition have managed to put their own spin on the track, which in my opinion should always be the primary objective when covering the music of another artist.

The live tracks feature a relatively raw sound quality but I wouldn´t call the sound lo-fi. It just sounds very authentic and a bit like someone in the back recorded the show. So, it´s not bootleg quality but only just a notch better than that. Overall "Panic Prayer" is a good quality release featuring enough quality material to warrant a purchase. A 3.5 star (70%) rating is deserved.

UMUR "Fearsick" is the second full-length studio album by US death/thrash metal act Inhuman Condition. The album was released through Listenable Insanity Records in July 2022. It´s the successor to "Rat°God" from June 2021. The trio lineup of Terry Butler (bass), Taylor Nordberg (guitars), and Jeramie Kling (vocals, drums), who recorded the debut album is intact on "Fearsick". The tracks "I'm Now the Monster" and "King Con" features guest guitar solos by Rick Rozz. Both Rozz and the three permanent members of Inhuman Condition were at some point members of US death metal act Massacre and the band is named after Massacre´s 1992 "Inhuman Condition" EP.

The material on "Fearsick" doesn´t sound much like Massacre though, although there´s definitely an old school death metal edge to the album. It´s instead a thrashy old school death metal style, which sounds a little like Power Trip gone death metal. Kling has a commanding and raw growling vocal delivery which is fully intelligible and both his vocals and his powerful drumming style are great assets of Inhuman Condition´s music. There are zero contemporary influences heard on "Fearsick" (no groove laden heavy riffs, no break-downs, no hardcore influenced screaming vocals, and no clean vocals), which sounds like it´s culled directly from the late 80s/early 90s US brutal thrash/death-thrash metal scene. Artists like Solstice, Demolition Hammer, and Devastation aren´t the worst references.

"Fearsick" features a powerful, raw, and well sounding production job. It´s not terribly different sounding compared to "Rat°God" and in that respect there hasn´t been much development between the two releases, but I´m sure that´s not really the point. This type of music is just meant to crush you skull and send you on a murder spree, and that´s exactly what you´re prepared to do after listening to "Fearsick". A 3.5 star (70%) rating is deserved.

UMUR "Faster than Death" is the eighth full-length studio album by US thrash metal act Hirax. The album was released through Doomentia Records in February 2025. It´s the successor to "Immortal Legacy" from 2014. Although Hirax have remained active and have released some demos, splits, and other minor releases in the 11 years between the two full-length studio albums, it´s still a long time to wait for a new album. In true Hirax style the listener only gets nine tracks and a total playing time of 21:45 minutes (their 1986 sophomore studio album "Hate, Fear and Power" famously only features a 16 minutes playing time), so it´s not like they´ve spend all those years composing a wealth of material for the world to hear.

"Faster than Death" is a release featuring no surprises and for most Hirax fans that´s how it should be. It´s powerful, raw, and either fast-paced or heavier mid-paced thrash metal with lead vocalist Katon W. de Pena´s distinct sounding raw shouting vocals in front. The musicianship is strong and everything is delivered with the right amount of intensity and passion. These guys are professionals and fans of raw old school west coast US thrash metal should find a lot to appreciate here. Raw staccato delivered vocals, powerful thrashy riffing and drumming, and blistering screaming lead guitar work. "Faster than Death" is well produced too and upon conclusion it´s another high quality release from Hirax and a 3.5 star (70%) rating is deserved.

martindavey87 ‘Time Requiem’ is the 2002 self-titled debut album by Swedish progressive power metal band, Time Requiem. Formed by keyboard player Richard Andersson, the band plays a style very typical of progressive metal, with a strong neoclassical influence, and an emphasis on powerful vocals and fantasy-themed lyrics.

The most prominent aspect of Time Requiem’s music is shredding, and it comes in boatloads! Andersson and guitarist Magnus Nordh are absolute beasts on their instruments, furiously ripping up the chromatic scale at every opportunity. It makes for some lavishly flavoured riffs and colourful solos, but sadly it does get a little repetitive after a while.

Most of the songs are very strong and well-written, but also rely on similar tropes. At times, they sound very reminiscent of other bands, such as Symphony X, Dream Theater and Stratovarius. But if you can accept a group wearing its influences on its sleeves, then you might just enjoy tracks such as ‘Watching the Tower of Skies’, ‘Time Requiem’, ‘Milagros Charm’, ‘Visions of New Dawn’, ‘The Aphorism’ and the absolutely psychotic instrumental, ‘Brutal Mentor’.

‘Time Requiem’ can be challenging to sit through in one go, especially if you’re not keen on the sheer technicality of the music, but perseverance and repeated listens can be rewarding. Over time, the album grew on me, and while the band offers nothing new or unique, this is a very solid debut, and I’m excited to hear where things will go with future releases.

martindavey87 ‘Alive!’, released in 1975, is the first live album by legendary American rock band, KISS. It’s often cited as their best album, period, and is the definitive summary of their music and legacy on one recording. So why do I feel like it’s a bit overrated?

Barely two years into their career, it’s impressive that this is the bands fourth release, and with three albums to draw material from, there’s a wealth of songs for their live shows. The problem is I’m just not really into those first few albums.

Don’t get me wrong, I love KISS. But my love of KISS pretty much starts from what would be their next studio album and onwards (that album being the fantastic ‘Destroyer’). Yeah, the live versions of those original songs sound better, and “how KISS are meant to be heard”, but mostly, those songs still don’t really do much for me.

That’s not to say that I don’t like this album, because I do. Despite the cheesy dubbed crowd noises, there’re still some great performances on here. Songs like ‘Deuce’, ‘Strutter’, ‘Hotter Than Hell’, ‘Cold Gin’ and ‘Rock and Roll All Nite’ probably sound better here than they would on their studio recordings, but then, that might also be because I rarely, if ever, listen to the studio recordings.

‘Alive!’ is no doubt regarded as a classic album, and sometimes considered one of the greatest live albums of all time, and that hyperbole may be the very reason why I feel it isn’t. I think it’s good, maybe even very good, but one of the all-time greatest? Sorry, to any KISS fans reading this, but no. Not for me. Just a “good” live album, but one that I’m not likely to listen to that often.

UMUR "The Craneal Hunger Seed" is the first demo recording by Spanish, Sevilla based death metal act Mawkish Ingestion. The demo was independently released in 1995. Mawkish Ingestion formed in 1994 and disbanded in 1997. "The Craneal Hunger Seed" was their only output.

Stylistically the four tracks on the 19:19 minutes long demo are gore drenched old school death metal. It´s savage, raw, noisy, and brutal as hell. There is an energy level on the demo which is through the roof. The songwriting is effective and there is good variation in terms of tempo and different riffing styles. The vocals are pretty sick and alternate between juicy brutal growling and snarling screaming. All the traits of goregrind are here, but this is ultimately more in the death metal camp. Not everything works on the demo and when the band try to branch out too much applying acoustic guitars and guitar solos, they take things a bit too far as they simply don´t have the skills to pull it off.

When that is said "The Craneal Hunger Seed" is still a highly entertaining death metal demo, and it´s a shame that Mawkish Ingestion never got the chance to record and release an album´s worth of material. I would have been very interested to listen to such a release. A 3 star (60%) rating is warranted.

UMUR "A Forgotten Dream" is the debut full-length studio album by Swedish death metal act Internal Decay. The album was released through Eurorecords in May 1993. It follows the release of the 1991 eponymously titled demo. Internal Decay formed in the Swedish capital of Stockholm in 1991. The band had however existed from 1987 under several different monickers. Internal Decay went widely unnoticed although they were a Stockholm band and the fact that "A Forgotten Dream" was recorded at Sunlight Studios, but of course not all Swedish bands from those days experienced success. None of the tracks from the 1991 demo appear on "A Forgotten Dream" in re-recorded versions, so all material on the album is new material.

While the material on "A Forgotten Dream" in some ways continue the old school Swedish death metal sound of the 1991 demo, Internal Decay have added considerable amounts of melody and a blackened touch to their music since the release of the demo. As a result "A Forgotten Dream" is a bit hard to tag correctly, but blackened melodic death metal isn´t the worst description if you ask me. The vocals are aggressive snarling rather than deep death metal growling. It´s artists like Unanimated, Dissection, and Necrophobic who come to mind, but Internal Decay are not quite as accomplished and they rely a bit more on epic atmosperic parts (with an ethnic Scandinavian edge). The often abrupt tempo changes and the slightly limb drumming are two of the features of the album which drag my rating down along with the often simplistic atmosphere enhancing keyboards.

Internal Decay are obviously a skilled band on a lot of parameters and they certainly also have some interesting songwriting ideas, but they struggle to make all the ends meet and when their drummer provides a weak link in terms of the musicianship things just don´t add up to an overall great release. But fans of melodic Scandinavian death metal with an old school blackened death metal touch may find more here to appreciate than I do. A 2.5 - 3 star (55%) rating is warranted.

UMUR "Merciless" is the eighth full-length studio album by US crossover thrash metal act Body Count. The album was released through Century Media Records in November 2024. It´s the successor to "Carnivore" from 2020. Body Count has had a remarkably consistent lineup with the bulk of the band members having been part of the lineup since "Manslaugther" from 2014. The lineup has actually only changed once since as lead vocalist Ice T´s son Little Ice was added to the lineup on "Bloodlust" (2017) as backing vocalist. "Merciless" features quite a few guest appearences though. Among others from Corpsegrinder (Cannibal Corpse) and Max Cavalera (Sepultura, Soulfly, Cavalera Conspiracy).

So, by now Body Count is a tight nit unit and a well playing band. Stylistically the material on "Merciless" more or less continues the hardcore influenced thrash metal style of the preceding albums with Ice T delivering politically charged lyrics featuring topics like racism, hatred, anger, war, and other merry subjects...in other words it´s just as it should be on a Body Count album. Ice T spits out venom in a nicely aggressive and raw shouting singing style and while the occasional nod towards his rap past is heard here and there, it´s not in any way a dominant part of the vocal style on "Merciless".

The sound production is to my ears a bit on the thin side and it could have prospered from a more bottom heavy sound, but other than that it´s a professional, clear, and powerful sounding production job. Paired with the strong musicianship and the well composed and entertaining material "Merciless" is overall another high quality release from Body Count. It won´t win over music listeners, who didn´t appreciate what came before, but on the other hand it will most certainly please the loyal fanbase and it has the potential to win Body Count new fans. A 3.5 star (70%) rating is deserved.

UMUR "Internal Decay" is the eponymously titled first demo recording by Swedish death metal act Internal Decay. The demo was independently released in 1991. Internal Decay formed in the Swedish capital of Stockholm earlier the same year. The band had however existed from 1987 under several other monickers. This demo would be their only demo release before being signed to Eurorecords for the release of their May 1993 debut full-length studio album "A Forgotten Dream". None of the tracks from this demo survived to be re-recorded and included on "A Forgotten Dream".

Stylistically the five tracks (one is a short intro) on the 16:35 minutes long demo are in an old school death metal style, featuring heavy brutal riffs, growling vocals, and morbid leads. Nothing is particularly unique here but the songwriting quality is decent for a 1991 Swedish death metal demo. The same can be said about the sound production which is also of a decent quality. All in all a good quality Swedish old school death metal demo, but nothing out of the ordinary for the style or the time. A 2.5 star (50%) rating is warranted.

UMUR "Descent into Lunacy" is the debut full-length studio album by Swedish death metal act Cryptorium. The album was released through Personal Records in November 2024. It´s the follow-up release to the July 2023 "Cryptic Bloodlust" demo, although a few teaser singles (featuring album tracks) were released in the months leading up to the release of "Descent into Lunacy".

It´s obvious when listening to "Descent into Lunacy", that although two out of the three members of the band also performed on the "Cryptic Bloodlust" demo, Cryptorium have opted for a lot of changes to their sound since the demo. Gone are the blackened snarling vocals and instead the vocals are now death metal growling and even occasionally some effect laden juicy growling (call them whatever you want...). The thin trebly production style found on the demo remains though, which provides "Descent into Lunacy" with a lo-fi production value atmosphere, although it´s more a matter of deliberate production choices than bad quality recording equipment. There are clear nods toward Dismember in the way some of the riffs are constructed and the filthy and murky production values may also be a homage to the early Dismember releases.

Cryptorium don´t quite reach the excellence of their more famous influences though and although I do hear both promise and interesting songwriting ideas in addition to strong musicianship, "Descent into Lunacy" still feels a bit like an unfinished product to me. The ultra raw production job will probably also be an obstacle to some, and I could personally also have wished for a less abrasive sound production. When that is said "Descent into Lunacy" is still a good quality death metal release and a 3 star (60%) rating is warranted.

UMUR "Cryptic Bloodlust" is the first demo recording by Swedish death metal act Cryptorium. The demo was recorded at the band's rehearsal space in Orminge, Stockholm, May 13th, 2023, and it was released in July 2023. Cryptorium formed in 2022 and "Cryptic Bloodlust" is the band´s only demo before getting signed for the release of their 2024 debut full-length studio album "Descent into Lunacy". The lineup is a bit mysterious as the person who recorded the drums have asked to be anonymous...the remaining lineup are Knalle Arvidsson (bass, backing vocals) and Fabian Larsen (guitars, vocals).

Stylistically the music is a savage and raw old school death metal style, but the vocals are raw raspy snarling and firmly belong in black metal territory. It´s the only part of the band´s sound which smells like black metal though, although the thin and trebly sound production could also point in that direction. The music itself is death metal though. It´s not particularly interesting or memorable death metal and although Cryptorium can certainly play their instruments and the hateful snarling vocals also make an impact, it all comes off a bit unfinised or maybe just a little immature.

It´s not a bad quality demo, but it´s not a demo which makes my blood boil either. None of the tracks from "Cryptic Bloodlust" would survive to be re-recorded and included on "Descent into Lunacy" (which actually isn´t entirely true as "Schizophrenic" was re-recorded during the sessions, but left off the debut album), and few will probably miss them. A 2.5 - 3 star (55%) rating is warranted.

UMUR "Demo 1991" is the first demo recording by Norwegian death metal act Infinite Decay. The demo was recorded and independently released in September 1991. It´s the sole release from Infinite Decay, as they disbanded in 1992 with no further releases under their belts. Infinite Decay formed in 1987 and after they split-up in 1992 two of the members went on to form black metal act Limbonic Art. Guitarist Vidar Jensen would also appear on the Emperor related Zyklon performing lead vocals under his Daemon pseudonym on Zyklon´s debut full-length studio album "World ov Worms" (February 2001).

The four tracks on the 19:57 minutes demo is old school death metal with a nicely aggressive growling vocalist in front. At times I´m reminded of Morgoth, but Infinite Decay have a few more thrash influences and more aggression to their music. While the quality of the songwriting isn´t exactly a revelation of any sorts, the output is certainly both powerful and effectful. The sound prodution is a bit on the thin trebly side, but considering that this is a demo, the end result is arguably of a decent quality overall. A 2.5 star (50%) rating is warranted.

UMUR "Rat°God" is the debut full-length studio album by US death/thrash metal act Inhuman Condition. The album was released through Listenable Insanity Records in June 2021. Inhuman Condition was formed in 2020 by guitarist Taylor Nordberg and drummer/vocalist Jeramie Kling after they departed Massacre. The band is named after Massacre´s 1992 "Inhuman Condition" EP. The trio lineup who recorded "Rat°God" is completed by bassist Terry Butler, who is also an ex-member of Massacre. Terry is of course quite the prolific death metal bassist having also played with/or is still playing with artists like Death, Obituary, and Six Feet Under.

So, with the names involved you´d expect this to sound a lot like Massacre, but although there are some similarities, Inhuman Condition are generally faster playing, a bit more technically well playing, and a lot more thrash metal influenced. This is still old school death metal but maybe a bit more Death (the band) influenced than Massacre influenced if you need a reference point. The above mentioned thrash metal influence is also very strong though and at times this is death/thrash metal rather than death metal. Kling is a nicely aggressive and intelligent growling vocalist and a great drummer to boot. There´s a great energy and forward drive in the way he plays, and the music is a result loaded with aggression, raw power, and intensity.

"Rat°God" features a raw, powerful, and detailed sounding production, and as the songwriting is effective and intense, and the musical performances on a high level on all posts, "Rat°God" is overall a high quality debut release from Inhuman Condition. A 3.5 star (70%) rating is deserved.

martindavey87 ‘Extreme II: Pornograffitti’ is the second album by American hair metal band, Extreme. Released in 1990, it came out at a time when there was a sense of change in the air. While grunge hadn’t yet completely taken over the world, there was certainly a feeling that a lot of the glam and party antics of the 80’s were becoming dated, which is unfortunate for this Boston quartet, as they had just released what could arguably be considered their best album.

I’ll never understand why hair metal was on such a decline back then, with energetic showmen traded for angsty introverts and flashy guitar solos traded for three chords. Perhaps people were just sick of the image of it all, or just not being able to relate to the lyrics? But regardless, the musicianship was still truly spectacular. For Extreme in particular, praise must go to guitarist Nuno Bettencourt, whose absolute ferocity on the guitar is insane, and vocalist Gary Cherone has an incredible and charismatic voice that totally fits the funky shred style of the riffs.

And I won’t leave out drummer Paul Geary and bassist Pat Badger, who are absolutely solid as a rhythm section, providing plenty of groove and funk.

There’s an absolute abundance of hits on this album, but particular highlights for me include ‘Decadence Dance’, ‘Get the Funk Out’, ‘It (‘s a Monster)’, ‘When I’m President’, the frantic shred-fest that is ‘He-Man Woman Hater’, soft ballad ‘More Than Words’ (which was actually a massive hit for the band), as well as the title track itself. But in all honesty, this album is just non-stop banger after banger, and if you can shake off the 80’s glam stigma, this is an incredible album, and an essential addition to every rock or metal collection.

martindavey87 I first got into Pitchshifter when I heard the song ‘Genius’ on the soundtrack to ‘Mortal Kombat: Annihilation’ way back in the late 90’s. I loved that song back then, and very quickly got into albums like ‘Deviant’, ‘PSI’ and ‘www.pitchshifter.com’. I enjoyed their energetic industrial style and their rebellious attitude, and these were very impressionable on a young, teenage me.

But then it came time to delve into their back catalogue and check out their debut album, and… what the hell happened here?!

Gone is the industrial energy and rebellious anthems, and in their place, is some sludgy, grimy, death metal nonsense. Not that I really have anything against sludge or death metal for the record, but I just find this album plods along at a very slow, very dull, and very repetitive rate. The incoherent vocals, indistinguishable guitar riffs and mechanical drum machines do nothing for me.

And I tried. I really did. I had this on my playlist for a little while and gave it multiple listens, but absolutely nothing is sticking. I just find myself constantly bored and wanting to listen to any one of the bands later releases, which I know they’ll go on to release some true industrial gems. So with that said, this will retire to the CD shelf, most likely to never be played again, but kept because my collector OCD dictates that it needs to stay with the rest of my Pitchshifter collection.

martindavey87 ‘Volume 1’ is the 1999 debut album by American alternative rock band, CKY. Through their ties to the TV show Jackass (the drummer is Bam Margera’s brother), the band were synonymous with the skater scene around the turn of the century, and had somewhat major success due to a particular hit of theirs.

That hit is ’99 Quite Bitter Beings’. I have never in my life been a skater (I can’t even stand on one without getting all wobbly!), but back in my teenage years, I had a lot of friends who were skaters, and EVERY single hooded-topped, baggy-trouser-wearing one of them liked this song.

Fast forward approximately 20 years, and it’s time to dig into this album and give Camp Kill Yourself a proper chance, and I must say, I’m actually surprised how much I enjoy this album. There’s a lot of very interesting guitar riffs, emphasised even more by their choice of sound, with heavy low-ends, making for some very intriguing writing. The lyrics are mostly tongue-in-cheek, but are catchy and infectious.

Overall though, this is just a solid, hard rocking album. The instrumental work is very good and fairly unique for this kind of band, and with tracks like ‘Rio Bravo’, ‘Lost in a Contraption’, ‘Disengage the Simulator’, ‘My Promiscuous Daughter’ and of course, ’99 Quite Bitter Beings’, there’s an abundance of tasty guitar riffs and captivating ideas that makes me regret waiting so long to properly check this band out.

UMUR "The Number Of The Beast" is the third full-length studio album by UK heavy metal act Iron Maiden. The album was released through EMI Records in March 1982. It´s the successor to "Killers" from 1981 and features one major lineup change as lead vocalist Paul Di'Anno was fired from Iron Maiden and replaced by Bruce Dickinson (Samson) following several episodes where the rest of the band felt that he didn´t perform well on stage (alledgedly as a result of his cocaine and alcohol abuse). There´s no arguing that changing their lead singer, at this still early stage of their career, was a risky move, but their choice ultimately paid off as "The Number Of The Beast" was a major commercial and artistic success, and a major leap forward in terms of being counted among the premier league heavy metal act on the scene. The cover artwork and the title of the album sparked quite a bit of controversy among religious groups (especially in the USA), but that probably only helped the album become even more commercially successful (the heavy metal counterculture audience, have always stood up for their heroes in situations like that).

9 tracks were recorded during the recording sessions, but only 8 tracks were included on the album because of time restraints on the vinyl media. "Total Eclipse", which was left off would appear as the B-Side to the "Run to the Hills" single. Later reissues of "The Number Of The Beast" includes "Total Eclipse" on the tracklist.

Stylistically Iron Maiden continue the heavy metal style of their previous releases, but with a more epic and at times even progressive touch. Dickinson is a more skilled and diverse vocalist (almost theatrical in his delivery) than Di'Anno and his addition to the lineup has resulted in a more refined, less raw, yet still powerful and energetic heavy metal sound. Main composer/bassist Steve Harris felt increased inspiration by the addition of Dickinson and the possiblities his more versatile voice and singing skills provided when composing the material. A pounding busy bass, powerful drumming, and loads of harmony lead guitar themes and blistering melodic guitar work are still the main ingredients of Iron Maiden´s sound, but the diversity and progressive rock influences of tracks like "22 Acacia Avenue" and especially "Hallowed Be Thy Name" make "The Number Of The Beast" a much more varied listen than the two preceding album releases (although those albums also featured their fair share of intriguing moments and progressive rock influences).

The above mentioned "Hallowed Be Thy Name", which closes the album is arguably among the highlights of "The Number Of The Beast", but tracks like "Run To The Hills" and the title track are also Iron Maiden classics. Deeper cuts like "Children Of The Damned" and "The Prisoner" are also high quality compositions though, but all tracks on the album are well written and effective heavy metal tunes. "Invaders" and "Gangland" are maybe the least memorable tracks on the tracklist but even those two tracks are good quality songs, which have a place on the album. Producer Martin Birch have created a powerful, organic, and detailed sound production, which suits the material well, and upon conclusion "The Number Of The Beast" is through and through a high quality heavy metal release. A 4 star (80%) rating is deserved.

UMUR "Sol Niger Within" is the debut full-length studio album by Swedish music artist Fredrik Thordendal. The album was released under the Fredrik Thordendal's Special Defects monicker and it was released through five different labels on different markets. The Avalon Records version, which was released in Japan features one 43:34 minutes long track, while all other versions feature the long track broken down into 29 shorter songs. Thordendal is known as the guitarist and one of the founders of Swedish technical metal act Meshuggah and "Sol Niger Within" bridges the gab between Meshuggah´s second- and third full-length studio albums "Destroy, Erase, Improve" (1996) and "Chaosphere" (1998).

Those familiar with the two mentioned Meshuggah albums won´t be surprised with the increasingly angular odd-metered heavy riffs and rhythms, Holdsworthian jazz/fusion guitar solos, and the generally abstract almost avant-garde futuristic take on playing heavy music. It´s the evolution you also hear from the still thrash/groove metal oriented "Destroy, Erase, Improve" to "Chaosphere". The vocals on "Sol Niger Within" are some sort of spoken raw snarling and there are also some spoken word sections featured on the album. Guitars, bass, synths, and vocals are predominantly performed by Thordendal (although the album features quite a few guest performances), while the drums are performed by Swedish drummer Morgan Ågren (Karmakanic, Casualties of Cool, Kaipa, Devin Townsend).

Some tracks feature recognisable structures and some repetition, while others feel very abstract and linear, and "Sol Niger Within" definitely isn´t an easily accessible listen. So, if you find Meshuggah a hard listen, this will probably prove an even more challenging and maybe even difficult listening experience. Even Meshuggah fans may find this a bit too abstract, but when that is said "Sol Niger Within" features a lot of interesting songwriting ideas and moments, and while it´s certainly an avant-garde metal release, it´s not completely inpenetrable.

As an artistic statement "Sol Niger Within" arguably shows the genius and uniqueness of Thordendal and it´s overall an entertaining, highly experimental, and intriguing listen. As the album often lacks a solid structure or something for the listener to hold on to for very long, it´s as described above a pretty difficult listen though, and as a result it´s probably only an album for a select few open-minded listeners. A 3.5 star (70%) rating is deserved.

UMUR "Imperium" is the third full-length studio album by Swedish metal act Memfis. The album was independently released in November 2018. It´s the successor to "Vertigo" from 2011, although the two full-length studio albums are bridged by the 2013 "Silva" EP. "Imperium" is a concept release featuring lyrics which are stories describing different stages of a civilization.

Stylistically Memfis continue to play a progressive post-hardcore/metalcore style, with both nods toward artists like Burst, Mastodon, Gojira, and Metallica, as well nods toward 70s progressive rock. They operate in a musical area which isn´t just described with a single genre tag. So, "Imperium" is for the musically adventurous listener. Those who enjoy their music dynamic and featuring both heavy aggressive parts and mellow/atmospheric progressive rock parts presented within reasonably assessible song structures. Memfis have been building towards this sound throughout their discography and "Imperium" is the culmination of that development.

"Imperium" features a well sounding, powerful, and detailed production, which suits the material well. The band are well playing too and the vocal part of the sound is pretty varied, ranging from aggressive hardcore screaming, to semi-death metal growling, to clean vocals (all male). Memfis have included a session saxophone player to a couple of tracks, which is quite effectful and adds even more variation to their already eclectic sound (which in addition to vocals, guitar, bass, and drums also features synths, piano, and mellotron). "Imperium" is upon conclusion a high quality release from Memfis and a 3.5 star (70%) rating is deserved.

martindavey87 Released in 1987, ‘Among the Living’ is the third studio album by American thrash metal band Anthrax, and is hailed by fans as one of the genres greatest albums. Much like the other members of thrash metal’s “big four” (look ‘em up if you don’t know), Anthrax were at this time, riding an upward trajectory of both creative and critical success. Their previous outing, ‘Spreading the Disease’, solidified them as one of metal’s most promising bands, and this follows on exactly from where they left off.

With the same line-up of musicians, having toured and played together for a number of years now, it’s no surprise that everyone is firing on all cylinders here. The twin-guitar assault sounds even tighter than before, with rapid-fire thrash riffs that refuse to slow down. The bands tongue-in-cheek approach is here in spades, in particular with vocalist Joey Belladonna’s performances, sometimes serious, oftentimes humorous, all the time impressive. All the ingredients for a great Anthrax record are here.

The production sounds good for its time, though nothing overly remarkable, it sounds pretty much as you’d expect an 80’s thrash album to sound, and it holds up well to this day. With fist-pumping anthems such as ‘I Am the Law’, ‘Indians’, ‘Caught in a Mosh’, ‘Among the Living’ and ‘Efilnikufesin (N.F.L.)’, there’s an abundance of Anthrax classics here, helping make ‘Among the Living’ an essential album that belongs in every metal fans collection.

martindavey87 Released in 1973, ‘Aerosmith’ is the self-titled debut album by American hard rockers, Aerosmith. Showcasing a young band with a whole bundle of confidence and potential, this is hard rock in a similar vein to bands such as KISS, AC/DC or The Rolling Stones. No gimmicks here though, just solid songwriting and loads of energy.

The production on this album is good for its time, and holds up well. Vocalist Steven Tyler isn’t hitting the high notes like he does in later years, not yet anyway, but you can certainly hear the passion and charisma in his voice. The bands sound is still pretty grounded in the blues, having not taken on that harder edge just yet. But again, it’s all good, and we all know what’s coming over the next few years. Or decades.

Overall, this is just a good, solid rock album. At barely 36 minutes in duration, ‘Aerosmith’ absolutely flies by, and tracks like ‘Make It’, ‘Mama Kin’, ‘Walkin’ the Dog’ and early, huge hit for the band, ‘Dream On’, make it a worthy addition to any hard rock collection.

UMUR "Live in Perfect Deformity" is the third demo recording by Spanish death metal act Avulsed. The demo was released through Putrefy Tape-Mag in June 1993. It was recorded live at the Revolver Club, Madrid, Spain on April 10th, 1993. The date is interesting as this live show was recorded during the same period Avulsed recorded their second demo "Deformed Beyond Belief" (recorded at El Jardin Parametrico Studios on April 9-11, 1993.), so obviously the band both found time to record in the studio and play and record a live show. This was only the third show the band played since their inception.

The demo features seven tracks and a total playing time of 37:31 minutes. Two tracks are from the October 1992 "Embalmed in Blood" demo, four tracks are from the May 1993 "Deformed Beyond Belief" demo (which of course hadn´t been released at this point), and the last track is a cover of "Mutilating Process" by Dutch death metal band Asphyx. The sound quality and the performances are decent considering that this is a demo live recording done by a band, who had only played two shows before this one. I´m actually a little surprised that the recording sounds this good.

"Live in Perfect Deformity" is a hard demo to find, and other than the Asphyx cover being included on the original version of the 1999 "Seven Years of Decay" compilation album (the cover is not available on the digital version of the compilation), I´m not sure Avulsed have reissued any of the other live tracks from "Live in Perfect Deformity". A 3 star (60%) rating is warranted.

UMUR "Deformed Beyond Belief" is the second demo recording by Spanish death metal act Avulsed. The demo was released through Drowned Productions in May 1993. It follows the release of the October 1992 "Embalmed in Blood" demo. Lead vocalist Dave Rotten was quite a prolific part of the early 90s European death metal scene. Not only as frontman for Avulsed but also in his role as label founder and boss of Drowned Productions.

Stylistically the 6 tracks, 23:16 minutes long demo features a contiuation of the old school death metal style of the "Embalmed in Blood" demo, although the more clear sounding (yet still raw and brutal sounding) production style allows for more details to be heard. The addition of a second guitarist to the lineup (Jose "Cabra") provides a heavier and more varied guitar attack. Rotten´s vocals are still of the predominantly unintelligible growling kind, but I can pick up a few more words than on "Embalmed in Blood".

"Deformed Beyond Belief" is upon conclusion a real treat for fans of the most raw, brutal, and old school oriented death metal. It´s grim, morbid, and savage sounding, and you won´t find any technical wankery here. This is as old school and authentic as it gets. A 3.5 star (70%) rating is deserved.

UMUR "Silva" is an EP release by Swedish metal act Memfis. The EP was independently released in April 2013. It bridges the gap between Memfis' second- and third full-length studio albums "Vertigo" (2011) and "Imperium" (2018). Memfis opted for the independent release form again (like they also did on "Vertigo"), which is probably due to the bad experience they had with their first label, which resulted in a longer legal battle.

Stylistically the material on the 5 tracks, 18:08 minutes long EP is a type of progressve post-hardcore/metalcore with the occasional more heavy and brutal sludge/death metal oriented moment put in. The aggessive hardcore shouted vocals of the preceding albums have become a bit more melodic yet still raw shouting, and as described above with the occasional excursion into rawer and more brutal territories (although they are few and far between). The music is atmospheric and beautiful but also raw and hard hitting when that is called for.

The EP features a well sounding production job, and since both the musicianship and the songwriting are also on high levels "Silva" is a good quality release and a worthwhile release if you enjoyed the two previous releases by Memfis. A 3.5 star (70%) rating is deserved.

UMUR "Vertigo" is the second full-length studio album by Swedish metal act Memfis. The album was independently released in October 2011. It´s the successor to "The Wind-Up" from 2006. There have been two lineup changes since the predecessor as guitarist/vocalist Johan Boqvist has been replaced by Daniel Götstedt and bassist Christian Öhberg has been replaced by Henrik Hedelund. "Vertigo" was actually recorded in 2008, but as a consequence of a longer legal battle with Memfis former label, they weren´t able to release "Vertigo" until 2011. At that point they were done with record labels, and therefore opted to self-release "Vertigo".

Just as the case was on "The Wind-Up", Memfis play a pretty eclectic type of hardcore/metal on "Vertigo". Post-hardcore, metalcore, technical death/sludge (not completely unlike listening to early Mastodon), and progressive metal songwriting coplexity are some of the ingredients of the band´s sound. Contemporary Swedish act Burst is the most valid reference to my ears, but Memfis as described take influences from a lot of different sources. The vocals are predominantly aggressive hardcore shouting/screaming, but the album also features clean vocal sections. The musicianship is on a high level on all posts and it´s audible that Memfis is a well playing and skilled unit.

The diversity of the output and the intriguing songwriting, which make the music a bit difficult to properly describe, are great assets of "Vertigo" and keep the listener on his/her toes for the duration of the album. The unpredictability within otherwise relatively regular length songs is not the least bit confusing though, as Memfis seamlessly weave all the elements together into a cohesive musical style. Featuring a professional, powerful, and detailed sound production that part of the album is also an asset. A 3.5 star (70%) rating is deserved.

UMUR "Embalmed in Blood" is the first demo recording by Spanish death metal act Avulsed. The demo was independently released in October 1992. Avulsed was formed in late 1991/early 1992 after lead vocalist Dave Rotten (real name: David Sánchez González) moved to Madrid and assembled a quartet lineup which in addition to himself included guitarist Luisma, bassist Lucky, and drummer Toni. Rotten was already a relatively prolific personality on the early 90s Euroean death metal scene and as the founder and owner of Drowned Productions his influence reached far beyond "just" playing in a band.

The short intro and the two other tracks on the 7:58 minutes long demo give a solid picture of what Avulsed stand for. It´s gloomy, murky, and brutal old school death metal with an unintelligent growling Rotten in front. It´s the likes of Incantation, Autopsy, and Finnish artists like Convulse and Demigod I´m reminded of, and the close ties to especially the Finnish death metal scene aren´t a coincidence, as Rotten/Drowned Productions was deeply involved in releasing some of the early seminal Finnish death metal releases. So that Avulsed found inspiration in that scene really isn´t a surprise.

The demo was recorded on a 16-track recorder during an 8 hours session in August 1992, and Avulsed have ended up with a relatively well produced demo. It´s got the right rawness and morbid murkiness to it, which is so important for this type of death metal, but it´s not a sloppy or noisy release. A 3 star (60%) rating is warranted.

Nightfly Bionic Swarm was one of my favourite albums of 2021. Technical thrash, not unlike Vektor. A dynamic album packed with great riffs, strong hooks and excellent musicianship. Four years later Cryptosis are back with album number two, Celestial Death.

One of my most anticipated albums of recent years, I’ll come out with it straight away and say my initial impression was one of disappointment, though it has grown on me somewhat since. Whilst still in the cyber thrash territory of Bionic Swarm the most obvious change is the greater dominance of keyboards, especially mellotron. Synths and mellotron were present last time around but didn’t overshadow the razor sharp guitar work of Laurens Houvast. He’s not totally obliterated, but his riffs often (not always, especially later in the album) merge into the barrage of keyboards taking the edge off them. Having said that, though still solid, on the whole they lack the memorability of last time and nothing here blows me away like Decypher, Prospect Of Immortality or Transcendence did.

Having got the negatives out the way Celestial Death is still a fine album and if I’d not previously heard Bionic Swarm I’d probably be singing its praises a lot more. There’s still plenty of good songs on offer like the blackened thrash of Ascending and Reign Of Infinite, perhaps my favourite here. More progressive elements, largely down to the keyboards are on display which never a bad thing as far as I’m concerned. The melodies are still there but require a few more plays to reveal themselves and that melancholic vibe I liked about the debut is still there too as is the excellent musicianship.

You’ve probably grasped by now that I’m not as blown away by Celestial Death as much as Bionic Swarm but all respect to Cryptosis for showing some growth. After my initial disappointment and having had time to digest the album better with repeated plays I’m still happy with and enjoying this. Writing this review helped me focus on its strengths and I’m still more than eager to hear where they go next.

UMUR "Memoria Viva" is the third full-length studio album by Spanish, Barcelona based progressive death metal act White Stones. The album was released through Reigning Phoenix Music in June 2024. It´s the successor to "Dancing into Oblivion" from August 2021 and features the same quartet lineup who recorded the predecessor. Bassist Martín Méndez (who also plays rhythm guitars on this release) is known as the long-standing bassist in Swedish progressive death metal band Opeth (only Mikael Åkerfeldt has been with the band longer than Méndez), and Méndez involvement in White Stones has of course provided the band with publicity other similar artists maybe haven´t had the opportunity to receive.

When that is said White Stones fully deserves to be mentioned as an interesting and worthwhile progressive death metal act regardless of Méndez involvement with the project. White Stones of course can´t escape some comparisons to Opeth, but although both Opeth and White Stones are at their core progressive death metal artists and some of Méndez playing style and Opeth involvement shine through here and there while listening to "Memoria Viva" (and on the two preceding album releases from White Stones), White Stones actually sound very little like the more well known and prolific Swedish act (despite Opeth keyboard player Joakim Svalberg also guesting, making the Opeth connection even stronger).

One of the core elements of White Stones' sound are the heavy organic grooves of the music. There´s an earthy, at times psychedelic, and quite creative touch to the band´s songwriting, and although heavy death metal riffs and growling/harsh Spanish lyric vocals are part of said sound, "Memoria Viva" is actually more an atmospheric and experimental progressive metal album than a death metal/black metal ditto. 70s hard rock and progressive rock, and 60s psychedelic heavy rock are all music styles which have influenced the sound of "Memoria Viva". Paired with the extreme metal elements it makes for an interesting and relatively unique listen. Maybe Enslaved at their most space rock/progressive metal mood could be mentioned as a reference. The tracks will take you through different musical landscapes and dynamics and although they are reasonably accessible, they do take a few listens to sink in. A good example of the diversity of the album is a track like the 6:58 minutes long "Humanoides". But even before we reach the halfway point of the album "D-Generación" has introduced a melodic aspect of the band´s sound and "Zamba de Orun" showcase flute playing (courtesy of session musician José Ignacio Lagos) and both classical music influences as well as an obvious nod towards Jethro Tull.

"Memoria Viva" features a powerful, organic, and detailed sound production, which suits the material perfectly. This is a high quality release through and through. The songwriting is intriguing and varied, the musicianship is on a high level, and topped off with a well sounding production job like this one, "Memoria Viva" continues the streak of high quality musicial output and fans of adventurous progressive metal with growling/snarling vocals should take note of this album. A 4 star (80%) rating is deserved.

UMUR "Procession Of Ghosts" is the fifth full-length studio album by German death metal act Dawn Of Disease. The album was released through Napalm Records in November 2019. It would be the final album in their original run, as Dawn Of Disease disbanded in 2020. "Procession Of Ghosts" the successor to "Ascension Gate" from August 2017. The lineup who recorded the predecessor is intact.

Stylistically the material on "Procession Of Ghosts" is a continuation of the melodic and often epic sounding death metal style of "Ascension Gate". A further confirmation that the stylistic change from death metal to melodic death metal which happened between "Worship The Grave" (2016) and "Ascension Gate" (2017) wasn´t a one-off. These guys are now 100% a melodic death metal band (even utilizing atmosphere enhancing keyboards on this album).

"Procession Of Ghosts" features a well sounding production, which is probably the best sounding production on any of the band´s albums. Dawn Of Disease are a well playing unit too, but their lack of a unique sound and the fact that for all the melodic qualitities of their material, their songs aren´t particularly memorable, aren´t features which leave a positive impression. I have the feeling at all times that they are capable of so much more, but only reveal about 60% of their potential. A 3 star (60%) rating is warranted.

UMUR "Ascension Gate" is the fourth full-length studio album by German death metal act Dawn Of Disease. The album was released through Napalm Records in August 2017. It´s the successor to "Worship The Grave" from June 2016.

Stylistically the material on "Ascension Gate" is a change in sound from the first three albums. Dawn Of Disease have incorporated a lot more melody and they should now be labelled melodic death metal. They were never the most old school sounding death metal act to begin with and they´ve used some melodic elements before, but never to the extent that melody is used here. On "Ascension Gate" it´s a central part of the sound.

"Ascension Gate" features a decent sounding production job, and while I still don´t think Dawn Of Disease will win any contests where an original sound is part of the criterias for winning, they do what they do with skill and some conviction. I´m not blown away by their standard quality songwriting, or the many tried and true musical elements they use, but when that is said, these guys can play and deliver a decent quality product. A 3 star (60%) rating is warranted.

UMUR "To Drink From The Night Itself" is the sixth full-length studio album by Swedish death metal act At The Gates. The album was released through Century Media Records in May 2018. It´s the successor to "At War with Reality" from 2014 and the final proof that "At War with Reality" wasn´t just a one-off comeback album. At the Gates were indeed back and active again. There´s been one lineup change since the predecessor as guitarist Anders Björler has left and has been replaced by Jonas Stålhammar. Björler left in 2017 as he was tired of touring (he returned to the fold in 2022).

Stylistically the material on "To Drink From The Night Itself" continues the melodic and heavy death metal style of "At War with Reality (2014)", and the album feels like a natural successor to the comeback album. At the Gates are a well playing unit and they are consistent in both quality and style. Those who enjoyed "At War with Reality (2014)" will find a lot to appreciate here too. The musicianship is as mentioned above on a high level and lead vocalist Tomas Lindberg has a distinct sounding voice and growling/screaming delivery. His way of singing and his voice is probably an aquired taste, but he arguably brings an unique element to the band´s sound.

The material are powerful, melodic and heavy death metal, and At the Gates successfully alternate between heavy mid-paced tracks and faster paced tracks, to make "To Drink From The Night Itself" a relatively varied release. The band also incorporate a few atmospheric moments (the narration on "El Altar del Dios Desconocido" and a couple of shorter acoustic/clean guitar sections), which bring even more diversity to the material. There´s a strong melancholic feeling to the music throughout the album, and at times it borders the darkly epic.

"To Drink From The Night Itself" features a well sounding production job, which suits the material well. It´s a detailed production, but it´s not too polished. Upon conclusion "To Drink From The Night Itself" is another high quality release by At the Gates. It´s slightly less interesting than "At War with Reality", and while the songwriting is relatively varied in terms of tempo changes, there´s still a slight atmosphere of monotony to the material, which you only notice if you listen to the album from start to finish. Individually the tracks are all high quality compositions, but to my ears the album as a whole could have prospered from more variation in dynamics and diversity of songwriting ideas. Still a 3.5 - 4 star (75%) rating is deserved.

UMUR "Worship The Grave" is the third full-length studio album by German death metal act Dawn Of Disease. The album was released through Napalm Records in June 2016. It´s the successor to "Crypts of the Unrotten" from 2012. The lineup is pretty alternative as two drummers and two bassists perform on the album, but my qualified guess is that one rhythm section departed midway through the recording sessions and another was drafted soon after to complete said sessions.

Stylistically the material on "Worship The Grave" is pretty standard death metal with some brutal old school elements, some melodic death metal elements, and the occasional faster paced blasting parts. Dawn Of Disease still haven´t found a unique sound, and while their songwriting and general sound aren´t awful in any way, there´s very little which stands out as original or which screams to the listener that it´s Dawn Of Disease they are listening to. The sound production is of a decent quality and the performances are pretty strong too, but there are just not enough memorable moments on the album. A 3 star (60%) rating is still warranted though, as "Worship The Grave" is a fairly entertaining listen while it plays...it´s just as soon forgotten though.

martindavey87 As far as live albums go, ‘Live At the Brixton Academy’ can only be rated as “okay”. Released in 1991, this comes off of the success Faith No More had with previous studio outing ‘The Real Thing’. You can certainly feel the energy radiating from the band, with confident and charismatic performances, especially by vocalist Mike Patton, but sadly, the sound is far from brilliant, and as such, I think most fans are better off just listening to the studio albums.

There’s also not really much here to entice repeated listens. They play the songs, the crowd applause, Mike Patton says something, onto the next song. The set list is pretty good, with all the major hits present, but again, overall, there’s just nothing particularly memorable about this disc.

One best kept for die-hard Faith No More fans. And even then, I doubt many of them listen to it that often.

martindavey87 Released in 1989, ‘The Real Thing’ is the third studio album by alternative metal band Faith No More, and is notable for being the first to feature vocalist Mike Patton. With former frontman Chuck Mosley gone, it’s the addition of Patton that helped the Californian’s truly find their sound and establish themselves as a huge name in the rock and metal world. A certain hit single didn’t hurt, either.

Further pushing the boundaries of where they could take their music, Faith No More’s chemistry as a band really started to pay dividends here. Blending metal, funk, and even pop and disco elements, with a variety of singing, rapping and growling, the band really hit a creative high with their unique sound and unique singer.

Of course, the main focal point of ‘The Real Thing’ is arguably the bands most well-known song and their biggest hit, ‘Epic’. A song that still garners endless radio rotation to this day! Along with ‘Epic’, there are other great tracks, such as the energetic ‘From Out of Nowhere’, the funky ‘Falling to Pieces’, the heavy ‘Surprise! You’re Dead!’ or the title track itself. Though, I must admit I do feel halfway through the album there’s a decline in quality. While the songs are easy enough to sit through, I generally find them quite passable.

Still, overall, this album is regarded as a classic, and rightfully so. It really put Faith No More on the map as mainstream superstars for a short time, and while their brief flirtation with commercial music wouldn’t last long, this record still holds up pretty well to this day, and definitely belongs in the collection of every rock and metal fan.

UMUR "As Above, So Below" is the second full-length studio album by US, Seattle based thrash metal act Forced Entry. The album was released through Relativity Records in June 1991. It´s the successor to "Uncertain Future" from 1989. The trio lineup who recorded the debut album is intact on "As Above, So Below". Two promotional videos were shot for the songs "Macrocosm, Microcosm" and "Never A Know, But the No", which shows the financial muscles that Relativity Records had after Sony Music acquired a 50% stake in the company in 1990. Despite the two videos receiving rotation on MTV's Headbangers Ball (which was the place to be heard/seen in those days, if you wanted to succeed), Forced Entry never achieved much commercial success, and after releasing the 1995 "The Shore" EP (which was actually recorded in 1990-1991 during the same sessions which spawned the material featured on "As Above, So Below"), the band folded.

Stylistically the material on "As Above, So Below" is a more eclectic type of thrash metal than the more straight forward thrash metal style of "Uncertain Future". Heavy groove laden riffs and rhythms have been added to the the band´s sound, and while this can´t be 100% labelled a groove metal release, some parts definitely point in that direction.

The musicianship is strong on all posts and it´s one of the greatest assets of the album. The riffs are sharp and creative, the lead guitar work is clever and melodic, and the rhythm section deliver a heavy and powerful punch. Unfortunately lead vocalist/bassist Tony Benjamins is a pretty unremarkable singer. Not awful by any means, but his voice and singing style is very standard for the genre, and don´t bring much to the music.

"As Above, So Below" features a dry, sharp, and detailed sound production, which suits the material perfectly, and to my ears it´s a very well sounding release. Maybe just slightly too sterile, but I personally enjoy the clarity of the instruments and how you´re able to hear each note and beat with ease. Upon conclusion "As Above, So Below" is in many ways a high quality thrash metal release with heavy groove metal elements, and had Benjamins been a more interesting and distinct sounding vocalist, my rating would have been higher. As it is a 3.5 star (70%) rating is still deserved though.

UMUR "Thane to the Throne" is the fifth full-length studio album by US power/heavy metal act Jag Panzer. The album was released through Century Media Records in June 2000. It´s the successor to "The Age of Mastery" from September 1998 and features the same quintet lineup who recorded the predecessor.

Stylistically the material on "Thane to the Throne" is an epic and melodic type of US power/heavy metal. The music features many traditional heavy metal riffs and rhythms, loads of clever lead guitar work (both solos and harmonies), but also the occasional hard edged semi-thrashy riff. Lead vocalist Harry Conklin has a strong voice and a theatrical and passionate delivery. He can hit the hight notes but also sound relatively gruff when that is needed. In that respect Jag Panzer is the very definition of US power metal, although predominantly in the traditional heavy metal end of the spectrum rather the the harder edged thrash metal end.

"Thane to the Throne" is slightly different from the two direct predecessors, as they were both a little more straight and to the point US power/heavy metal, while "Thane to the Throne" is overall more epic in atmosphere and it´s also a concept release featuring the story of Shakespeare's "Macbeth". There´s a slight symphonic edge to some parts of the album, but it´s not to a degree where it overpowers the guitars, bass, drums, and vocal core of the band´s sound.

While the material is generally well written and appealing all the way through the 17 track, 64:43 minutes long album, the music style can be a little one-dimensional and a few more tempo changes and other details to make it easier to tell the tracks apart would have been greatly appreciated. Album closer "Tragedy of MacBeth" stands out the most as the first part of the track almost sounds like a 70s progressive rock song, and I had to check that it wasn´t a cover to be sure. Most of the other tracks on the album are less surprising if you´re familiar with Jag Panzer, and the listener is generally just exposed to some really solid US power/heavy metal packed in a powerful, detailed, and well sounding production. A 3.5 star (70%) rating is deserved.

UMUR "Call of the Mastodon" is a compilation album release by US metal act Mastodon. The album was released through Relapse Records in February 2006. It bridges the gap between Mastodon´s second- and third full-length studio albums "Leviathan" (2004) and "Blood Mountain" (2006). "Call of the Mastodon" features all nine tracks from Mastodon´s "9 Song Demo" from 2000. After only a few shows original Mastodon lead vocalist Eric Saner left, and guitarist Brent Hinds and bassist Troy Sanders subsequently re-recorded the vocal tracks on the "9 Song Demo". The demo tracks featuring the re-recorded vocal tracks first apppeared on the three separate releases. "Demo 2001" and the two 2001 EPs "Slick Leg" and "Lifesblood". One track on the former, three tracks on "Slick Leg" and five tracks on "Lifesblood". So this compilation is the first time all nine demo tracks featuring the re-recorded vocal tracks have been released in its entirety.

Stylistically Mastodon play a hard to describe type of metal, influenced by sludge, thrash, hardcore, and even death metal. The vocals are angry, shouting, and are often doubled by the two vocalists. The soundscape is raw, brutal, and busy, and Mastodon already this early on proved that they were a technically well playing unit. Drummer Brann Dailor is on fire throughout the release, driving the music forward in a both powerful and creative fashion, while guitarists Brent Hinds and Bill Kelliher produce one heavy, occasionall even brutal, yet sophisticated and intriguing riff after another. The songwriting is creative but generally lacks memorable and hook laden moments, and it´s in that department that Mastodon still needed to hone their skills. Considering that Mastodon formed the same year as recording the material featured on "Call of the Mastodon", and the fact that this was originally released as a demo, it´s still quite the impressive early release from Mastodon and a 3 - 3.5 star (65%) rating is warranted.

UMUR "Lifesblood" is an EP release by US metal act Mastodon. The EP was released through Relapse Records in September 2001 (their second 2001 EP). Mastodon formed in 2000 and released the "9 Song Demo" later the same year. After only a few shows supporting the demo release original lead vocalist Eric Saner left Mastodon and the band opted to re-record and replace Saner´s vocal tracks with vocal tracks performed by guitarist Brent Hinds and bassist Troy Sanders. Five of the nine tracks from the demo (featuring the re-recorded vocals) make up the 15:37 minutes long "Lifesblood". All material from the EP would later be released as part of the "Call of the Mastodon" (2006) compilation album.

Stylistically Mastodon play a hard to describe type of metal, influenced by sludge, thrash, hardcore, and even death metal. The vocals are angry, shouting, and often doubled by the two vocalists. The soundscape is raw, brutal, and busy, and Mastodon immediately prove that they are a technically well playing unit. Drummer Brann Dailor is on fire throughout the EP´s five tracks, driving the music forward in a both powerful and creative fashion.

If anyone feared that material culled directly from a demo would feature a bad sound quality, those fears are unfounded as the material on "Lifesblood" features a powerful, raw, and detailed sound production, which suits the material well. The songwriting is maybe a bit unfocused and all over the place, but it´s part of the charm of early Mastodon. A 3 - 3.5 star (65%) rating is warranted.

UMUR "Slick Leg" is an EP release by US metal act Mastodon. The EP was released through Reptilian Records in 2001. It was originally released as a 7" picture disc vinyl EP. The three tracks featured on "Slick Leg" are culled directly from the 2000 "9 Song Demo", although original lead vocalist Eric Saner´s vocal tracks have been replaced by re-recorded vocal tracks performed by guitarist Brent Hinds and bassist Troy Sanders. All material from the EP would later be released as part of the "Call of the Mastodon" (2006) compilation album.

Considering that the material was originally released as a demo, "Slick Leg" is a surprisingly high quality release featuring a raw yet detailed and powerful sounding production job. Compared to Saner´s vocals on the "9 Song Demo", Hinds' and Sanders' are more shouting and hardcore influenced, but there is still a semi-growling quality to them, which at times provide Mastodon´s music which a death metal edge.

The band are well playing delivering a technical, busy, and adventurous musical output, featuring influences from sludge, hardcore, thrash, and as mentioned above even death metal. A 3 - 3.5 star (65%) rating is warranted.

UMUR "Demo 2001" is the second demo recording by US metal act Mastodon. The demo was independently released in 2001. This is the first Mastodon recording which doesn´t feature original lead vocalist Eric Saner, who left Mastodon after only a few shows supporting the release of the band´s first demo recording "9 Song Demo" from 2000. The three studio tracks featured on this demo were all also featured on the "9 Song Demo", but these versions feature re-recorded vocals by guitarist Brent Hinds and bassist Troy Sanders, replacing the original vocal tracks which were recorded by Saner. This particular version of "Call of the Mastodon" would later be released as part of the "Call of the Mastodon" (2006) compilation album. The demo also features a live recording of "Welcoming War", which is a pretty rough live recording.

Of the early Mastodon recordings this one is probably the least interesting, as Mastodon would release both the "Slick Leg" and the "Lifesblood" EPs later the same year, which give you a better representation of the formative years of the band. Even the "9 Song Demo" is a much more interesting release. When that is said, there is still enough quality here to warrant a 3 star (60%) rating.

martindavey87 Released in 1980, ‘On Through the Night’ is the debut album by legendary British metal band, Def Leppard. It thrust the Sheffield rockers into the upper echelon of what was known as the New Wave of British Heavy Metal, and along with bands such as Iron Maiden and Saxon, helped revitalise the stagnating metal genre and carry it into the 80’s, where it would reach all new heights of success and popularity.

This however, is a very different band to the one that would become worldwide megastars just a few years later. Switching stadium anthems for a more traditional heavy metal sound, the writing here is raw, but the energy and passion amongst the members is very palpable. From one intense hard rocker to the next, this album doesn’t let up with its blistering, nonstop guitar riffs and early precursors to what will become the bands trademark sing-along choruses.

Highlights include some early Def Lep classics, such as ‘Rock Brigade’, ‘Rocks Off’, ‘Hello America’, ‘It Could Be You’, ‘Sorrow is a Woman’ and ‘Answer to the Master’, each one giving us a taste of what this band is truly capable of. With a great production and its iconic cover art, there’s no doubting this is a solid debut album, and while it may not be the bands best or most famous work, it’s still a worthy addition to any rock or metal collection.

martindavey87 ‘Deicide’ is the 1990 self-titled debut album by Florida-based death metal band, Deicide. I can admit prior to listening to this, that I’m not the biggest death metal fan. I’ve dabbled in it here and there, but mostly find it just too aggressive. But over my years of dipping my feet in the water, there’s been a handful of bands that I “didn’t mind”.

Decide is one of them.

Well, at least, I thought they were. Because this, their debut album, does nothing for me.

I’ve given it multiple spins, hoping that something will catch on, but it’s just not happening. Glen Benton and his motley crew are all more than competent musicians, but none of these songs stick with me. Just endless, mind-numbing guitar riffs that offer nothing other than the usual chugging away on the bottom string, with guttural, aggressive death metal vocals to boot.

I’m sure Deicide were one of those bands I “didn’t mind” for a reason. Maybe they just needed time to evolve, mature or develop their sound a bit more. Perhaps, rather than reviewing their albums in chronological order, I’ll pick something from a few years later, when they’ve established themselves and “found their groove” so-to-speak. Or perhaps I should just put the death metal down and go back to listening to some Yes or Nickelback.

Sorry Decide fans. This one’s just not for me.