Metal Music Reviews from UMUR

DERANGED Architects of Perversions

EP · 1994 · Brutal Death Metal
Cover art 3.00 | 1 rating
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"Architects of Perversions" is an EP release by Swedish death metal act Deranged. The single was released through Repulse Records in September 1994. It´s the successor to the 1994 "Upon the Medical Slab" single and it´s the band´s fourth minor (non-album) release since forming in 1991.

The material on "Architects of Perversions" pretty much continues where "Upon the Medical Slab" left off. This is brutal death metal featuring gory lyrics and a combination of guttural unintelligible growling vocals and the occassional higher pitched snarling screaming. The pace varies from slow, mid-paced, fast, and blasting. The music also features some pretty basic leads, which aren´t that interesting, but I´m sure they are there to create some variation.

The sound production is decent, but unfortunately a sligth step down in quality from the sound production on the "Upon the Medical Slab" single, which is a really well produced release. Upon conclusion "Architects of Perversions" is another decent early release by Deranged, and it´s recommendable to fans of early 90s brutal death metal. It´s not particularly unique or offers something out of the ordinary to the listener, but it´s decent enough for what it is. A 3 star (60%) rating is warranted.

LUX OCCULTA Dionysos

Album · 1997 · Symphonic Black Metal
Cover art 2.92 | 2 ratings
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"Dionysos" is the second full-length studio album by Polish black metal act Lux Occulta. The album was released through Pagan Records in November 1997. It´s the successor to "Forever Alone, Immortal" from 1996.

Stylistically the material on "Dionysos" continues the symphonic black metal style of "Forever Alone, Immortal", but this time with more focus on the symphonic keyboards. It´s still pretty raw and basic black metal underneath the symphonic keyboards and the vocals are also pretty standard blackened snarling (with the occasional death metal grunt appearing to make the vocals more varied). Although Lux Occulta don´t reach the heights of Cradle of Filth, it´s the more well known British band I´m often reminded of while listening to "Dionysos".

While "Dionysos" is only slightly more professional and interesting than "Forever Alone, Immortal", there has been a lift in quality since the rather amatuerish debut album. "Dionysos" may not be the most intriguing or the most creative symphonic black metal album out there, but it´s overall a decent release featuring a decent quality sound production, relatively strong musicianship, and decent (but not excellent) songwriting, and a 2.5 star (50%) rating isn´t all wrong.

UNTO OTHERS Strength

Album · 2021 · Gothic Metal
Cover art 3.50 | 3 ratings
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"Strength" is the second full-length studio album by US heavy/gothic metal act Unto Others. The album was released through Roadrunner Records in September 2021. It´s the successor to "Mana" from February 2021. "Mana" was however first released under the Idle Hands monicker in May 2019, but as Idle Hands opted to change their name to Unto Others in 2020, they also chose to re-release their debut full-length studio album under the Unto Others monicker. It´s exactly the same album released under two different monickers though. Since the first album bassist Brandon Hill has been added to the lineup making Unto Others a quartet on this release.

Stylistically the material on "Strength" is a continuation of the heavy/gothic metal style of "Mana". Lead vocalist/guitarist/keyboard player Gabriel Franco has a voice and and vocal style right out of the 80s UK pop/rock/gothic music scene (spiced up with the occasionally more raw heavy metal vocals) and artists like The Mission, Sisters of Mercy, and Fields of the Nephilim are all valid references (The Cure should be mentioned too). Unto Others combine the gothic rock style with some energetic and melodic traditional heavy metal though, and that combination gives "Strength" (and "Mana" before it) a relatively unique sound.

"Strength" features some effective and memorable vers/chorus based songwriting, but Unto Others are clever composers who understand that songs typically need a little more than that and therefore most songs feature at least one section with harmony guitars, a guitar solo, or another detail to spice things up (double pedal drumming is another unconventional feature in music like this). The band are a well playing unit and Franco´s voice and personal delivery are the unique elements which elevate the band´s music to a higher state. "Strength" features a well sounding and professional sound production too, so upon conclusion it´s a high quality sophomore studio album from Unto Others and a continuation of the promises made on "Mana". A 3.5 star (70%) rating is deserved.

UNTO OTHERS Never, Neverland

Album · 2024 · Gothic Metal
Cover art 3.00 | 1 rating
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"Never, Neverland" is the third full-length studio album by US heavy/gothic metal act Unto Others. The album was released through Century Media Records in September 2024. It´s the successor to "Strength" from september 2021.

Stylistically not much has happened since "Strength". Unto Others are still a guarantee for high quality heavy/gothic metal. The songs are 2-3 minutes long vers/chorus stuctured and relatively easily accesssible. If something a bit different should be mentioned it would be the inclusion of the relatively hard edged and riff heavy "Momma Likes the Door Closed", but other than that song plus a few other heavier moments (the semi-thrashy "Flatline" is another), "Never, Neverland" is generally a pretty melodic and instantly sing-a-long type release often leaning closer to 80s influenced gothic rock like The Mission than towards any form of heavy metal.

"Never, Neverland" is a well produced release, although it´s lacking some of the heaviness and power of the two preceding releases. This is generally a more rock music oriented release and the production values naturally follow suit. The band (who´s lineup has remained unchanged since "Strength") is as well playing as ever and lead vocalist/guitarist Gabriel Franco still sounds like a more angry and potent Robert Smith (The Cure). Upon conclusion "Never, Neverland" is a good quality release from Unto Others, but to my ears not quite as great as the two albums before it. A 3 - 3.5 (65% star) rating is warranted.

DERANGED Upon the Medical Slab

Single · 1994 · Brutal Death Metal
Cover art 3.00 | 1 rating
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"Upon the Medical Slab" is a single release by Swedish death metal act Deranged. The single was released through Malodorous Mangled Innards Records in 1994. Deranged formed in 1991 and had up until the release of "Upon the Medical Slab" released the 1992 "...the Confessions of a Necrophile" demo and the 1993 "...the Confessions Continues" EP (basically a re-recording of some of the demo tracks from the 1992 demo).

While Deranged definitely had good intentions of writing and playing some nasty gore themed brutal death metal on their first couple of releases, "Upon the Medical Slab" is the band´s first release, where they sound like a tight and professional playing unit. The pace of the music has been heightened considerably, and the much clearer and detailed sounding production also does the material many favors. The drums have a punch to them, the guitars sound savage, brutal, and raw, and the vocals which are now both guttural growling and higher pitched screaming are effective. Even in those days this was not particularly unique, but there´s nothing wrong with the quality of the two tracks featured on the 8:01 minutes long single. A 3 star (60%) rating is warranted.

UNTO OTHERS Mana

Album · 2021 · Gothic Metal
Cover art 3.79 | 3 ratings
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"Mana" is the debut full-length studio album by US heavy/gothic metal act Unto Others. The album was released through Eisenwald Records in February 2021. But while "Mana" is considered the debut full-length studio album by Unto Others, the album was actually previously released in May 2019 under the Idle Hands monicker. After the band opted to change their name to Unto Others in 2020, they also chose to reissue "Mana" and make it part of Unto Others' discography.

Stylistically the material on "Mana" is a melodic type of heavy rock/metal with nods toward gothic rock. Although the music features a lot of 80s UK pop/rock influences (ranging from catchy pop melodies in the vein of Tears for Fears and the hard rock of The Cult) Unto Others manage to put a fresh take on tried and true musical elements, to create a pretty original and personal sound. It bodes well for the future of Unto Others that they already have a relatively unique sound on their debut album.

The 11 tracks on the 40:09 minutes long album are all around 3-4 minutes long vers/chorus structured songs and in that respect "Mana" is not the most adventurous or structurally varied release. It´s an immediate and extremely catchy album though, and you are able to sing along to any track on the album already during the first listen. Lead vocalist/guitarist Gabriel Franco (who also handles the bass on the album) has a powerful voice and a commanding delivery (again highly influenced by British 80s pop/rock/goth singers), and the tracks feature great driving beats and basslines, and loads of melodic guitar work (both clean electric and distorted electric chords, leads and harmonies). Sometimes it´s hard edged enough to land in the metal camp (there are even a couple of sections on the album featuring double bass drumming), but just as often it would be more correct labelling the music heavy/gothic rock.

"Mana" features a detailed and clear sounding production, which suits the material perfectly and upon conclusion it´s quite the impressive debut album. This is beyond promising and a highly recommendable release to those enjoy instantly catchy 80s influenced melodic heavy rock/metal with touches of gothic rock. It´s not often you come across debut releases with such an original sound. A 4 - 4.5 star (85%) rating is deserved.

ABSOLUTE POWER Absolute Power

Album · 2011 · Heavy Metal
Cover art 3.29 | 3 ratings
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"Absolute Power" is the eponymously titled debut full-length studio album by UK heavy metal act Absolute Power. The album was released through FETO Records in May 2011. Absolute Power was formed in 2006 by a prolific bunch of UK heavy metal scene musicians/producers. It´s a supergroup featuring bassist Shane Embury (Napalm rhythm guitarist Mitch Harris (Napalm Death, Bent Sea, Brujeria, Venomous Concept...etc.), Brave the Cold, Defecation, Righteous Pigs...etc.), rhythm guitarst John Walker (Cancer, Liquid Graveyard), rhythm guitarist Russ Russell (Tronos), lead guitarist Paul Harrington (Danmaku, Terrible Claw...etc.), drummer Iean Treacy (Benediction, Meathook Seed), and lead vocalist Simon Efemey (producer & engineer who has worked with among others Napalm Death, Paradise Lost, and Pitchshifter).

Most of the guys involved are predominantly known for their involvement in the UK extreme metal scene and most of the above mentioned artists fall into that catagory, but "Absolute Power" is something far removed from the extreme metal scene, as it´s instead an old school 80s influenced heavy metal release greatly influenced by artists like Saxon and especially Judas Priest (take a listen to "Raging Pursuer", which could just as well have been a Judas Priest song). It´s all well performed and especially Efemey stands out as a capable vocalist performing raw heavy metal singing (and choirs/harmonies) and he is occasionally flanked by previous Judas Priest vocalist Tim "Ripper" Owens who delivers high pitched screaming vocals. Harrington deserves a mention too for his blistering lead work.

The songwriting is solid and the listener is treated to both raging heavy metal tracks and heavier mid-paced epic tracks. You won´t hear anything here you haven´t heard before, but I´m pretty sure that´s part of the plan. These guys just wanted to make a traditional heavy metal album and if that was the purpose they succeed pretty well. To my ears the sound production is maybe a bit too polished and clear and some parts lacking a bit of power and rawness, but if you enjoy your traditional heavy metal with a clear and polished sound production and featuring a melodic orientation "Absolute Power" could be your poison. A 3 star (60%) rating is warranted.

LUX OCCULTA Forever Alone. Immortal.

Album · 1996 · Black Metal
Cover art 3.05 | 7 ratings
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"Forever Alone, Immortal" is the debut full-length studio album by Polish black metal act Lux Occulta. The album was released through Pagan Records in September 1996. Lux Occulta was formed in 1994 and released the "The Forgotten Arts" demo in 1995. The original version of the album features 6 tracks, while the 2001 remastered version (released by Metal Mind Productions) features the Sisters of Mercy cover track "Burn".

Stylistically the material on "Forever Alone, Immortal" is a raw but keyboard heavy (atmospheric and at times symphonic) type of black metal. The vocals alternate between black metal snarling, death metal grunts, and some almost hysterical desparate sounding vocals. The sound production is pretty lo-fi and the whole release have an air of amateurism surrounding it. This sounds more like a demo than a full-length studio album released through a label.

The tracks are relatively long (two of them exceeding 10 minutes in length), but most tracks feature a lot of repetition of riffs and rhythms, so it´s not the most challenging or creative black metal release out there (although folky progressive rock sections with flute and cello do appear and provide some variation). The musicianship is a bit below par too, so upon conclusion this isn´t exactly a promising start for Lux Occulta and a 2 - 2.5 star (45%) rating is warranted.

LIQUID GRAVEYARD By Nature So Perverse

Album · 2016 · Death Metal
Cover art 3.50 | 1 rating
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"By Nature So Perverse" is the third full-length studio album by multi-national metal act Liquid Graveyard. The album was released through Sleaszy Rider Records in June 2016. It´s the successor to "The Fifth Time I Died" from 2011. There have been a couple of lineup changes since the last album as drummer Gustavo Segura has been replaced by Nicholas Barker and bassist Al Jimenez has been replaced by Shane Embury. The newcommers are of course both very prolific British musicians who are known from their involvement in artists like Napalm Death, Cradle of Filth, Dimmu Borgir, and Brujeria, just to mention a few.

I don´t know if it´s the inclusion of the two new gentlement to the lineup, or if the ressurrection of guitarist John Walker´s other band Cancer in 2013 have anything to do with it, but "By Nature So Perverse" is a much more potent, intense, and extreme metal oriented release than the two preceding album releases from Liquid Graveyard. The two previous albums featured a strong progressive metal/avant-garde metal element, but that part of the band´s sound is considerably toned down on "By Nature So Perverse", which instead focuses almost exclusively on the death metal and thrash/groove metal influences which were also a big part of the earlier releases. There´s even the odd nod towards grindcore here and there, so "By Nature So Perverse" is generally a pretty extreme release.

To my ears this new more "normal" sound suits Liquid Graveyard much better. As much as I always praise bold and adventurous music, the first two Liquid Graveyard albums just felt inconsistent and the experimental part of the band´s music didn´t really work. So they´ve taken the best elements from the first releases and have built on them to create the powerful, raw, angry, and brutal sound on "By Nature So Perverse". Lead vocalist Raquel Walker (married to John) solely performs blackened snarling vocals on this album and doesn´t perform clean vocals like she did on the preceding releases from Liquid Graveyard.

Upon conclusion "By Nature So Perverse" is a bit unexpected if you´re familiar with the earlier Liquid Graveyard albums. Usually an artist turn on some knobs between releases, but Liquid Graveyard have turned the extreme metal knob all the way to the top and I´m sure the addition of Barker and Embury have given the Walkers a push in that direction. A good quality release overall and a 3.5 star (70%) rating is deserved.

ILLDISPOSED In Chambers of Sonic Disgust

Album · 2024 · Death Metal
Cover art 3.00 | 1 rating
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"In Chambers of Sonic Disgust" is the fifteenth full-length studio album by Danish death metal act Illdisposed. The album was released through Massacre Records in June 2024. It´s the successor to "Reveal Your Soul for the Dead" from August 2019. There have been one lineup change since the predecessor as guitarist Ken Holst has returned to the fold after leaving in 2019 and not performing on "Reveal Your Soul for the Dead". Illdisposed are therefore a quintet again on "In Chambers of Sonic Disgust".

If you´re familiar with the last couple of Illdisposed releases the heavy and groove laden death metal style found on "In Chambers of Sonic Disgust" won´t be a surprise, neither will the occasionally more atmospheric and melodic death metal leanings surprise you much. "In Chambers of Sonic Disgust" is everything you expect to hear on an Illdisposed album in 2024. What is unfortunately a bit disappointing is the relatively powerless production job courtesy of Tue Madsen. It´s a detailed and as such well sounding production, but compared to the last couple of Illdisposed releases this one sounds a bit more tame and lacking power (the bass drums for example sound limb).

Unfortunate production choices or not, Illdisposed still understand how to write an effective and memorable death metal tune and "In Chambers of Sonic Disgust" features several songs which the band can be proud of. Upon conclusion "In Chambers of Sonic Disgust" is a solid release from Illdisposed but unfortunately not among their best efforts and a 3 star (60%) rating is therefore warranted.

DERANGED ...the Confessions Continues

EP · 1993 · Brutal Death Metal
Cover art 2.50 | 1 rating
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"...the Confessions Continues" is an EP release by Swedish death metal act Deranged. The EP was released through Obliteration Records in 1993. The title of the EP is a continuation of the title of the band´s 1992 demo "The Confessions of a Necrophile". "...the Confessions Continues" features three tracks from the demo in re-recorded versions (and with slightly different titles).

Deranged formed in 1991 with the intent to record and perform the most vile and brutal death metal they could, and they succeed pretty well on this release. For 1993 this is brutal no frills death metal with guttural unintelligble growling vocals and nasty gory lyrics. If you´re familiar with the "The Confessions of a Necrophile" demo, you´ll notice right away that these re-recorded versions are tighter and sligthly more well produced. So compared to the rather amaturish sounding demo, this the material is actually given a chance to shine on this EP. How much it shines is entirely up to the listener, but to my ears this is a decent early 90s brutal death metal release, featuring a sound production which is more or less a demo quality production, but is still relatively powerful and well sounding. What´s important here is that Deranged have developed since the 1992 demo, and that they have. A 2.5 - 3 star (55%) rating is warranted.

DERANGED The Confessions of a Necrophile

Demo · 1992 · Brutal Death Metal
Cover art 2.50 | 1 rating
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"The Confessions of a Necrophile" is a demo release by Swedish death metal act Deranged. The demo was independently released in August 1992. Originally on Cassette tape. Deranged formed in 1991 and this is their debut release.

Stylistically the music is brutal death metal with effect laden unintelligible low register growling vocals. The lyrics are gore themed and pretty nasty, which of course is nothing unusual for the genre, even in those days. I guess they lean towards the Cannibal Corpse school of death metal and lyrical themes, but the material on the 4 track, 16:47 is generally mid-paced and there aren´t that many faster parts here, although they of course occur (including blast beats).

The sound quality is not that great, although you are able to hear what´s being played and the details of the compositions. It´s all just a bit murky and uninviting. The playing isn´t the most tight I´ve heard either, so while "The Confessions of a Necrophile" shows some promise, it´s certainly not a death metal demo which blows me away. If I´m quite honest it at times sounds pretty amaturish. A 2.5 star (50%) rating is warranted.

LIQUID GRAVEYARD The Fifth Time I Died

Album · 2011 · Death Metal
Cover art 3.00 | 1 rating
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"The Fifth Time I Died" is the second full-length studio album by multi-national metal act Liquid Graveyard. The album was released through Rising Records in March 2011. It´s the successor to "On Evil Days" from 2009 and there have been two lineup changes since the predecessor as bassist Adrian de Buitléar has been replaced by Al Jimenez and drummer Acaymo Delgado has been replaced by Gustavo Segura. Only guitarist John Walker and vocalist Raquel Walker remain from the lineup who recorded "On Evil Days".

Stylistically the material on "The Fifth Time I Died" continues the hybrid death metal, thrash/groove metal, progressive metal, avant-garde metal style of "On Evil Days". Walker still sings both snarling blackened extreme metal vocals and clean vocals. The album is both well performed and well produced (although the sound production has a dry digital quality to it, which is a bit lifeless), but just as the case was on the previous album, the songwriting leaves a bit to be desired. The tracks are powerful and also entertaining while they play, but they aren´t particularly memorable. "The Fifth Time I Died" is still a good quality release, and I find it intriguing at some points, but as a whole listening experience it´s not consistent enough. A 3 star (60%) rating is warranted.

AEON Path of Fire

Album · 2010 · Death Metal
Cover art 3.50 | 1 rating
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"Path of Fire" is the third full-length studio album by Swedish death metal act Aeon. The album was released through Metal Blade Records in May 2010. It´s the successor to "Rise to Dominate" from 2007 and features one lineup change since the predecessor as bassist Max Carlberg has been replaced by Marcus Edvardsson. Carlberg´s tenure with Aeon was relatively brief as he only played on "Rise to Dominate". While "Path of Fire" was recorded in September 2009 at Empire Studio in Östersund, Sweden, Erik Rutan handled the mixing of the album at his Mana Recording Studios in St, Petersburg, Florida.

...and the sound and style of music featured on "Path of Fire" are also undeniably linked to the Florida death metal scene. Aeon were from the beginning always greatly influenced by artists like Deicide, Morbid Angel, and occasionally Cannibal Corpse, and that trend is continued on "Path of Fire". The Deicide influence is particularly strong here, almost to the point of the music reaching worship territory. Thankfully Aeon are skilled musicians, fully able to deliver a powerful US influenced death metal attack with more than usual conviction. The vocals vary between growling and higher pitched screams. Sometimes doubled, which isn´t far away from how Glen Benton (Deicide) performs vocals. The only feature which isn´t all that great is the lyrics, which are quite primitive/juvenile anti-christian/blasphemous themed. Not that anti-christian/blasphemous themed lyrics are an issue in themselves. Such lyrics can be both powerful and have a strong effectful message, but in this case they are just a bit cringe worthy and juvenile.

"Path of Fire" features a powerful, brutal, and intense sounding production job, which suits the material perfectly, so upon conclusion it´s a good quality US influenced death metal release from Aeon. There are few surprises here compared to the previous releases by the band, but there´s still enough positive musical development for this one to be a stronger album than its predecessors (despite the rather awful lyrics). A 3.5 star (70%) rating is deserved.

LIQUID GRAVEYARD On Evil Days

Album · 2009 · Death Metal
Cover art 3.00 | 1 rating
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"On Evil Days" is the debut full-length studio album by multi-national metal act Liquid Graveyard. The album was released through My Kingdom Music in October 2009. Liquid Graveyard was formed in 2006 by married couple John Walker (Cancer, Absolute Power) and Raquel Walker (Abÿfs). John performs the guitars and Raquel performs the vocals on the album. the bass is performed by Adrian de Buitléar and the drums are performed by Acaymo Delgado. Liquid Graveyard was born after the second split-up of Cancer.

Stylistically the music on "On Evil Days" is a mix of death metal, thrash/groove metal, progressive metal, and avant-garde metal. Walker sings both snarling blackened extreme metal vocals but also clean vocals. While some riffs are recognisable as riffs which could have been included on a Cancer album, Liquid Graveyard are a different kind of beast to Walker´s more well known other band. This is music which is very hard to describe correctly because of the many different musical elements used and combined. It´s certainly a both creative and unconventional sounding release that´s for sure...

When the songs are dominated by Walker´s clean vocals (like on "Criministers"), I´m sometimes reminded of the Norwegians in Matter Mortem, but that´s not the case at all when she screams and snarls her blackened vocals at the listener. The band are well playing and Walker is a skilled vocalist and paired with the powerful, detailed, and well sounding production job, "On Evil Days" is definitely both a well performed and well produced release. For all the adventurous ideas and creative songwriting, it´s the songs which lack something to elevate "On Evil Days" to a higher plane. So upon conclusion it´s a good quality release but it seldom reaches excellence and therefore a 3 star (60%) rating is warranted.

OBSOLETE Animate//Isolate

Album · 2021 · Technical Thrash Metal
Cover art 3.50 | 1 rating
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"Animate//Isolate" is the debut full-length studio album by US death/thrash metal act Obsolete. The album was released through Unspeakable Axe Records in April 2021. It´s the follow-up release to the 2018 "The Rumored Death of Atlas" EP, which was the band´s first release.

The 9 tracks on the 35:11 minutes long album feature a technical death/thrash metal style. Sometimes leaning more towards the thrash metal side of things and sometimes leaning more towards death metal. It´s not a clear cut case. I also hear the occasional nod towards black metal and also some vintage speed/heavy metal riffs. So this is a combination of many stylistic elements. The vocals are predominantly raw and snarling. The tracks are relatively technical in execution and the song structures are a little more challenging than your regular vers/chorus based songwriting formula.

"Animate//Isolate" features a well sounding and powerful production job, and the musicianship is high throughout, so upon conclusion it´s a high quality debut release by Obsolete. A few more memorable moments and more focus on cathiness could have elevated the album to an even higher level, but it´s still a release worthy of a 3.5 star (70%) rating.

W.A.S.P. Inside the Electric Circus

Album · 1986 · Heavy Metal
Cover art 3.47 | 29 ratings
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"Inside the Electric Circus" is the third full-length studio album by US heavy metal act W.A.S.P.. The album was released through Capitol Records in November 1986. It´s the successor to "The Last Command" from November 1985 and features one lineup change as guitarist and founding member Randy Piper has left to join L.A. Guns. Lead vocalist Blackie Lawless has taken over the rhythm guitar role, giving up his bassist role to new member Johnny Rod.

Stylistically the material on "Inside the Electric Circus" are a direct successor the hard rock/heavy rock sound of the two preceding albums. Not much have been changed here and it´s still lead vocalist Blackie Lawless and his rough voice and screaming delivery which take center stage in the soundscape...and that´s a good thing, because the instrumental part of the music really isn´t that interesting. The hard rocking riffs are relatively uninspired and the vers/chorus format of the songs make them predictable and formulaic. That is not unusual for this type of music, but when the riffs aren´t more memorable and sharp than they are here, the vers/chorus format becomes tedious and the songs a little hard to get through. It has often been said by the band themselves that they were burnt out and not particularly inspired while writing and recording the material for "Inside the Electric Circus", but while it may not be their most inspired effort, the quality of this album isn´t far behind the two preceding albums. So that probably says more about the general quality of W.A.S.P.´s music from this era, than it does about this particular release.

For the time it was released "Inside the Electric Circus" features a relatively well sounding production job. It could have been more powerful and more heavy, and they could have chosen a better sounding drum production and less reverb on everything, but I write that down to the production choices of the day, as many other releases from this era sounds a lot like this one. So upon conclusion "Inside the Electric Circus" may be a bit of a run-of-the-mill type album from W.A.S.P., where they didn´t mess around with the successful formula of the first two albums, but it´s still a decent quality release and a 3 star (60%) rating isn´t all wrong.

SINSAENUM Repulsion For Humanity

Album · 2018 · Death Metal
Cover art 3.58 | 2 ratings
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"Repulsion For Humanity" is the second full-length studio album by multi-national death metal act Sinsaenum. The album was released through earMUSIC in August 2018. It´s the successor to "Echoes Of The Tortured" from 2016 although the two full-length studio albums were bridged by the 2017 "Ashes" EP. "Repulsion For Humanity" was recorded by the same sextet lineup who recorded the previous releases by the band, so Sinsaenum still features the vocal services of both Sean Zatorsky (Dååth, Chimaira) and Attila Csihar (Gravetemple, Mayhem, Tormentor, Aborym). Sinsaenum is quite the supergroup death metal project though and the lineup also features guitarist Stéphane Buriez (Loudblast), drummer Joey Jordison (Slipknot, Vimic, Scar the Martyr, Muderdolls), bassist Heimoth (Decrepit Spectre, Seth, Void), and guitarist Frédéric Leclercq (DragonForce, Menace, Kreator). The latter is the founder of Sinsaenum.

Stylistically the material on "Repulsion For Humanity" pretty much continues the US death metal style of the preceding releases by the band, and it´s especially the Florida scene and artists like Morbid Angel and Deicide who come to mind (one song features a heavy Pestilence influence too). There´s an occasional blackened edge to the proceedings, but it has decreased a bit since the last couple of releases. The musicianship is on a high level on all posts and especially Jordison deserves a special mention for his energetic and powerful precision drumming. He is such a great drummer and shows it again here. The sound production is of a good quality and slightly more raw than on the preceding releases, which suits the material well. So on most parameters "Repulsion For Humanity" is a good quality sophomore release by Sinsaenum. I´m missing a bit more uniqueness and original songwriting and maybe also a few more hooks, but other than that this is a quality death metal release for fans of technically well played US death metal predominantly influenced by the greatest Florida artists of the early 90s. A 3.5 star (70%) rating is deserved.

MACERATION Serpent Devourment

Album · 2025 · Death Metal
Cover art 3.50 | 1 rating
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"Serpent Devourment" is the third full-length studio album by Danish death metal act Maceration. The album was released through Emanzipation Productions in January 2025. It´s the successor to "It Never Ends..." from November 2022. "It Never Ends..." was a comeback album from Maceration who at that time had not released an album since the 1992 "A Serenade of Agony" debut full-length studio album. Maceration was originally a project band formed by two members of Invocator and "A Serenade of Agony" also featured the prolific Swedish musician/producer Dan Swanö (Edge of Sanity, Bloodbath, Nightingale...etc.) on vocals. Swanö also performed vocals on "It Never Ends...", but on "Serpent Devourment" he doesn´t perform, but is instead responsible for the mixing and mastering of the album. Since "It Never Ends..." almost the entire lineup has actually changed and it´s only guitarists Jakob Schultz and Robert Tengs (who has switched from bass to guitar) who remain from the lineup who recorded "It Never Ends...".

Stylistically this sounds very Swedish...the guitar tone, the mid- to fast-paced brutality, and the relatively simple structures of the tracks. I´m often reminded of especially Grave (and occasionally of Dismember), although Maceration add more gloomy atmospheric moments with lead guitar themes and solos. The musicianship and the sound production are top notch for the genre, and the songwriting is effective and relatively memeorable too, so although "Serpent Devourment" is neither a huge surprise (it´s more or less the naturel development I had expected since "It Never Ends...") nor a standout album in the genre, it´s a solid effort from Maceration and defnitely worth a listen if you´re interested in old school Scandinavian death metal. A 3.5 star (70%) rating is deserved.

JAG PANZER The Age of Mastery

Album · 1998 · US Power Metal
Cover art 3.53 | 11 ratings
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"The Age of Mastery" is the fourth full-length studio album by US power/heavy metal act Jag Panzer. The album was released through Century Media Records in September 1998. It´s the successor to "The Fourth Judgement" from 1997 and features one lineup change as guitarist Joey Tafolla has been replaced by Chris Broderick. The former left once before in 1986 (to pursue a solo career) and his second stint with the band would be relatively short as he returned in 1995 and left again in 1997 after recording "The Fourth Judgement".

Stylistically the material on "The Age of Mastery" is a continuation of the US power metal/heavy metal style of "The Fourth Judgement". Thankfully the band realised that their failed attempt at playing groove metal on "Dissident Alliance" (1994) was a huge mistake, and "The Age of Mastery" cements that fact, being the second release in a row in the band´s usual US power metal/heavy metal style.

Jag Panzer are very well playing and lead vocalist Harry Conklin is skilled vocalist with a powerful set of pipes. He can sing both high pitched screaming vocals and more low end rough vocals. The instrumental part of the music features elements from both power metal, traditional heavy metal, the occasional thrashy riff (listen to "Sworn to Silence" for proof of that), and also more than a few nods toward neo-classical heavy metal (and the even more rare nod towards 80s progressive metal). It´s like listening to early- to mid 80s Fates Warning/Queensrÿche combined with Dio and Judas Priest. There´s that epic atmosphere to it all, but also some pretty basic heavy metal riffs and rhythms, which keep the material grounded and raw. Considering that "The Age of Mastery" is a 1998 release, it must have sounded incredibly old fashioned upon release, because there´s nothing on this album, that you wouldn´t immediately associate with 80s US power/heavy metal. To fans of the genre (including me) that´s of course a great treat, but I understand if some contemporary listeners found it hard to appreciate.

"The Age of Mastery" features a well sounding, detailed, and powerful production, which suits the music well, so upon conclusion it´s a good quality US power/heavy metal release from Jag Panzer. When all the positives are said, the songwriting aren´t fully up to par with the most prolific acts in the genre, and that´s where Jag Panzer lack the final touch. It´s good quality music, but it only on occasion touches excellence. A 3.5 star (70%) rating is deserved.

SINSAENUM Ashes

EP · 2017 · Death Metal
Cover art 3.58 | 2 ratings
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"Ashes" is an EP release by multi-national death metal act Sinsaenum. The EP was released through earMUSIC in November 2017. It bridges the gap between the band´s debut- and sophomore studio albums "Echoes of the Tortured" (2016) and "Repulsion For Humanity" (2018). The material on the 6 track, 27:19 minutes long EP is exclusive to this release...well almost. "Dead Souls" which closes the EP was also featured on "Echoes of the Tortured" (2016). It´s included here in a remixed version.

The material on "Ashes" continues the US death metal style of "Echoes of the Tortured", and it´s still Florida acts like Morbid Angel and Brutality, which are the main influences, although the music also features an occasional blackened edge. It´s technically well played death metal which is quite brutal but also relatively accessible and memorable. Bearing in mind the prolific musicians involved (Frédéric Leclercq, Joey Jordison, Stéphane Buriez, Sean Zatorsky, and Attila Csihar) it´s no surprise that the musicianship is on a high level on all posts. Zatorsky delivers his growling vocals in a convincing intelligible fashion, while Csihar compliments the death metal growling with his snarling higher pitched black metal style vocals.

As "Ashes" also features a powerful, brutal, and detailed sound production, you can put checkmarks on all basic features...high level musicianship, well sounding production, and effective and memorable songwriting. What you don´t get when listening to "Ashes" is a unique death metal listening experience. There´s a good chance you´ve heard other versions of these riffs, vocals, and drum patterns before, and while that´s a minor issue when the remaining parts are as great as they are, it´s still a slight issue. Therefore a 3.5 star (70%) rating isn´t all wrong.

CRO-MAGS Alpha-Omega

Album · 1992 · Crossover Thrash
Cover art 3.17 | 2 ratings
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"Alpha-Omega" is the third full-length studio album by US, New York based hardcore/crossover thrash metal act Cro-Mags. The album was released through Century Media Records in May 1992. It´s the successor to "Best Wishes" from 1989 and only Harley Flanagan (bass, vocals) and Doug Holland (guitars) remain from the lineup who recorded the predecessor. New in the lineup are drummer Dave DiCenso, guitarist Gabby Abularach, and lead vocalist John Joseph. The latter makes a return to the band after he quit in 1987 and relieves Flanagan from his lead vocalist duties (Flanagan performed lead vocals on "Best Wishes (1989)").

Stylistically Cro-Mags add another layer of heavy/thrash metal influences to their hardcore/crossover thrash metal sound, and this was their most "metal" release up until then. The album features quite a few powerful riffs and heavy rhythms and some nice lead guitar work too (which often reminds me of Rocky George from Suicidal Tendencies). The return of Joseph to the lineup unfortunately does nothing good for the music. He has a pretty awful voice and vocal style. When he sings in raw hardcore mode it´s actually decent enough, but whenever he tries to sing anything melodic or performs one of his awkward sounding shouts it´s hard not to cringe with embarassement. I´m a bit harsh on him here, but there are just some vocal moments on this album which are unacceptable on a professional recording. His rap style vocals on "Eyes of Tomorrow" doesn´t help on that impression. I found his unique vocal style quite charming on "The Age of Quarrel" (1986), but here it´s more forced and strained, which is not pleasing to the ears.

When that is said the instrumental part of the music thankfully elevates the album to a higher state. There are some very powerful and intriguing songwriting ideas here, which deserve praise. It´s obvious that these guys are much more than "just" a another hardcore/crossover thrash metal act from New York. "Alpha-Omega" is well produced too, featuring a clear, powerful, and detailed sound production, which suits the material well. So other than the awkward vocals, this is through and through a quality release. So a 3 star (60%) rating isn´t all wrong, but be prepared for some pretty odd sounding vocals.

HATESPHERE Something Old, Something New, Something Borrowed and Something Black

EP · 2003 · Thrash Metal
Cover art 3.50 | 1 rating
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"Something Old, Something New, Something Borrowed and Something Black" is an EP release by Danish death/thrash metal act Hatesphere. The EP was released through Scarlet Records in December 2003. It bridges the gap between the band´s second- and third full-length studio albums "Bloodred Hatred (2002)" and "Ballet of the Brute (2004)". "Something Old, Something New, Something Borrowed and Something Black" is more a mini-album than it´s an EP as it features no less than 7 tracks and a total playing time of 27:59 minutes.

As the title may suggest the EP features both old, new, and borrowed (Cover tracks) material. I´m not sure what the "black" means in the title, but there is probably a message there. "Something Old, Something New, Something Borrowed and Something Black" opens with "Release the Pain", which is the only new original track featured on the EP. It´s followed by covers of "Bark at the Moon" by Ozzy Osbourne and "Caught in a Mosh" by Anthrax and the EP then closes with four live tracks. Two tracks from the 2001 eponymously titled debut album ("Hate" and "Bloodsoil") and two tracks from "Bloodred Hatred (2002)" ("Low Life Vendetta" and "Plague").

"Release the Pain" continues the At the Gates meets The Haunted death/thrash metal style of the preceding releases, and while it´s arguably a solid new track from Hatesphere, there´s no surprises there. The two covers are actually pretty great and Hatesphere manage to put their own spin on the tracks. It´s especially great to hear "Bark at the Moon" given the death/thrash treatment. The live tracks feature a good quality sound production and the performances are tight, energetic, and raw. They were recorded live on the 1st of March 2002 at Voxhall, Aarhus, Denmark, which is the band´s home turf. The homeground situation is felt too as there´s some great response from the audience and some nice interaction with the audience from lead vocalist Jacob Bredahl.

Upon conclusion "Something Old, Something New, Something Borrowed and Something Black" is a good quality EP and it´s therefore certainly a release worth your time. There´s both enough quality and enough quantity here to warrant a purchase. A 3.5 star (70%) rating is deserved.

GOTHIC SLAM Just a Face in the Crowd

Album · 1989 · Thrash Metal
Cover art 3.08 | 2 ratings
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"Just a Face in the Crowd" is the seconnd full-length studio album by US, Hoboken/Jersey City, New Jersey based thrash metal act Gothic Slam. The album was released through Roadracer Records in 1989. It´s the successor to "Killer Instinct" from 1988 and proved to be the band´s last release before disbanding in 1993 (although a demo was recorded in 1991 but shelved).

Stylistically the material on "Just a Face in the Crowd" continue the thrash metal style with crossover leanings (the music for example features riot gang backing vocals) that was introduced on "Killer Instinct" (1988). Gothic Slam are well playing and lead vocalist Daniel Gomez delivers a passionate and powerful performance. He has a voice and vocal style which can be described as a combination of Bon Scott (AC/DC) and Steve "Zetro" Souza (Exodus), although he maybe lacks the uniqueness to his performance as his influences are able to deliver.

"Just a Face in the Crowd" features 9 original tracks and a cover of "Thunder and Lightning" by Thin Lizzy. Both the originals and the cover are well performed, energetic, and entertaining, and "Just a Face in the Crowd" is well produced too, which provides the material with good conditions to shine. The songwriting is relatively memorable and effective, but Gothic Slam don´t produce anything you haven´t heard before. A 3 - 3.5 star (65%) rating is still warranted though, as this is a good quality recording.

DEFEATED SANITY Chronicles of Lunacy

Album · 2024 · Technical Death Metal
Cover art 3.56 | 4 ratings
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"Chronicles of Lunacy" is the seventh full-length studio album by German death metal act Defeated Sanity. The album was released through Season of Mist in November 2024. It´s the successor to "The Sanguinary Impetus" from 2020. Both "Disposal of the Dead / Dharmata" (2016) and "The Sanguinary Impetus" saw Defeated Sanity toying with a more technical and at times even progressive death metal sound, but "Chronicles of Lunacy" is a slightly more back to the roots brutal death metal release...

...which of course isn´t completely true. Defeated Sanity have learned a few tricks from creating the last couple of albums, and "Chronicles of Lunacy" is still a highly technical death metal release. The technical playing is on this release just an element of the band´s brutal death metal sound, instead of being one of the pillars of said sound, which was the case on the last couple of releases. Defeated Sanity are an incredibly well playing unit and especially band founder and drummer Lille Gruber plays some otherwordly fast-paced and difficult drum patterns. It´s hard not to drop the jaw while listening to his playing. The vocals are unintellible and quite one-dimensional growling. They are as on most Defeated Sanity releases the weak link of the music.

The raw, brutal, and massive sound production suits the music well, and upon conclusion "Chronicles of Lunacy" is another strong statement from Defeated Sanity. It´s nice to hear them returning a bit to the more brutal sound of their past while still holding on to the more mature and intriguing songwriting approach of the last couple of releases. I think they´ve found a good balance on this album. A 3.5 star (70%) rating is deserved.

THE RUINS OF BEVERAST Unlock the Shrine - Reliquary of the White Abyss

Album · 2004 · Atmospheric Black Metal
Cover art 3.64 | 6 ratings
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"Unlock the Shrine" (subtitled "Reliquary of the White Abyss") is the debut full-length studio album by German atmospheric black/doom metal act The Ruins of Beverast. The album was released through Van records in August 2004. The Ruins of Beverast was formed in 2003 by Alexander von Meilenwald (who handles all instruments and vocals on the album) after the demise of his former band Nagelfar. "The Furious Waves of Damnation" demo was released in 2003.

If your introduction to The Ruins of Beverast was through the "The Furious Waves of Damnation" (2003) demo, the sound of "Unlock the Shrine" is probably a bit of a surprise. The demo occasionally hinted at the sound of this album, but is predominantly a fast-paced raw and atmospheric black metal release.

The music style of "Unlock the Shrine" is a bit hard to describe as it takes equal influences from black and doom metal, but aren´t really neither. The tracks are generally long, featuring only a few main riffs and beats, but they build slowly towards climaxes and layers upon layers of atmospheric guitar riffs, keyboards, samples which are added along the way. The vocals are predominantly black metal type screams, and the album does feature sections which are close to regular mid-paced black metal (and some parts which are fast-paced blasting black metal). The greatest asset of the music is the gloomy and depressive atmosphere, which is further enhanced by the repetitive nature of the tracks. Heavy and oppressive music best listened to in the dark...

"Unlock the Shrine" features a very well sounding production job. It´s harsh, raw, and organic, but also detailed and every instrument and vocal part is audible in the mix. It´s the kind of production which is purposedly rough around the edges, and kudos must be given to Meilenwald for creating such a masterful sound for his material. I´m intrigued by Meilenwald´s vision and by his skills, which means he is able to deliver that vision to the world. I hear moments of a genius at play in the way the songs are composed. When that is said, some tracks are maybe a bit too repetitive and drag on for a little too long, but those are minor issues on an otherwise high quality release and a 3.5 star (70%) rating is deserved.

ILLDISPOSED Reveal Your Soul for the Dead

Album · 2019 · Death Metal
Cover art 3.50 | 1 rating
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"Reveal Your Soul for the Dead" is the fourteenth full-length studio album by Danish death metal act Illdisposed. The album was released through Massacre Records in August 2019. It´s the successor to "Grey Sky over Black Town" from May 2016. Since the release of "Grey Sky over Black Town", Illdisposed have been reduced to a quartet lineup, as guitarist Ken Holst has jumped ship (he would rejoin in 2023).

Stylistically the material on "Reveal Your Soul for the Dead" pretty much continues the predominantly mid-paced and heavy groove laden death metal style of the last couple of albums, but Illdisposed have not completely forgotten their mid-00s melodic death metal period, which tracks like "This Is Our Calling for the End" and "What Will I Become?" are here to remind us of. "What Will I Become?" even features an epic atmosphere during the chorus and the bridge just before the closing of the track, and the diversity of the songwriting ensures that "Reveal Your Soul for the Dead" is an entertaining listen for the duration of the 11 tracks, 42:43 minutes long playing time.

Illdisposed is one of the most seasoned death metal acts from Denmark and it´s audible that they are a tight playing unit, who master both the heavy brutal grooves and the more melodic death metal moments with ease and an understanding of both styles. Lead vocalist Bo Summer as usual growls through a lot of effects, but it works well and the vocals are pretty strong on this release. "Reveal Your Soul for the Dead" is a well produced album too, so all in all it´s another good quality effort from Illdisposed and a 3.5 star (70%) rating is deserved.

SLIMELORD Spells at the Ismuth

Live album · 2023 · Death Metal
Cover art 3.00 | 1 rating
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"Spells at the Ismuth" is a live album release by UK death metal act Slimelord. The album was independently released in March 2023. The album was recorded live at Little Buildings, Newcastle, UK on the 10th of October 2021 (at a show Slimelord played alongside Coffin Mulch). It features three tracks from the June 2019 "The Delta Death Sirens" EP and three tracks from the September 2021 "Moss Contamination" EP. It´s a bit unusual for a band to release a live album before releasing their debut album, but that´s the case here, as Slimelord wouldn´t release their debut full-length studio album "Chytridiomycosis Relinquished" until March 2024.

"Spells at the Ismuth" is a warts and all live recording and sounds like it´s an authentic representation of a Slimelord show. It´s a recording done by the house engineer/sound tech at the Little Buildings venue, so it´s a pretty raw recording, although I wouldn´t call it lo-fi. It sounds a bit distant, as if you´re listening to the gig standing at the doorway to the next room or something like that. Filthy and abstract death-doom metal delivered with a twist is what you get here and Slimelord excel in that style. They are more than capable of delivering the goods and "Spells at the Ismuth" is overall a decent quality live recording. Just don´t expect a professional live recording with overdubs and other polish and your expectations will be met. A 3 star (60%) rating is warranted.

SLIMELORD Insurmountable Peril

EP · 2022 · Death Metal
Cover art 3.50 | 1 rating
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"Insurmountable Peril" is the third EP release by UK death metal act Slimelord. The EP was independently release in April 2022. It´s the successor to the "Moss Contamination" EP from September 2021. The material featured on the EP was recorded, mixed and mastered in the Pitlab at Boom, Leeds, UK in December 2021-January 2022.

Compared to the early releases by Slimelord, "Insurmountable Peril" features a less heavy and more clear sounding production job, and it´s maybe a bit less death-doomy, although the two tracks featured on the 10:11 minutes long EP are still quite heavy and brutal. Slimelord have upped the tempo though, and the music sounds a bit more busy and technical compared to the cavernous and slow dragging abtract death-doom metal of the previous releases. Another big change is the vocals. While the previous releases featured low in the mix abysmal growling, the vocals on "Insurmountable Peril" are much more varied and there is now both the aforementioned abysmal growling but also aggressive snarling growling featured as part of Slimelord´s music. It´s a great treat if you ask me, as the more diverse vocal style creates more emotional dynamics.

Although "Insurmountable Peril" is not as dark and heavy sounding as the preceding releases, it´s still an ultra heavy and brutal death metal release, and it´s certainly no less interesting than the releases which came before it. Slimelord have proved once again that they are a force to be reckoned with and a 3.5 star (70%) rating is deserved.

DEFEATED SANITY The Sanguinary Impetus

Album · 2020 · Brutal Death Metal
Cover art 3.85 | 6 ratings
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"The Sanguinary Impetus" is the sixth full-length studio album by German death metal act Defeated Sanity. The album was released through Willowtip Records in July 2020. It´s the successor to "Disposal of the Dead / Dharmata" from 2016. "Disposal of the Dead / Dharmata" was an experimental release for Defeated Sanity showing two sides of the band. Half the album featured Defeated Sanity´s usual brutal and technically well played death metal style, while the other half featured material composed and performed in an early- to mid-90s influenced technical death metal style (complete with guest vocals by the Death to All- and Cynic related Max Phelps).

On "The Sanguinary Impetus" Defeated Sanity have paired the two styles, so the listener is both treated to some crushingly brutal death metal but also a lot of technical playing and even progressive songwriting. This is an insanely technical release, constantly shifting gears, tempos, and riff styles. The vocals are the least interesting feature on the album, as they are one-dimensional and unintelligible growling, which doesn´t add much to the album. They are there and they get the job done, but nothing more and nothing less.

"The Sanguinary Impetus" features a brutal, meaty, and detailed sound production, which suits the massive heaviness of the music well. It´s an interesting brutal death metal release, because although the brutality factor is very high throughout, it´s not an uncompromisingly brutal and extreme release. The technical playing and the focus on compositional details make "The Sanguinary Impetus" a standout release in the genre. A 3.5 star (70%) rating is deserved.

CRYPTOSIS The Silent Call

EP · 2023 · Technical Thrash Metal
Cover art 3.50 | 1 rating
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"The Silent Call" is an EP release by Dutch technical/progressive thrash metal act Cryptosis. The EP was released through Century Media Records in December 2023. It follows the release of Cryptosis' debut full-length studio album "Bionic Swarm" (March 2021). "The Silent Call" features two new original compositions and two live tracks. The two latter are tracks found in their studio versions on "Bionic Swarm".

Both "The Silent Call" and "Master of Life" could well have been included on "Bionic Swarm" as they are much in the same sci-fi themed technical/progressive thrash metal style (featuring almost symphonic sounding keyboards) as the material featured on the full-length studio album. The two live tracks feature a very well sounding recording quality, and if I didn´t know it, I would have thought that these were studio recordings. The occasional "hey, "hey, "hey" from the audience also reveals that it´s indeed live recordings though. With the amount of keyboards used, I´m assuming that Cryptosis use a lot of backing tracks (they are a trio and probably don´t handle keyboards on stage), which explans the relatively polished live sound, but the guitars, bass, drums, and vocals also sound really good in the mix.

So if you enjoyed "Bionic Swarm" this is definitely a nice little stop-gap release between "Bionic Swarm" and the March 2025 second full-length studio album "Celestial Death". A 3.5 star (70%) rating is deserved.

DEFEATED SANITY Passages into Deformity

Album · 2013 · Brutal Death Metal
Cover art 3.86 | 7 ratings
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"Passages into Deformity" is the fourth full-length studio album by German death metal act Defeated Sanity. The album was released through Willowtip Records in February 2013. It´s the successor to "Chapters Of Repugnance" from 2010. The four-piece lineup who recorded the predecessor is intact on "Passages into Deformity".

Stylistically the material is brutal and technically well played death metal. The vocals are gutteral and completely unintelligible growling. It´s ultra brutal, meaty, and pummeling death metal, but there´s actually a bit more variation than what may initially appear when listening to the album. Defeated Sanity skillfully change pace multible times during each track, and they also make sure to incorporate little songwriting details (as an example check out the bass lines and breaks on "The Purging"), and intros and outros to tracks, to ensure that the listeners attention isn´t completely lost in the relentlessly brutal and busy soundscape.

"Passages into Deformity" features a meaty, brutal, and well sounding production job, and upon conclusion it´s a high quality brutal death metal release by Defeated Sanity, perfectly pairing brutality, technical playing, and powerful and effective songwriting (which for the genre is quite varied). Had the vocals been a bit more varied and not just a one-dimensional growling drone, "Passages into Deformity" could have deserved an even higher rating, but as it is the vocals get the job done and nothing more, and in my book a little more is needed to hit the really high marks. A 3.5 star (70%) rating is deserved.

ABHORRATION After Winter Comes War

Demo · 2021 · Death Metal
Cover art 3.50 | 1 rating
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"After Winter Comes War" is a demo recording by Norwegian death metal act Abhorration. The demo was released through Invictus Productions in November 2021. Abhorration formed in 2020 and this is their first release. The demo was originally released in only 50 cassette tape copies which the same four tracks featured on both sides. None of the four tracks would survive and be re-recorded for Abhorration´s debut full-length studio album "Demonolatry" (released in September 2024).

Stylistically this is slightly more thrash infused old school death metal then the more death metal dominated debut album. Morbid Angel is arguably an influence here, just as they are on the debut album, but to my ears the savage and raw thrash metal elements are just heard more on this demo. Lead vocalist/guitarist Magnus Garathun has a caustic snarling vocal style and again the arrow points towards the most raw end of the thrash metal spectrum rather than to death metal. So death/thrash metal is probably the most correct desription of "After Winter Comes War".

No matter what labels are put on the music this is highly effective, aggressive, and relentlessly energetic music, performed by a skilled unit of musicians. The songwriting is strong too and the tracks feature many old school thrash and death metal riffs and rhythms, morbid sounding leads and themes, occult lyrics and imagery, and everything else fans of the genre appreciate. Considering that "After Winter Comes War" is a demo release, it features a very well sounding production job. It´s suitably raw and brutal, but still clear enough for all details to be heard in the mix. A perfect sound production for this type of music. A 3.5 star (70%) rating is deserved.

RUSH Exit... Stage Left

Live album · 1981 · Hard Rock
Cover art 4.22 | 47 ratings
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"Exit... Stage Left" is a live album release by Canadian progressive rock act Rush. The album was released through Anthem Records/Mercury Records in October 1981. It´s the band´s second 1981 release, as Rush released their eigth full-length studio album "Moving Pictures" in February 1981. "Exit... Stage Left" was in it´s original form a double vinyl release, featuring 13 tracks and a total playing time of 76:52 minutes.

The material on the live album was recorded at two different concerts. The first show from the 1980 tour supporting "Permanent Waves" (1980) and the second show from the 1981 tour supporting the release of "Moving Pictures". The tracks are more specifically culled from the shows at The Apollo, Glasgow, Scotland on June 10-11, 1980 and from The Forum, Montreal on March 27, 1981.

Most tracks on "Exit... Stage Left" are from the four studio albums preceding this release in "A Farewell to Kings" (1977), "Hemispheres" (1978), "Permanent Waves" (1980), and "Moving Pictures" (1981), so this live album works as a sort of conclusion to that era of Rush, just like the "All the World's a Stage" (1976) live album worked as a conclusion to the earliest part of the band´s career (the first four studio albums). Only a few tracks here represent the first four albums which are "A Passage to Bangkok" from "2112" (1976) and "Beneath, Between & Behind" from "Fly by Night" (1975). The short classical music influenced acoustic guitar piece titled "Broon's Bane" which works as an intro to "The Trees", is exclusive to this release.

If you´re familiar with Rush it´s really no surprise that the performances by the band are of an incredibly high quality. Rush were always virtuoso musicians and listening to them playing live it becomes even more obvious why they are so highly regarded as musicians. The performances are close to flawless and in some cases sound very close to the studio recordings. In addition to some crowd noise (mostly heard when they sing along to "Closer to the Heart") and a few words spoken to the audience, the music features enough grit and little changes (like the drum solo in the middle of "YYZ") that this still sounds like a live recording. This trio of musical geniuses are just so good, that they are almost capable of performing their studio tracks to perfection in a live setting.

"Exit... Stage Left" features an organic, powerful, and detailed sound production, and you´re able to hear everything clearly in the mix. Tracklist selections can always be discussed, but to my ears Rush have made some good choices for this live album focusing on the 1977-1981 period but with a few excursions to the earlier material. Tracks like "The Spirit of Radio", "Freewill", "Tom Sawyer", and "Red Barchetta" are absolute beauties, but longer progressive rockers like "Xanadu", "Jacob's Ladder", "La Villa Strangiato", and of course "YYZ" are also big attractions. "Exit... Stage Left"

SLIMELORD Moss Contamination

EP · 2021 · Death Metal
Cover art 3.50 | 1 rating
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"Moss Contamination" is the second EP release by UK death metal act Slimelord. The EP was independently released in September 2021. It follows the release of Slimelord´s debut EP "The Delta Death Sirens" from June 2019. The material was written between 2019-2020 and recorded, mixed and mastered at BOOM, Leeds in 2020. "Moss Contamination" features a heavy, raw, and detailed sounding production, which suits the material well.

Stylistically the material on "Moss Contamination" is a continuation of the abstract and cavernous death-doom metal style of the previous EP (it´s not doomy all the time though, and Slimelord also play both mid-paced and faster death metal parts), but Slimelord have used the years between the two releases to refine their songwriting and hone their playing skills, and there is a noticeable lift in quality since the first EP. The atmosphere is gloomy and filthy, while the riffs and rhythms have an ultra heavy dragging quality to them, creating crushingly heavy grooves and an oppressive atmosphere. The lead work on "Moss Contamination" is really something else and is a huge contributing factor to the dark and morbid atmospheres of the EP. The vocals are abysmal deep growling placed low in the mix, and while they get the job done, the vocals are probably the weakest link of the music.

One of the great assets of the EP is the creative songwriting. Slimelord keep coming up with interesting songwriting ideas and "Moss Contamination" is as a result and intriguing and entertaining release all the way during the 5 tracks, 26:57 minutes long playing time. Sometimes I´m reminded of Disembowelment, although Slimelord aren´t quite as funeral death-doom slow, but there is something about the atmosphere which Slimelord create, that leads my thoughts toward the Australians and their groundbreaking 1993 "Transcendence into the Peripheral" album. A 3.5 star (70%) rating is deserved.

SLIMELORD Torn Apart

Single · 2021 · Death Metal
Cover art 3.00 | 1 rating
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"Torn Apart" is a single release by UK death metal act Slimelord. The single was independently released in June 2021. It features one track and it´s a cover of Swedish death metal legends Carnage. The track was originally released on the various artists compilation album "Lemlästad Och Begraven" released by the Noxious Ruin label. The compilation which is a celebration of old school Swedish death metal also features material from artists like Soul Devourment, Wharflurch, Thorn, Absconder, Putrid Tomb, Celestial Sanctuary, Foul Decay, For The Pyres, Guilty View, Fumes, Coagulate, Hollowed Body.

While Slimelord manages to put a little of their own spin on the "Torn Apart" track, Carnage old school Swedish death metal style is in reality pretty far removed from the claustrophobic and cavernous death-doom metal of Slimelord´s own releases, so it´s not the most successful or interesting cover of a Carnage song that I have ever heard, but less will do, and Slimelord arguably do a decent job covering "Torn Apart". The sound production is decent too and overall a 3 star (60%) rating isn´t all wrong.

SLIMELORD The Delta Death Sirens

EP · 2019 · Death Metal
Cover art 3.50 | 1 rating
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"The Delta Death Sirens" is an EP release by UK death metal act Slimelord. The EP was independently released in June 2019. Slimelord formed earlier that same year and the material featured on the EP was recorded at Chunk, Leeds, May 2019. Three out of the five members of Slimelord also play in the technical thrash metal act Cryptic Shift.

While there is certainly a technical element to the material featured on "The Delta Death Sirens", Slimelord is a completely different beast to Cryptic Shift. Slimelord play filthy, gloomy, and cavernous sounding old school death metal (often doomy) with the occasional aforementioned technical twist. The gutteral growling vocals are low in the mix and there is an overall claustrophobic, twisted, and oppressive atmosphere surrounding "The Delta Death Sirens".

Slimelord are a well playing unit, and combined with the well sounding production job (I enjoy how audible the bass is in the mix. It´s a nice production choice), and the solid songwriting, "The Delta Death Sirens" is a good quality first release from Slimelord. They would get even better down the road, but this is definitely a promising start to their career. A 3 - 3.5 star (65%) rating is warranted.

SOVEREIGN Altered Realities

Album · 2024 · Thrash Metal
Cover art 3.50 | 1 rating
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"Altered Realities" is the debut full-length studio album by Norwegian death/thrash metal act Sovereign. The album was released through Dark Descent Records in January 2024. Sovereign formed in 2018 and their first release was the 2018 "Iron Cast" single. In 2019 the eponymously titled demo and a few more singles followed. The "Neurotic" EP was released in 2020.

Stylistically Sovereign travel a similar sci-fi themed technical thrash metal path as artists like Cryptic Shift, Vektor, Cryptosis, Dissimulator, and Obliveon (just to mention a few of the more prolific artists in the genre), but they are generally a bit more unhinged and savage and maybe bit less sophisticated. When they are most fast-paced, energetic, and caustic sounding I´m reminded of early Sadus (and even Merciless). So this is technical thrash metal bordering aggressive old school death metal albeit predominantly leaning towards the thrash metal side of things. Relentlessly aggressive, fast-paced, and highly energetic, but also with moments of more melodic sophistication. The vocals are raw, aggressive and hoarse shouting.

The quality of the songwriting is high throughout, the performances are top notch, and "Altered Realities" also features a raw, detailed, and powerful sounding production job, so upon conclusion it´s a good quality debut release from Sovereign. A 3.5 star (70%) rating is deserved.

SLIMELORD Chytridiomycosis Relinquished

Album · 2024 · Death Metal
Cover art 4.00 | 2 ratings
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"Chytridiomycosis Relinquished" is the debut full-length studio album by UK, Leeds based death metal act Slimelord. The album was released through the 20 Buck Spin label in March 2024. Slimelord formed in 2019 and released the "The Delta Death Sirens" EP the same year. Two more EPs followed in 2021 and 2022, and in 2023 Slimelord released the "Spells at the Ismuth" live album. Three of the five members of the lineup who recorded "Chytridiomycosis Relinquished" are also members of UK technical thrash metal act Cryptic Shift and appear on their May 2020 "Visitations from Enceladus" debut full-length studio album.

Stylistically the material on "Chytridiomycosis Relinquished" is in an almost abstract sounding death metal style. The gutteral growling is low in the mix and works as a cavernous presence in the busy, chaotic, and at times quite technical sound of Slimelord, although the vocals at times take on a more aggressive snarling tone. This is sometimes dissonant technical death metal, but other times it´s filthy, death-doomy, and gloomy death metal. It´s quite adventurous and creative music, and Slimelord deserve a lot of praise for being as bold and unconventional as they are. This is not easy listening music, but the tracks flow nicely and the many different riffs, the well played morbid leads, rhythms, and song structures ensure that "Chytridiomycosis Relinquished" is one long interesting and intriguing listen. Artists like Spectral Voice and to a lesser degree the related Blood Incantation are to my ears valid references. There´s a similar combination of old school death metal values and progressive/experimental songwriting present on this release, although Slimelord of course have a sound of their own.

"Chytridiomycosis Relinquished" is a well sounding album, featuring a powerful, raw, and brutal sound production, which suits the material well. The people responsible for the recording, mixing, and mastering of the album deserve recognition for the job they´ve done. This is the perfect sound for the music featured on "Chytridiomycosis Relinquished". Upon conclusion Slimelord have released a high quality debut album, and a 4 star (80%) rating is deserved.

GUTLESS High Impact Violence

Album · 2024 · Death Metal
Cover art 3.50 | 1 rating
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"High Impact Violence" is the debut full-length studio album by Australian, Melbourne based death metal act Gutless. The album was released through Me Saco Un Ojo Records in November 2024. Gutless formed in 2018 and released the "Mass Extinction" demo the same year. They released a split with US death metal act Mortal Wound in 2020 and the "A Live Execution" live album in 2021.

...and label mates in Mortal Wound and another contemporary death metal act like 200 Stab Wounds are arguably valid references. Old school death metal but with a more contemporary twist. The latter manifests in heavy groove laden brutality and a generally more focused emphasis on groove laden riffs and rhythms than what you find on most old school death metal releases. When that is said "High Impact Violence" is still predominantly an old school leaning death metal release. The vocals are aggressive growling delivered in a staccato punchy style.

"High Impact Violence" features a powerful, raw, and brutal sounding production job, which suits the material well, and upon conclusion it´s a good quality debut album from Gutless. You won´t find much new here, but Gutless have managed to put well known musical elements together in the powerful and effective fashion, and fans of raw and aggressive old school death metal should find a lot to appreciate here. A 3.5 star (70%) rating is deserved.

OXYGEN DESTROYER Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind

Album · 2021 · Thrash Metal
Cover art 3.58 | 2 ratings
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"Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind" is the second full-length studio album by US, Seattle, Washington based death/thrash metal act Oxygen Destroyer. The album was released through Redefining Darkness Records in August 2021. It´s the successor to "Bestial Manifestations of Malevolence and Death" from 2018 and continues the Godzilla themed lyrics and imagery of the predecessor. There´s been one lineup change since the predecessor as bassist Ben Williams has been replaced by Paul Wright.

Stylistically the material on "Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind" pretty much continues the caustic aggression and fast-paced playing of "Bestial Manifestations of Malevolence and Death". This is death/thrash like our mother made it. Fast and aggressive tremolo picked riffs, ferociously fast-paced and energetic drumming, screaming guitar leads, and rabid dog snarling lead vocalist spewing out hateful sounding vocals (sometimes on the verge of being blackened). It´s about the same formula used by late 80s/early 90s pioneers of the genre like Merciless, Sadus, and Demolition Hammer, but that doesn´t make it a less compelling listen, if you´re a fan of the genre.

The musicianship is on a high level on all posts. These guys can play and they deliver a tight, brutal, and aggressive assault. So it matters less that their songwriting isn´t the most varied and that their overall music style isn´t the most unique. Just sit back and enjoy it while Oxygen Destroyer sandblast your face with their caustic aggression and brutal playing. Featuring 8 tracks and a total playing time of 29:16 minutes, this is a pretty short release, but as it features such an intense and completely uncompromising music style and an extreme energy level, a short playing time is exactly what is needed. A 3.5 star (70%) rating is deserved.

THE BRONX CASKET CO. Sweet Home Transylvania

Album · 2001 · Gothic Metal
Cover art 3.00 | 1 rating
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"Sweet Home Transylvania" is the second full-length studio album by US gothic metal act The Bronx Casket Co.. The album was released through Massacre Records in 2001. The Bronx Casket Co. was formed in 1998 by Overkill bassist D.D. Verni as a side-project. The lineup who recorded the debut album is intact here.

Stylistically the material on the 9 track, 56:40 minutes long album is dark, gothic themed, doomy heavy metal. Lead vocalist Myke "Spy" Hideous delivers both deep gothic tinged clean vocals, and other more regular clean vocal styles. He gets the job done, but he isn´t the most unique sounding vocalist in this style. The music features atmosphere enhancing keyboards, and some parts remind me of Type O Negative, but it´s just one influence you can hear in the music, and honestly this doesn´t come near reaching the quality of the output of Type O Negative. It´s pretty solid gothic metal though, and the quality of the songwriting is decent to good.

"Sweet Home Transylvania" features a well sounding production job, and upon conclusion it´s a good quality release. It´s not particularly unique sounding, and it won´t challenge your perceptions of what gothic metal sounds like or break any boundaries in terms of quality, but it´s still both entertaining and well thought out. A 3 - 3.5 star (65%) rating is warranted.

HELLOWEEN Helloween

EP · 1985 · Speed Metal
Cover art 4.00 | 31 ratings
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"Helloween" is an eponymously titled EP release by German speed/power metal act Helloween. The EP was released through Noise Records in March 1985. Helloween formed in 1978 under the Gentry monicker and went through a couple of band name changes (Second Hell and Iron Fist) before settling on Helloween in 1984. They released the "Death Metal Demo" that same year and in late 1984 the two tracks from the demo appeared on the "Death Metal" split release along with material from Running Wild, Hellhammer, and Dark Avenger.

The EP features 5 tracks and a total playing time of 26:28 minutes, so there is arguably enough quantity for the money, and there´s certainly nothing wrong with the quality either. Stylistically Helloween play a fast-paced, raw yet still melodic and occasionally neo-classical influenced speed metal style. Lead vocalist/guitarist Kai Hansen has a rather distinct sounding voice and delivery. He can sing both mid-range and extremely high pitched screaming vocals. He´s an interesting singer, because as a starting point his voice isn´t that powerful or pleasant sounding (he often sounds a little strained when singing), but somehow he still manages to produce sounds which suit the material well.

The instrumental work is relatively impressive considering the young age of the band and the fact that this EP is their first label release. Fast-paced tight drumming, a sharp sounding bass, and two guitarists churning out both ultra fast-paced speed/thrashy riffing, but also loads of melodic lead guitar lines and harmonies. There´s no arguing that Helloween were already a very well playing unit even this early on.

The first four tracks on the EP are all energetic, powerful, and fast-paced speed metal songs with an epic atmosphere, although the 6:38 minutes long "Victim of Fate" is slightly more complex featuring more dynamics and variation then the other three tracks. The EP concludes with the power ballad turns speed metal track "Cry for Freedom", which does come off slightly awkward, but not in an uncharming fashion. The whole thing reeks old school credibility and an adventurous touch, and those are great qualities.

The sound production is relatively well sounding for the time and genre, but it does sound a little dated today. Of course the unpolished and pretty raw sound production only adds to the authentic atmosphere of the release. In retrospect this became a groundbreaking speed metal release but the strained vocals and sometimes clumsy songwriting do drag my rating down a bit. A 3 - 3.5 star (65%) rating is warranted.

MORTAL WOUND The Anus of the World

Album · 2024 · Death Metal
Cover art 3.50 | 1 rating
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"The Anus of the World" is the debut full-length studio album by US, California based death metal act Mortal Wound. The album was released through Me Saco Un Ojo Records in May 2024. Mortal Would formed in 2018 and released the "Forms of Unreasoning Fear" demo the same year. They released a split with Australian death metal act Gutless in 2020.

Despite the somewhat humorous/silly album title, Mortal Wound aren´t a comedy death metal act, although they certainly integrate some humour in their songtitles and lyrics, which songtitles like "Royally Fucked Forever" and "Even the Jungle Wanted Him Dead" are proof of (the many shorter interlude tracks/samples featured on the album are also quite humorous and nice breathers between the more regular death metal tracks). The actual music is old school death metal but with a more contemporary production job. Not completely unlike a contemporary artist like 200 Stab Wounds. The vocals are relatively unintelligible deep growling placed at the forefront of the mix. They sound a bit like 90s Chris Barnes (Cannibal Corpse, Six Feet Under).

"The Anus of the World" is a well produced death metal release, and Mortal Wound are a well playing band too. Paired with the effective, relatively varied (tempo changes, brutal grooves, and morbid leads), and solid songwriting, "The Anus of the World" is upon conclusion a good quality debut album from Mortal Wound, and they are definitely an act worth following. A 3.5 star (70%) rating is deserved.

AFFLICTED Dawn of Glory

Album · 1995 · Heavy Metal
Cover art 2.00 | 1 rating
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"Dawn of Glory" is the second full-length studio album by Swedish heavy metal (formerly death metal) act Afflicted. The album was released through Massacre Records in 1995. It´s the successor to "Prodigal Sun" from 1992 and features one lineup change as lead vocalist Joakim Bröms has been replaced by Michael Van Der Graaf.

With the new lead vocalist comes a major change in music style, as Afflicted have shed all but one stylistic element from their previous death metal sound in favor of a traditional heavy metal sound. The one death metal trait left in the music actually has nothing to do with the compositions, but the fact that "Dawn of Glory" was recorded at Sunlight Studio with producer Tomas Skogsberg. As a result the guitar sound is similar to the guitar sound on many early 90s Swedish death metal and death´n´roll albums, and needless to say it´s quite surprising (read: Odd) to hear that distinct guitar tone on a traditional heavy metal release.

"Dawn of Glory" features 9 tracks, and a total playing time of 34:01 minutes, but honestly it feels much longer, because it´s a heavy metal release featuring next to no memorable hooks, no sing-a-long choruses, and no anthemic moments. You´ll find hard rocking heavy metal riffs, guitar leads and harmonies, and a lead vocalist who can sing heavy metal tunes, but none of it really works. Just because Van Der Graaf understands how to sing this type of music doesn´t mean he has a particularly strong voice or a passionate delivery, or that the melody lines he has to work with give him the best possible conditions to shine. In fact his job is made incredibly hard by the weak songwriting, so while I´m certainly not impressed by the vocals on this album, I´ll cut him some slack, because of the songwriting issues. It´s impossible to work with material like this.

It´s not that I´m opposed to Afflicted finding their inner heavy metal child and bringing it to the attention of the world, as I enjoy traditional heavy metal just as much as the next guy/girl, but if you´re going to change your core style as drastically as Afflicted do here, you better deliver the goods, and that´s where this whole project comes crashing down. Uninspired songwriting, weak musical performances, and an odd sounding production job aren´t exactly positive features. I have huge respect for Afflicted´s role on the late 80s/early 90s Swedish death metal scene, and I can highly recommend both their 1991 "Wanderland" demo and their "Prodigal Sun" album as some of the most interesting and semi-progressive death metal releases of that era (along with the contemporary releases by Edge of Sanity), but I´m afraid I have little positive to say about "Dawn of Glory", which is best forgotten. Even if they had released this under another monicker, it would still be a sub standard quality heavy metal release. A 2 - 2.5 star (45%) rating isn´t all wrong.

MORDRED Volition

EP · 2020 · Funk Metal
Cover art 3.36 | 3 ratings
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"Volition" is an EP release by US, California based thrash/alternative/funk metal act Mordred. The EP was independently released in July 2020. Mordred formed in 1984 and disbanded in 1995 after releasing three full-length studio albums and a string of minor releases. They reunited in the 2001-2007 period, but no new studio output was recorded during that period. Mordred reunited again in 2013 and released "The Baroness" single in 2015, as their first release featuring new original material in 21 years (they released "The Demos 1986-1988" compilation in 2014, but as the title suggests it didn´t feature any new original material). Since the release of "The Next Room" (1994), which was their last release before their 1995 split-up, there have been two lineup changes. Drummer Gannon Hall has been replaced by Jeff Gomes, and original lead vocalist Scott Holderby has returned, replacing Paul Kimball who sang on "The Next Room" (1994).

"Volition" features four new original compositions, although one of the tracks is "The Baroness" from the 2015 single of the same name. This version of "The Baroness" is an alternate recording though, and it´s quite different from the original 2015 single version of the song. "Not for You" opens the EP with a great thrashy riff and some nice turntable scratching, before Holderby´s distinct sounding talking/singing vocals kick-in. A great energetic and powerful track and the most thrash metal oriented track on the EP. "What Are We Coming To" follows and it´s a very different sounding track, as it´s an electronic/keyboard track with some effect laden rap styled vocals on top. It features a sinister gloomy atmosphere, which is the greatest asset of the track. I´m not a huge fan of this style of music, but it´s decent enough for variation. "The Love of Money", features an alternative metal style with more melodic vocals. It´s a great quality track (make sure to watch the official music video for this track, which is pretty great). The above mentioned "The Baroness" closes the EP, and it´s an absolute beauty of a track (and like "Not for You" it´s a thrash metal oriented track). I especially enjoy how the band employ the use of riot gang vocals in such an effective way. The funk element of the band´s sound is heard on all of the tracks (except for "What Are We Coming To").

"Volition" is a well produced release, featuring a powerful, clear, and detailed sound production, which suits the material perfectly. "What Are We Coming To" drags my rating down just a bit, but other than that track "Volition" is quite the brilliant release and fully shows that Mordred still have a lot to offer after their long break. A 3.5 - 4 star (75%) rating is deserved.

MORDRED The Baroness

Single · 2014 · Funk Metal
Cover art 3.58 | 2 ratings
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"The Baroness" is a single release by US, California based thrash/alternative/funk metal act Mordred. The single was independently released in February 2015. Mordred formed in 1984 and disbanded in 1995 after releasing three full-length studio albums and a string of minor releases. They reunited in the 2001-2007 period, but no new studio output was recorded during that period. Mordred reunited again in 2013 and released "The Baroness" single which was their first release featuring new original material in 21 years (they released "The Demos 1986-1988" compilation in 2014, but as the title suggests it didn´t feature any new original material).

21 years is a long time not having released any new original material, but it doesn´t take more than a few seconds of listening to "The Baroness" before you should be convinced that Mordred are back with a vengeance. Bay Area type thrash metal riffs, turntable sctratching, and lead vocalist Scott Holderby delivering his rather unique talking/singing vocal style. This 2015 single version of "The Baroness" is quite different from the version of the track which would appear on the 2020 "Volition" EP, and unfortunately having listened to the 2020 recording first and this one after, I definitely favor the 2020 version. This one doesn´t feature as much bite and conviction as the version of the track which Mordred would include on the "Volition" (2020) EP. When that it said this single version of "The Baroness" is still a high quality track, and it´s a welcome comeback for Mordred. Unfortunately it would take them another 5 years before they released something again, but in this case it was worth the wait. A 3.5 star (70%) rating is deserved.

ANTHRAX Volume 8: The Threat Is Real

Album · 1998 · Groove Metal
Cover art 3.01 | 30 ratings
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"Volume 8: The Threat Is Real" is the eighth full-length studio album by US, New York based thrash/groove/heavy metal act Anthrax. The album was released through Ignition Records Inc. in July 1998. It´s the successor to "Stomp 442" from 1995 and features the same four-piece lineup who recorded the predecessor.

Stylistically "Volume 8: The Threat Is Real" continues the groove/heavy metal style of "Stomp 442", but it´s overall a less heavy and hard edged release. There are a few more melodic moments here than was the case on the predecessor and "Volume 8: The Threat Is Real" is also a more varied release than "Stomp 442" is. That´s not necessarily a good thing though, as "Volume 8: The Threat Is Real" is a both uneven and often uninspired listening experience. You can´t take away from Anthrax that they are a well playing unit and that lead vocalist John Bush is a skilled and powerful sounding singer, but the singwriting is patchy, forgettable, and in some cases a little silly and awkward ("Toast to the Extras" and "Harms Way" are examples of that). The two opening tracks "Crush" and "Catharsis" are some of the few decent quality tracks on the album, but even those aren´t really that great.

"Sound of White Noise" (1993) was a great introduction of John Bush to the band, and with that album Anthrax changed their sound in a meaningful way. The quality already dropped significantly on "Stomp 442", but at least that album maintained a decent songwriting level. "Volume 8: The Threat Is Real" on the other hand is a weak album release by Anthrax, with barely any memorable tracks. It almost sounds like the band entered the recording studio with no ideas for songs and jammed their way through the songwriting process ending up with an album full of hastily put together compositions with very few moments of replay value. A 2.5 star (50%) rating is maybe a bit too generous, but the band can play, John Bush can sing, and the sound production is decent (but not great), so it´s not a total disaster.

W.A.S.P. The Last Command

Album · 1985 · Heavy Metal
Cover art 3.75 | 35 ratings
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"The Last Command" is the second full-length studio album by US heavy metal act W.A.S.P.. The album was released through Capitol Records in November 1985. It´s the successor to the eponymously titled debut album from August 1984 and there´s been one lineup change since the predecessor as drummer Tony Richards has been replaced by Steve Riley (formerly of Keel). "The Last Command" turned out to be a major commercial success for W.A.S.P., selling more than a million copies and reaching No. 49 on the Billboard 200 album charts by early 1986.

Stylistically the material on "The Last Command" is pretty much a continuation of the heavy rock/metal sound of the band´s debut album. Simple vers/chorus structured tracks, featuring hard rocking riffs and rhythms, some blistering solo work, and Blackie Lawless rough voice and raw sounding vocals in front. W.A.S.P. may have had a both shocking and controversial image and sometimes lyrical concept in their early days, but the music is anything but extreme. Lawless has a raw voice and a screaming delivery, but the instrumental part of the music is nothing more (or less) than heavy metal distorted rock´n´roll. As an example you can check out the chorus on opening track "Wild Child". Even my grandma would sing along to the catchy chorus melody on that one. "Blind in Texas" should of course also be mentioned when talking about "The Last Command", as it´s an album highlight and one of the band´s signature songs.

Catchiness and instantly memorable songwriting are probably the two greatest assets of the music on "The Last Command" (and Lawless voice and delivery), because the tracks are sometimes almost too simple and the songwriting a bit one-dimensional. It´s quick and easily digestable entertainment, but it´s also a bit shallow. The sound production is organic, raw, and relatively wild sounding, suiting the material well, so all in all "The Last Command" is a decent quality heavy rock/metal album from W.A.S.P.. I´m not exactly blow away by this, but it´s alright for what it is. A 3 star (60%) rating is deserved.

THERION Beyond Sanctorum

Album · 1992 · Death Metal
Cover art 3.48 | 19 ratings
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"Beyond Sanctorum" is the second full-length studio album by Swedish death metal act Therion. The album was released through Active Records in January 1992. It´s the successor to "Of Darkness..." from February 1991 and features one lineup change since the predecessor as bassist Erik Gustafsson has left the band. As no permanent replacement was found in time for the recording of the album, guitarists Christofer Johnsson and Peter Hansson share the bass recording duties on "Beyond Sanctorum".

While "Of Darkness..." predominantly featured re-recorded demo material from the late 80s/early 90s, "Beyond Sanctorum" features material written specifically for this album. Some of the songwriting ideas may have been in the making for years, but the audible thrash metal influences on the predecessor are pretty much gone from "Beyond Sanctorum", which at its core is a more pure old school death metal release. It´s a relatively adventurous and at times anarchistic old school death metal release though, and already this early on Therion also sporadically gave us a taste of their future gothic and symphonic metal influences (heard on the track "Symphony of the Dead" and on "Paths"). Another notable influence is Voivod and their dissonant twisted riff style, which is something Therion also use on occasion (heard on the track "Cthulhu").

So while "Beyond Sanctorum" is arguably an old school death metal release, it´s occasionally a relatively progressive one, and it´s loaded with creative songwriting ideas and stylistic elements that you won´t hear on many other contemporary Swedish death metal releases. The only other contemporary Swedish death metal act who was as innovative and progressive in their approach was Edge of Sanity (...and maybe Afflicted). It´s not always pretty, and it´s often delivered in a very raw and unpolished fashion (and somtimes features some pretty awkward but effective tempo changes and transitions between sections), but there´s no denying that Therion reach beyond the standards of old school Swedish death metal. Not that track lengths are the only parameters to decide if something is progressive but it´s still unusual to find an 11:05 minutes long song on an old school death metal release like "The Way".

"Beyond Sanctorum" features a raw, brutal, and powerful sounding production. There is an unhinged and almost chaotic nature to the album that´s greatly charming and the band are relatively well playing too. Johnsson´s growling vocals are quite varied and ranges from aggressive higher pitched snarling to abysmal growling (and everything in between). The vocals are definitely one of the great assets of the album.

Upon conclusion "Beyond Sanctorum" is a great end to Therion´s early old school death metal phase and definitely the peak of the early period of the band´s discography. They wouldn´t completely abandon their roots on the next couple of releases, but they soon started experimenting a lot with their sound and ultimately became something very different from what they are on this release. A 3.5 - 4 star (75%) rating is deserved.

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