Back catalogue: Metal

Review: Unatoned (stylized as UNATONED) serves as the 11th full-length from Oakland, California groove metal titans Machine Head and marks their first effort to feature drummer Matt Alston and lead guitarist Reece Scruggs (with the latter replacing Decapitated axeman Wac?aw Kie?tyka aka Vogg who worked with the band on 2022's Of Kingdom & Crown). First announced through lead single 'These Scars Won't Define Us'; a self-described "Wu Tang Clan-level thrash collaboration" featuring guest vocals from members of In Flames, Lacuna Coil and Unearth, who will all support the band across their 2025 North American tour in support of the project, the addition of secondary single 'Unbound' showcases mastermind Rob Flynn's knack for marrying venomous heft to anthemic structures, whilst the air of brevity compared to some of their previously far lengthier compositions is indicative of a much more instantaneous sonic delivery (or gut-punch) this time around.

Review: The somewhat surprising return and attempt at redemption from the industrial metal shock-rocker Marilyn Manson has been a bold pill to swallow, with the once iconic provocateur seeking to avoid the many allegations and numerous controversies he has garnered over the last decade. Attending rehab and becoming fully sober over the past few years has seen dramatic weight loss, a notably more lowkey public demeanour and a newly signed record deal with Nuclear Blast (having been dropped by Loma Vista not long after 2020's We Are Chaos) turn a few heads, simultaneously cautious and curious as to the authenticity of this humble arc. With lawsuits recently thrown out, the court of public opinion appears to be the only form of due process that shall occur, leaving it to individual listeners to make up their mind as to the merit of the artist as a person. As to the art itself, One Assassination Under God: Chapter 1 is the 12th album to adorn the name Marilyn Manson, and it's his best since 2000's Holy Wood. Tapping Chelsea Wolfe collaborator/producer Tyler Bates to oversee the entire project has helped to create a generational bridge between how out of sync Manson himself had become with his own artistic strengths and audience desire, and Bates' insider knowledge as a younger fan first, collaborator second. Together they rediscover the core industrialist menace, gothic romanticism and hedonistic nihilism that kept listeners hooked after the initial shock of aesthetic would cease, but for the first time in decades, it feels earnest and earned rather than forced. Boasting Antichrist Superstar style buzzsaw synths and chug-heavy breakdowns on cuts such as 'Nod If You Understand', while the self-deprecating admission of using drugs to hide behind monstrous flaws on the gloomy balladry of 'As Sick As The Secrets Within' harks back to the most fragile moments of Mechanical Albums. Be it a cynical cashgrab or attempt to regain fan adoration, or the genuine musings of a tortured artist finally learning to face his own demons head on, there's simply no denying that this is Manson at his most potent, intimate and focused, begging the question of how different of a career trajectory and latter day output might we have had if the man had learned to look inward long before hitting the bottom.

Review: Argentinian crowds are probably the most exciting to play to in the world. And Marilyn Manson at this time had just released his Trent Reznor-produced masterpiece LP Antichrist Superstar and was at the peak of his game, so to say a ticket to this show at the Velez Sarsfield stadium in Buenos Aires was hot property is an understatement. This is about as good as heavy metal rock n' roll gets and not many will come close to the thrills that a 90s Marilyn Manson show brought. The setlist is monumental, with singles from Antichrist Superstar such as industrial metal banger 'The Beautiful People' and 'Tourniquet', which sounds like the blueprint to the nu-metal boom that was to come, among the highlights. Unusually for a live album, it's taut, with the track list limited to 11 songs, but this is for good reason. In a moment of Spinal Tap-esque horror, shortly after the final track you hear on the album, the band's drummer Ginger Fish received an electric shock whilst playing and the show ended abruptly. Putting his body on the line like that to deliver this blistering set is an heroic deed and it's a fantastic consolation to have this show fossilised onto vinyl.

Review: The duo of Therese Lanz and Casey Rogers, better known as Mares Of Thrace, deal in a ferocious, bruising blend of sludge-laden crusty noise-rock and hardcore punk. Their latest EP/mini-LP/opus, 'The Exile', limps a barefoot trudge over broken glass with violent, cacophonous results. Take the thunderous malevolence of 'Mortal Quarry' or the doomgazing of catastrophic closer, 'The Thread That Will Unravel You', as punishing examples of the unkempt vehement potential seeping its way out of the true north (that's what the Canadians like to call it).

Review: Returning with his first full-length since 2020's David Bowie-indebted We Are Chaos, while more notably marking the industrial metal goth icon's return to the spotlight following a series of troubling allegations that seemingly appear to now hang in limbo, One Assassination Under God: Chapter 1 shall serve as the 12th full-length studio endeavour from Marilyn Manson. Co-produced with frequent Chelsea Wolfe collaborator and film scorer Tyler Bates, the material boasts some of the most synth-laden, new wave winking and direct metallic rock bangers the mercurial yet questionable figure has dropped in almost two decades, making for a sonic victory lap of sorts as Manson attempts to rebuild his brand and aesthetic.

Review: Celebrating its 20th anniversary this year, Leviathan would serve as the breakout sophomore success from alternative/sludge/progressive metal legends Mastodon, and is still highly regarded as one of, if not, the band's finest output to date. Based on the 1851 Herman Melville novel Moby Dick, the project would mark the first of several concept albums from the group while boasting some of their most iconic bangers from the off-time prog-thrash of blistering opener 'Blood & Thunder' to the heaving 'Iron Tusk', to the epic 13-minute opus 'Hearts Alive'; already hinting at their later grandiose prog-rock proclivities. The LP also features guest appearances from Clutch's Neil Fallon on the aforementioned opening lead single, as well as Scot Kelly of Neurosis on the hallucinogenic 'Aqua Dementia'. In short, Leviathan is a modern classic of American metal, and should already have a place on any self-respecting fans' shelf.

Review: .Originally released in 2009, Crack The Skye would serve as the fourth full-length and creative rebirth of sludge-indebted alternative metal behemoths Mastodon. Inspired by the suicide of drummer Brann Dailor's sister in their youth, the album takes cues from prog classics such as Pink Floyd's Animals and King Crimson's In The Court Of The Crimson King to craft a monolithic sonic journey spread across seven tracks. With their later material taking on a more instantaneous approach to composition, whilst coming off the back of the harsh dynamics of 2004's Leviathan and 2006's Blood Mountain, the mercurial middle point the band found themselves on this LP emboldened them to add Dailor as a third lead vocalist, providing a melodious fulcrum between the snarl of bassist Troy Sanders and nasal croon of guitarist Brent Hinds. A hallucinogenic, astral projecting prog epic in the search for peace accumulated through unprocessed grief, the project has been held near and dear to the hearts of the band and their fanbase in the fifteen years since initial release and now celebrates such a milestone with this definitive boxset. Spread across gold vinyl 2xLP with a bonus blu-ray, poster, magnet sheet and 12-page booklet.

Review: Hailing from Raleigh, North Carolina, self-described "Adventure Metal" outfit Mega Colossus appear to have little interest in using the metal genre to craft sonic aggression. Utilising melodious leads, powerful vocals and technically impressive flashes of prog brilliance, their fourth full-length Showdown offers up a form of triumphant positivity and anthemic fantasy, harking back to the classic era of illustrious prog and classic rock with subtle nods to the likes of Rainbow, Deep Purple, and Kansas. It might not be 1978 anymore, just don't tell the band that.

Review: Taken from their controversial/iconic debut UK/European show at London's Hammersmith Odeon in 1987, this performance from thrash metal titans Megadeth was famously plagued by misfortune due to the band's gear getting stuck in customs, leading to unfamiliar hired equipment causing the dreaded technical difficulties throughout. Those in attendance that faithful night have since rushed to the band's defence, with the general consensus being no issues could overshadow the sheer ferocity and energetic mayhem exuded by Mr. Dave Mustaine (and his at the time bandmates). Captured whilst promoting their genre staple sophomore effort Peace Sells...But Who's Buying?, the set is packed to the brim with blistering, breakneck paced renditions of some the band's most mammoth, face-melting bangers from 'Wake Up Dead' to 'Peace Sells' with plenty of fan favourite deep cuts like the criminally overlooked 'Devil's Island' making appearances.

Review: Originally released in 1983, Melissa was not only the debut album from Danish first wave black/extreme metal pioneers Mercyful Fate, but legitimately the first ever release on, what can nowadays be considered to be easily one of the biggest record labels in all of the heavy sphere, Roadrunner Records. Often cited as a quintessential influence on the subgenres of black, death and thrash metal, the album's prevalence of intricate prog rock-inspired lead guitar lines, abundance of solos, constant barrage of double-kick drumming and macabre Satanic imagery and lyricism have led many to consider the work to be one of the first true examples of anti-mainstream extreme metal. Introducing listeners as well as eventual peers in Metallica and Slayer to a far darker, boundary-pushing form of heavy music, whilst along with Venom and Bathory, paving the way for the second wave Norwegian black metal scene of the late 80s/into the early 90s, this iconic debut from the creative visionary lunacy of King Diamond and Hank Shermann should really require no introduction to fans of the extreme. They were even one of the first metal acts to draw the ire of the Parents Music Resource Center when advocating for Parental Advisory labels on audio recordings, citing 'Into The Coven' among their "Filthy Fifteen" objectionable songs due to its perceived occult content.

Review: Swedish progressive groove metal legends and djent pioneers Meshuggah have always been in competition with themselves, nearly eclipsing all prior output with 2022's ninth full-length Immutable; a near 70-minute beastly display of ludicrously technical, poly rhythmic mayhem that served as both their lengthiest work to date as well as one of their most critically acclaimed, combining the unhinged aggression of 2008's ObZen with the post-prog hypnotism of their 2002 fan-favourite Nothing. The Indelible Edition offers a unique sonic enhancement and total remaster, redefining the album's depth and clarity, while including three bonus live tracks captured over the course of their 2023/2024 world tours. A very on-brand reissue from a collective known for their painstakingly detailed commitment to their vision and craft, whether you prefer the term "indelible" or "definitive", this is the version of Immutable the band finally appear content with sharing with their fanbase almost three years after initial release, almost like the Kanye West of progressive metal but without all of the antisemitism. Complete with updated artwork and gold foil intricacies for the aesthetically minded fanbase.

Review: This unmissable two-disc bundle nets Metallica's explosive live performances at the Seattle Center Coliseum on 29-30 August 1989, during their legendary Damaged Justice Tour. Widely regarded by fans as among of the band's finest shows, this tearout time capsule boasts a stellar setlist, including 'Seek & Destroy', 'For Whom the Bell Tolls', 'Creeping Death', 'Battery', 'Master of Puppets' and 'The Thing That Should Not Be'. Unleashed to the world like a cageful of batwinged, sledgehammer wielding demons, it came right after their fourth LP release And Justice for All, which in turn set the Damaged Justice tour in motion; these menacers will always come back to haunt us through the tube amps.

Review: If you've seen Metallica live and in the flesh you'll appreciate how ferocious their shows are. It's not just the music that's loud, all aspects of the performance seems to hit like wrecking ball, raising the volume and intensity on each chord of every riff, drum-packed crescendo, and disorientating outro. And it's always been that way, as this reissued recording from one of their legendary shows proves. Captured in 1994, when the thrash metal pioneers played Woodstock, USA, Justice For All certainly lives up to the name of the outfit's classic 1988 LP, And Justice For All, which earned them their first Grammy nomination. It's pretty powerful, potent stuff, running through a number of the group's strongest tracks in a live context, which goes some way towards transporting us to the gig itself.

Review: With the recent news that industrial legends Ministry would call it quits following one final full-length set for release in 2026, mastermind Al Jourgensen first aims to right some of his own projects' self-perceived wrongs on The Squirrely Years Revisited. As it wouldn't be until 1986's sophomore effort Twitch and 1988's legendary follow up The Land Of Rape & Honey that their abrasive style would truly take shape, their Depeche Mode-indebted synth-pop leaning debut LP With Sympathy is all but forgotten, even eschewed from live setlists by this point in their career. Initially bowing to label pressure to aim for more accessible songwriting as well as being pushed to sing with a more "English" cadence, this revisited collection largely consists of material originally featured on With Sympathy, along with re-recordings of the 1985 single '(Every Day Is) Halloween', and rarities such as 'Same Old Madness' and 'I'll Do Anything For You', with the intent, clarified by Jourgensen in an official statement as - "Since I hated my early stuff for decades, I decided to take ownership of it and do it right."

Review: Originally released in 1989, Altars Of Madness would not only serve as the debut full-length from Florida's Morbid Angel but is also considered to be on the first true examples of the death metal genre, with its use of frenetic guitar work, blast beat drumming, guttural vocals and extremely horrific lyrics. Recorded at the iconic Morrisound Recording in Tampa, Florida, home to seminal recordings from other death metal peers such as Cannibal Corpse, Death and Obituary, this sonic blueprint laid a foundational groundwork that has been emulated, bastardised and progressed, yet the rigid skeleton has consistently remained the same. Reissued on blue and black smoke vinyl by the old school heads at Earache, Altars Of Madness is an essential shelf-lifer for any self-respecting death metal devotee and continues to age like a fine wine in some Transylvanian villain's cellar.

Review: Originally released in 1977, if there's a rock or metal-oriented album that requires little to no introduction, it's the self-titled debut from Motorhead, welcoming the unsuspecting masses to the blistering balls to the wall ferocity that was Lemmy (bass/vocals), Phil Taylor (guitar) and Eddie Clarke (drums). Complete with a silver hot foil replication of Joe Petagno's original Motorhead logo on a vibrant red background, this 2xLP includes the original full-length boasting classics such as 'White Line Fever', 'Violator' and 'Keep Us On The Road', as well as a bonus disc featuring the Beer Drinkers & Hell Raisers EP, along with newly mixed and alternative versions of bangers like 'Motorhead', 'The Watcher' and 'Keep Us On The Road'. Complete with sleeve notes by Ted Carroll, taking the reader through the story of how Chiswick Records managed to scrape together enough money to fund the recording of what would eventually enter both the label and band into the annals of rock history.

Review: The eight full-length from Motorhead is often regarded as one of their most underappreciated works. Originally released in 1982, 'Iron Fist' would be the final album from the classic Three Amigos era line up of Lemmy, "Fast" Eddie Clarke, and Phil "Philthy Animal" Taylor. Citing the pressures of following up their, 'No Sleep 'Til Hammersmith' live album that debuted at no. 1 on the UK album charts, as well as the internally controversial decision to allow guitarist Eddie Clarke to produce, the end result would be a project respected and adored by most, with the exception of the men behind the craft. With Clarke's departure not long into the promotional tour, and the underwhelming regard Lemmy held the work in, it's times like this that we can thank the fans for championing the record and its praise for years to come. This 40th anniversary edition is mere proof that even sometimes the artist themselves doesn't get the last say on the staying power of their art.

Review: The second studio album from metal behemoths Motorhead saw the trio - in their classic line up form of Lemmy (bass, vocals), Fast Eddie Clarke on guitar and Philthy Phil Taylor on drums - truly hit their stride. In probabality, this LP, originally released in 1979, produced the biggest crop of classics of any in their career, with 'No Class', 'Capricorn', 'Stay Clean' and 'Metropolis' all joining the title track in the ranks of songs that would remain staples of their live sets for literally deacdes to come. The year is significant, as Overkill marks the band harnessing the anarchic overtones of punk to their metal power, with plenty of lyrical attitude added to the sharp riffing, 747-like basslines and double kick drum onslaught. This reissue restores the original tracklisting without the frills and extras of the 2005 remaster, but when it's all as shitkicking as this, why mess?!