Back catalogue: Metal

Review: Originally released in 1982 via Earache Records (who're also handling this long overdue reissue), The Ultimate Incantation marked the debut full-length from Polish death metal pioneers Vader. Originally recorded at Sunlight Studio in Stockholm, Sweden with Thomas Skogsberg, both the band and label were ultimately unhappy with the final mixes due to their admitted lack of studio equipment, especially the studio's in-house electronic drumkit which simply could not handle the barrage of blastbeats, leading them to relocate and re-record the album in its entirety at London's Rhythm Studios with producer Paul Johnson. Whilst commended upon release for the band's technical proficiency that helped guide the extreme metal movement, some critics found the desired raw recording quality as too abrasive to truly enjoy, but those critiques have become somewhat redundant over the decades with any extreme metal act worthy of the term and the scene as a whole prioritising raw intensity over studio gloss.

Review: Captured on the opening night of their US tour in support of 1985's fifth full-length Possessed, this live performance from Newcastle Upon Tyne first wave black metal pioneers Venom showcases the legends as they ripped through Santa Monica, California on March 28th 1986, delivering an early career-defining set including vital blueprint malevolent thrash bangers such as 'Countess Bathory', 'Buried Alive', 'Teacher's Pet', and of course, the song that would ultimately birth a genre, scene and wave that would eventually take Scandinavia (particularly Norway) by storm, 'Black Metal'. Where bands like Metallica and Megadeth were busy bringing metal to the masses and Slayer were experimenting with just how far the evil envelope could be pushed while maintaining lucrative success, no other metal act in the 1980s showcased such ample disregard for commercial compromise than Venom, maintaining their place as underground forebears for decades to come.

Review: Originally released in 1986 during their formative Noise Records era, Rrroooaaarrr would serve as the sophomore follow up to Canadian progressive metal legends Voivod's debut album War & Pain, whilst offering the first true glimpses into the more spacy cosmic compositional approach that would ultimately become their new sonic bedrock. While perhaps not at the level of prog wonder that has elevated 1987's Killing Technology to a much-adored fan favourite, the material on their second effort works as almost a bridge between their speed-thrash origins and the more fully realised vision their later material would harbour. While flashy and intricate, this early work is a testament to how formidable of a straight up thrash metal beast the band originally were before they would opt to distance themselves from their burgeoning peers in Metallica or Megadeth; marking the true beginning of their journey into the great unknown (also referred to as "space-prog").

Review: Canadian sci-fi-tinged prog metal auteurs Voivod originally unveiled The End Of Dormancy EP in 2020, with this "ocean blue" reissue from Brutal Panda sprinkling extra aesthetic weight to the title-track's nautical tale of a mysterious entity leagues beneath the sea. Originally a cut from 2018's critically acclaimed The Wake, this EP version offers a unique "Metal Section" take, almost a full minute longer with added trumpets, saxophone and trombones, whilst the B-side features a live rendition of the epic piece as well as the iconic opening track from the band's seminal 1989 prog-thrash masterpiece Nothingface - 'The Unknown Knows', both performed at the Live Montreal Jazz Fest 2019.

Review: Originally released in 2015, Inmazes marked the debut full-length from Danish progressive metal outfit VOLA. Taking sonic influence from the Djent scene pioneered by Meshuggah and further popularised by acts such as Periphery, yet eschewing much of the metalcore aspects prevalent within the subgenre, the material draws as much from Scandinavian prog metal acts such as Opeth and Katatonia, only fitted with seven string guitar low-end grooves and chunky riffage, making for a curious combination of progressive artistry and Djentcore heft, all unified under the saccharine, almost shoegaze lilt of primary songwriter Asger Mygind's understated vocal delivery. While the band would stray further into melodic, synth-laden prog soundscapes on 2018's sophomore follow up Applause Of A Distant Crowd, this debut where is they let their Djent flag fly as high as the influences worn on their sleeves.