Review: 1977 was a pivotal year for Motorhead, seeing as it saw the release of their debut, self-titled album and also the hiring of Fast Eddie Clarke, forging what is invariably seen as the classic line up of this seminal band. The year may be closely associated with the height of punk rock, but the ultra heavy metal stylings of Lemmy and co always crossed the divide and appealled to punk and metal fans alike. The 11 tracks here straddle the tracks written for that debut LP ('Iron Horse/Born To Lose', 'Vibrator' and 'White Line Fever') and older material such as 'Motorhead', originally penned by Lemmy's previous employers Hawkwind, their cover of Eddie Holland's Motown classic 'Leaving Here' and 'On Parole', first recorded with Clarke's predecessor Larry Wallis in 1976 then shelved. The sound of one of the finest bands ever just beginning to hit their stride.
Review: Before Tool were known for their grandiose live shows that keep frontman Maynard James Keenan shrouded in darkness next to drummer Danny Carey, before they were considered progressive metal titans unmatched by any act within the scene, they were just another four-piece alternative metal group made up of four outsider misfits who seemingly struck a unique balance with one another and a burgeoning fanbase. Captured in 1991 at a performance in the Los Angeles Jello Loft where they would cut their teeth, this set is made up of material from both their 1992 debut 'Opiate' EP and 1993's follow-up full-length Undertow, pre-dating the release of either project, with the songs landing on almost completely unsuspecting ears. Take a fly-on-the-wall earful of early versions of 'Cold & Ugly,' 'Sweat', and 'Hush', which showcase their first forays into aggressive grooves whilst the juxtaposition of these tracks next to their much darker, proggier successors such as 'Sober' and 'Swamp Song', highlight the singular vision they were already striving towards before even dropping one official project.
Review: Canadian progressive metalcore outfit Spiritbox have become one of the unlikely success stories of the past few years within the metal and hardcore spheres. With huge festival and touring slots and millions of streams, it's a wonder to think how far the members have come since their early days as part of the chaotic mathcore group iwrestledabearonce, with their increasing exposure contrasting greatly against their rhythmic and pummelling grooves as well as enigmatic frontwoman Courtney LaPlante's inhumane shrieks. Riding the rigid momentum of their 2021 debut full-length Perfect Blue into last year's Rotoscope EP, the band are set to capitalise on the now with another bombastic, vicious and succinct statement of intent with The Fear Of Fear. Six new tracks of technical heft and serene melodies, designed to keep the band at the centre of the metalcore conversation while LP2 slowly brews.
Review: Recorded in Montreal, Quebec in 1981 whilst touring his sophomore solo endeavour Diary Of A Madman, this live LP from the former/current/former (?) Black Sabbath frontman serves up an iconic slice of very-much-in-his-prime metallic rock mayhem. Featuring timeless staples such as 'I Don't Know', 'Crazy Train', 'Mr. Crowley', and even finishing with an electrifying cover of 'Paranoid' (greatly embellished by Ozzy's secret weapon throughout the 80s - guitar virtuoso Randy Rhodes), this LP serves as a high watermark live collection from the Prince of Darkness.
South Of Heaven/Raining Blood/Alter Of Sacrifice/Jesus Saves (10:38)
Born Of Fire (4:50)
Mandatory Suicide (4:12)
Angel Of Death (4:48)
War Ensemble (4:54)
Die By The Sword (3:46)
Dead Skin Mask (5:30)
Review: Thrash metal pioneers Slayer have a ferocious reputation in the studio, but their live shows are where the unbridled energy, rage, passion and power really reach next level. Landing on the appropriately-named Cult Legends label, this recording of a 1991 show from Paris is exactly what we're talking about. Like pressing play on a juggernaut and watching hell break loose. References to the underworld abound here, of course, from 'Angel of Death' to the epic intro medley, 'Hell Awaits/Antichrist' i if indeed "medley" is an appropriate word to use for a band like Slayer. Pedantry aside, if you're looking for a record that truly speaks to the might and rabid majesty of metal in one of its most intense forms, then you've got it right here.
In For The Kill/You Are The Biggest Thing Since Powdered Milk (6:28)
Love For You & Me (4:00)
Parents (9:17)
Breaking All The House Rules (7:25)
Breadfan (6:53)
Review: Welsh hard rock band Budgie never quite reached the highs of some of their peers by still did plenty for the evolution of their own particular musical niche. The were often said to be a blend of Rush's progressive styles and the more direct and dark heaviness of Black Sabbath. At the heart of the band was Burke Shelley's vocals - famous for their high-pitched banshee style - and despite being commercially unheralded, they have been mentioned as an influence by the likes of Iron Maiden, Van Halen and Queens of the Stone Age. This live show from LA in the late 70s catches them in electrifying form.
Review: Originally featured on the soundtrack to The Hangover II (of all movies), 'Black Hell' from Misfits mastermind and all round evil Elvis curmudgeon Glenn Danzig finally comes to vinyl for its first time ever in both 12" format and in the form of this limited orange splattered 7" (just in time for spooky season). Featuring 'Thirteen' on the flipside (originally appearing on Danzig 6:66 Satans Child whilst made abundantly more popular by Johnny Cash's cover version), this is a perfect little slice of sultry, macabre wax to get the Halloween ghouls doing their best hoedown.
Review: Massachuessetts symphonic deathcore brutalisers, Worm Shepherd, made quite the statement of intent with 2020's 'In the Wake ov Sol'. On their sophomore effort, however, it now becomes abundantly clear just how much expansive venom the group have been harbouring. 'Ritual Hymns' builds upon its preceding debut with obliterating breakdowns, complex, frosted melodics and a weary, theatrical sense of nihilism that elevate epic centrepieces such as, 'Blood Kingdom' and 'A Bird In The Dusk' to a level of spectacle only tangentially approach on their debut.
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.
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