Posts Tagged ‘Thrash’

220px-COC_BlindBlind is a very interesting and unique record within the C.O.C discography both historically and musically. A transitional record for a band who have had several very distinct and separate sounding periods and musical-directions over the years.

In the ’80s C.O.C were a raw, gnarly Hardcore Punk band (but with Sabbathy doomy tracks here and there too) and gained more and more Thrash influence with each release. In the 2012-2015 one of the earlier line-ups reformed but made more sludgy stonery Metal. The band are most famous however for their 1990s period especially the fan favourite Deliverance and Wiseblood albums which saw them add in Southern Rock, Groove Metal and Stoner Rock elements together into one big melting pot resulting in some of the best music of all time (real top 100 albums to hear before you die type stuff, seriously, if you don’t own those two albums yet, drop what you are doing and explore!).

In 1991 however, C.O.C had an interesting and one-off change of pace, direction and line up. Usual bassist and occasional singer Mike Dean was out (he’d be back again) replaced by Phil Swisher. Karl Agell joins the band and takes the mic, about their fifth singer alreay. For the first time guitarist Woody Weatherman finds himself in company as a second guitarist is added to the line-up, a big step in changing their sound from ramshackle Punk flavour to something else, something more metallic. That guitarist was none other than Pepper Keenan. Pepper of course being famous not only as the guitarist in supergoup Down nowadays, but also the band leader and singer of C.O.C for their most famous and beloved work in the ’90s.

Well, all that history and line-up information is certainly interesting, but it really doesn’t give you any guide as to what this particular record sounds like and if you’ll like it or not. Let me ask you a few questions. Do you like Chaos AD? Do you like Burn My Eyes? Do you like Vulgar Display Of Power? Do you like Cleansing? …if so then you’ll probably love Blind too!

The music is a far cry from the early Hardcore Punk and Crossover Thrash directions. It has yet to gain the Stoner Rock vibes, bounciness or Southern Rock influences that meshed into the sound of their most famous stuff. It is a strange pure perfect early Nineties Metal record. The intro and outro tracks are noisy-ass Doom-sounding sludgy dirges; otherwise however, the rest is a little harder to define. I know some people argue that Groove Metal or Post-Thrash or whatever you want to call it is not a real subgenre. I’ve heard this album called all sorts from Thrash (not really right) to Sludge (no…not right either) to Doom (…nope, not right either). The only one that really fits for me is Groove Metal. Take those above-mentioned four albums, Blind sits somewhere in a cross section somewhere the middle of all of them.

Karl’s vocals are James Hetfield/Chuck Billy influenced, semi-barked and semi-melodic, often very reverby and very, very well-suited to the music. The drums are very rumbly and varied. The guitar is very raw and heavy, never Slayer-fast but with a nice Thrash-style chug mixed in with hardcore fueled long ringing chords. Imagine a Supergroup that was half Black Label Society and half High On Fire trying to cover one of the deeper cuts from The More Things Change. In terms of production, it doesn’t have the warm Hard Rock ready sound of the next two records or the tinny budget-sounding job of the earlier stuff, instead it has a very distinctive early-’90s sound, the kind of thing that Pissing Razors had before the millennium. Something somewhere like Demanufacture only without the futuristic robotic vibes. Its a real charming sound.

Highlights include the ridiculously catchy single ‘Dance Of The Dead’ (Seriously; why don’t the band play this live more often!?) as well as the excellent drum-powered ‘Damned For All Time’ and of course the concert favourite ‘Vote With A Bullet’ which has the interesting point of having Pepper sing lead vocals, a hint of what was to come.

Overall; there’s no band quite like C.O.C and there’s no C.O.C release quite like Blind. If you like the band you really ought to check it out if you haven’t already, and if you don’t like the band yet but are a fan of the albums and bands that I’ve been mentioning throughout then this is a serious gap in your collection, do yourself a favour and give it a try!

220px-anthraxforallkingsAfter a brief cinematic-sounding instrumental intro, the East Coast Thrash Metal legends Anthrax’s eleventh full-length studio album kicks into gear with the stompy upper-midpaced ‘You Gotta Believe’ calling to mind the longer tracks on their Persistence Of Time and State Of Euphoria albums; the clicky drum production serves to balance the modern with the classic, the repetitive but not hypnotic song structure harkens back to State Of Euphoria even further, but when the lead guitar kicks in it is apparent that Dan Spitz and his unique and singular style are nowhere to be seen, nor can we hear the warm feel of the excellent Rob Caggiano. New man and former Shadows Fall member Jon Donais has some big shoes to fill.

Joey Bellandona, back for the second studio album since rejoining the band, sounds a little more at home here than on 2011’s Worship Music, which makes sense since the songs weren’t written with someone else in mind first. He still tries a bit more of the Bush-aping choruses which were a weak point on Worship Music since the two very different vocalists had different strengths, but there’s a bit more umph to the verses this time. A bit more of a spitting delivery. A bit more bite. Ironically, on this one he sounds more like he has something to prove, incumbent though he may be.

So far so good. The end of the songs when a few more double kicks let fly and the guitars get a bit busier are always good. The guitar solos are always entertaining. The musicianship is great in general on all the instruments all the way through. The mix is good, and you can really separate the bass drum for the bass guitar or concentrate on whatever you chose, be that a ride cymbal or an individual guitarist’s part.

There’s a few pretty damn enjoyable songs worth pointing out too, such as the speedy politically-charged closer ‘Zero Tolerance’ as well as the aggressive ‘Defend/Avenge’ and the complex and entertaining album highlight ‘Blood Eagle Wings.’

Sounds like a good album to me. The only problem is that it lacks a wow factor. It’s a bit repetitive, a bit unadventurous, a bit ploddy and a bit dull. The song tempos could use a boost. There could be a bit more variety (especially in the vocal department, the choruses sort of blanket over the tracks and make them feel a bit too safe, too samey and too slow). The song lengths could do with a trim. Heck, some of the songs could do with being trimmed altogether… there’s value for money and there’s quality control. ‘Suzerain’ is a perfect example of the whole album, it has a great verse recalling the best parts of the likes of ‘What Doesn’t Die’ or ‘Discharge’ but then the chorus comes in and you just start planning your groceries, looking out the window at the fat guy with the interesting shirt or checking your phone messages. Not even on purpose. Its not like its even bad, its not like you want to lose interest, its just that musically and vocally For All Kings just isn’t special enough to keep your attention. Where’s the choruses like ‘Fueled’? Or ‘Metal Thrashing Mad’? Or ‘Lone Justice’? Where’s the drama of ‘This Is Not An Exit’ or ‘Indians’ ? Where’s the damn excitement?

Its one of those albums where no song is bad and there’s nothing actually even bad or objectionable on there, but overall its just not that great. I like the album, but I don’t love it. Much like the recent Slayer or Megadeth albums, you don’t initially want to compare them to the past, but they just don’t have the same spark and you can’t help but feel that no-matter how objective you would prefer to stay. Its more an album of ‘Ooo, that’s a cool drum part’ rather than ‘Ooo, that’s a cool song.’ Its more, ‘wow, this is slick’ than ‘wow, this is awesome.’ Its good, but its good in the wrong way. It doesn’t grab you. It doesn’t speak to you. I don’t hear too much on here I’d love to hear in concert. I don’t hear too much I want to run out and show my friends. I don’t hear too much to even discuss at all. It one of those classic 6/10 albums that you’ll have in your collection, but never actually love, you might even listen to it more than an actual great one to try and get something more out of it. Overall; It feels like Anthrax are on the right path, but they just haven’t gotten all the way to the desired destination.

Thrash Bands Putting Cover-Songs Mid-Album:

Posted: August 31, 2015 by kingcrimsonprog in Uncategorized
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During my previous Week-Of-Thrash listening a thought occurred to me; why did so many Thrash bands have a cover song on their album. Not even as bonus tracks or for compilations but just in the middle of their album.

Led Zeppelin got covered by both Dark Angel and Nuclear Assault, again mid-album. Sodom covered Motorhead. Testament covered Areosmith, Death Angel covered Kiss, Heathen covered Free and Rainbow and even Slayer covered Judas Priest (which, fun fact, on my first few years of listening I didn’t know was a cover and considered my favourite Slayer song).

Megadeth covered Nancy Sinatra and Willy Dixon and even went so far as to cover The Sex Pistols and release that as a single and video.

Black Sabbath got covered by Exhorder and Sacred Reich on popular releases. All of these aforementioned ones are mid-album, not even as bonus tracks or b-sides (although that happened too as normal, as Kreator would do with Raven and Sodom would with Tank… and Exodus would with AC/DC, Sepultura would with Black Sabbath and Celtic Frost).

Anthrax covered Alice Cooper, Trust and Joe Jackson and in so doing produced some of their biggest hits which take precedence over their own compositions on live sets and compilation albums. They did this without getting the cover-band stigma insults that Quiet Riot earned with less famous covers overall than that.

Exodus covered bloody ‘Low Rider’ for goodness sake! EXODUS! On the middle of the furious Fabulous Disaster album of all things!

Other bands like Overkill also had cover songs mid album (‘Frankenstein’) or as the title of a whole EP (‘Fuck You’).

What was it with all these bands all at the same time putting covers out in the middle of albums? You can hardly imagine Testament or Slayer doing it today. B sides, compilation albums, movie soundtrack contributions (‘No More Mr Nice Guy’ for example) and bonus tracks are one thing…Garage Inc was one thing… but its odd that so many happened at once in the middle of original studio albums.

Thoughts, readers?

Helloween – Walls Of Jericho

In late 1985, the legendary German Melodic Power Metal band Helloween came out of Berlin’s Music Lab studios and released their debut full-length studio album, Walls Of Jericho. In so doing, the band arguably changed heavy music forever.

Lead by the very talented Kai Hansen, who would later go on to become the frontman of Gamma Ray and help form Iron Saviour, the band combined powerful US style Thrash Metal (despite being fellow countrymen with the likes of Sodom, Destruction and Holy Moses) with British NWOBHM and their own unique sense of melody and whimsy that would ultimately prove vastly influential over the whole European Power Metal movement.

Compared to later albums, Walls Of Jericho is faster, harder, heavier and more rooted in the Thrash tradition than anything else. If you only knew them from singles like “Mrs God,” “If I Could Fly” and “Live Now” it might come as a shock to hear how raw and ferocious the material here can be.

That being said, everything that would come later in both Helloween and Gamma Ray’s signature sound can be picked up on here. ‘Metal Invaders’ for example tones down the Thrash and adds some of that Power Metal magic, as does the middle of ‘Ride The Sky.’

The record does a pretty good split between the styles of Kai Hansen and Mikael Weikath, in a real spot who wrote what kind of way. The real hero here however is drummer Ingo Schwitchenberg, who’s one of a kind fills and absolute mastery of the double-kick gave such a personality filled performance. Highlights include the furious ‘Metal Invaders,’ the damn catchy ‘Heavy Metal (Is The Law)’ and the memorable duo of ‘Gorgar’ and the aforementioned ‘Ride The Sky.’

Negative things? There aren’t that many. Maybe the vocals could’ve been recorded better and placed higher in the mix, and some of the transitions are jarring so structure isn’t as spot on as in the later albums, but arguably both points only add to the charm of the album, which vastly outweighs the technical complaints anyway.

Overall; Walls Of Jericho is a rawer, grittier, dirtier and more aggressive Helloween album than usual, but undeniably a Helloween album. It isn’t just interesting as historical context either, its fully entertaining in its own right musically. There are some brilliant riffs, some amazing solos and some damn catchy choruses to be found.

If you can, try and get the version which also contains the equally strong Helloween EP and assorted other compilation tracks from this era. It features extensive liner notes, photos, press clippings and the like in the booklet, and the extra music is more or less  just as good as the main album.

Manowar – Louder Than Hell

Manowar – Louder Than Hell

1996’s Louder Than Hell album was the US Heavy Metal legends Manowar’s eight full-length opus, and served as a grand and defiant championing of Heavy Metal that was simultaneously both ahead of and behind its time. Manowar in steadfastly focusing on what could be argued as the “true” (the band certainly argue that themselves) aspects of the original Heavy Metal sound were throwing back to the early ‘80s heyday of Metal from which the band themselves came, something very uncool in the eyes of the Grunge and Alternative focused public at the time, and in so doing were setting up the future, predicting the soon to be popular Power Metal movement that had been brewing happily away for a decade but really exploded when bands like Hammerfall would break just a year or two later.

This album sees the return of drummer Scott Columbus, who was absent from the band’s superb previous album, 1992’s Triumph Of Steel, as well as seeing the introduction of new guitarist Karl Logan who’s muscular sound fit nicely into the band. It was self-produced by the band and released on Geffen. Just cast one eyeball at the album’s art and that should tell you whether or not you’ll love this album. Embarrassed by “cheesy” D&D bands? Think singing about being in a band is dated? Then step away! However…Think that close-up shot of ‘roided-out barbarian thumping an anvil is awesome? Then buy a copy without hesitation!

Musically, Louder Than Hell is another step down the road that the band have always been headed in. Manowar don’t make the same album over and over again, but they never make a head-scratching left turn either. This is the logical successor to Triumph Of Steel. You can see how Thrashy tracks like “Death Hector’s Reward” and “Ride The Dragon” from that record begat “Outlaw” on this record. You can see how tracks like “Wheels Of Fire” on the album before that, begat the tracks on this album such as “The Power” (sonically, with the bombast and absolute over-the-top performance) and “Return Of The Warlords” (thematically, with the biker imagery and don’t-care attitude).

Manowar also always have a lot of lyrical fun boasting about how awesome they, and Heavy Metal in general are, and in the fine tradition of tracks such as “Metal Warriors,” “Kings Of Metal” and “All Men Play On Ten,” this album lets rip with an absolutely storming, fists-to-the-sky anthem in the form of “The Gods Made Heavy Metal.” A track so charged with pride, power and the demand that you sing along that you can almost picture the band in the studio laughing to themselves that they’ll never get away with being so obvious….and yet you forgive them, because, well dammit, its just THAT GOOD.

There’s also spots of variety to break up the oily, red hot ‘80s-Hollywood-masculinity that the band love to exude so much (to the point of constantly singing about power, strength, challenge, muscle, fighting and having all that bodybuilder imagery in photoshoots and album covers) in the form of a nice piano-ballad called ‘Courage’ (because you can tender AND manly!) as well a guitar-only solo track, and a dense, 9-minute Prog affair called ‘Today Is A Good Day To Die” which sounds like some kind of Power Metal version of Pink Floyd’s “Empty Spaces.”

This album has a nice production job, with a nice crunchy chug to the palm-mutes, a nice amount of drive, audible bass-guitar, and a clear separation of all the instruments (toms merrily dance from ear to ear during fills, and you can accurately feel how the band would be standing relative to one another in the practice-room). Add to that, another fantastic vocal performance from Manowar’s secret genius Eric Adams who can sound equal parts Rob Halford or Paul Stanley influenced depending on his mood, but with a distinctive identity all of his own most of the time.

Overall; It sounds great, the band play/sing great, there’s a bit of variety but not too much in the way of interludes or nonsense shenanigans, and just a general feel of consistency and craftsmanship. Its a strong whole for sure – and on top of that there’s some absolutely superb standout tracks that elevate it even higher – just try not enjoy “Brothers Of Metal,” “King” or “The Gods Made Heavy Metal.” If you thought Manowar were done after the first four albums, you thought wrong! Louder Than Hell is absolutely worth your time and I highly recommend it to anyone who likes Thrash, Power Metal, NWOBHM, or good old Heavy Metal.

Now that I’ve covered the spend/temptation/distraction aspects of Get (Into) What You Paid For, its time to cover the titular aspect, by which I mean I’m getting back to reevaluating old purchases which I overlook, and try to get my money’s worth out of them.

S- AHiG

In honour of the return of Slipknot, I’ll kick things off by re-listening to their fourth real album, 2008’s All Hope Is Gone.

It opens with “.execute.” Their first two albums had clearly “intro” intros, and on their third they essentially made a proper song instead but acted like it was an intro. Here, they take the route Lamb Of God took on Resolution and confusingly stick the drum-introduction to a song (track 2, “Gematria (The Killing Name)”) in a previous track (track 1, “.execute.”) while simultaneously sort of re-doing the intro to “Pulse Of The Maggots.”

A few thoughts…. I wonder if Craig titled this intro? Why not just have this be part of “Gematria (The Killing Name)” like they did with “Pulse Of The Maggots”? When they play “Gematria (The Killing Name)” live, do they actually play that drum intro, or play that bit over the speakers and start where the CD cuts the two tracks?

[Quick side note – In my iTunes, “Pulse Of The Maggots” is now split into two different tracks, “Pulse Of The Maggots” preceded by “Intro Of The Maggots” which separates the speech into a separate skippable track, because… song.

Also, I do the same with Slayer’s “Hell Awaits.” The intro is “Awaiting Hell.”]

Anyway… The song opens nicely, with a sort of complex intro like they liked to do so much on Vol. 3 The Subliminal Verses. I like all the pinch harmonics. I think the quick d-beat bit is really out of place. I remember my brother really hating the lyric about “cigarette ash.” Listening to the song now, apart from the vague idea that it is pretending to be heavier than it is, I like this song. I like the fact that it has guitar solos. I like the DJ scratches. I like the catchy bits and the heavy bits. I like the big groove around 3.40. It might better (tighter) if it ended after that instead of continuing, but I think it’s a good song nonetheless.

Next up comes “Sulpher” which was never off music TV when this album came out. I remember being so sick of this song due to how overplayed it became. Now? Nice Death influenced intro. Brilliant main verse. The radio chorus, despite y’know…being a radio chorus… is awesome! I forgot that. I remember it being a sort of two-faced light/shade affair, but I didn’t remember that both sides were good. Nice guitar solo too, and the part under it is neat. Again, the Machine Head influenced big groove (which actually IS the ending this time) is awesome.

OK. Another good song. Call that the first two songs and it’s a 100% success rate so far. I’d easily put both of these in a “Best Of Slipknot” tracklist.

How about track four? “Psychosocial.” I remember thinking that this was trying a bit too hard to replicate the success of Duality. The main riff is actually kind of Ministry or Rob Zombie flavoured if you pay attention. The chorus, hmmm…. Its delicious but so out of place. Oh well, I like it. Who am I trying to please here? Some Blabbermouth troll in an Obituary t-shirt or MY EARS?

More lead-guitar goodness. Hoorah. The midsection with all the snares is cool. A bit “Hey, people enjoy The Blister Exists, what else can we do?” but hey, its cool. Get over it My Brain!

Also luckily, now, its been so long since I’ve watched music TV that its no-longer overplayed AND I’ve forgotten the viral video where its mashed-up with Justin Beiber. So its just a song. A good song.

Next up is “Dead Memories.” “Dead Memories” is awesome. Really nice drums. Some of the best Corey clean vocals in this band. Even though I struggle to accept this song as Slipknot and not Stone Sour and have a sort of principle thing against it, this song is excellent and I love it. Also…boy, oh boy was this thing overplayed at the time.

Wow. I’m really enjoying this record actually. I always think of it as their worst. The career nadir. Its not that bad, and I’ve just listened to the “one with the stupid lyrics” and the three overplayed ones. Now come the deep-cuts!

First up – “Vendetta.” Swirly, death-influenced intro riffs. Stompy feel. Kicks into a great main verse. It could do with having heavier vocals, I remember that being a discussion point against it at the time. I remember the first time I listened to it, in a cramped, smelly room. I remember thinking the band have lost their heaviness.

I think the song also takes a bit too long to get to the chorus. I like the chorus though. Could do with better lyrics… but whatever. I really enjoy this song. I don’t ever remember that this one is called “Vendetta” but I do remember every second of music. I like 80% of said music. This is a good track. The worst thing I could think about it at all is that some of the segments change jarringly, but even that’s stretching it.

“Butcher’s Hook” comes next. The first “weird one.” The Skunkworks one. All Slipknot albums have a few “weird ones.” Going right back to the demos, there was always a love of creepy, off tracks. Every album has a “Tattered And Torn” or “Skin Ticket” or “The Virus Of Life.” The ironic weird thing about this weird track is that it weirdly has a commercial chorus of sorts and despite its clear and obvious weirdness, it is somehow a normal song. If you follow. Its either deceptively digestible despite its progressive nature, or only weird in a token check-box way but actually a normal song. Either way, every part of it is good. I like it. I think of it as this album’s “The Shape.” “The Shape” was weird as balls but could fool you if you weren’t paying attention. But then I guess that’s this band. If you don’t concentrate, you miss the depth and subtleties of a nine-member band who hate conventional song structure and sneak in odd time-sigs without boasting about it.

“Gehenna” is next. It is a slow, creepy one. The lyrics feel like a sequel to the track “Iowa” but the music sounds like a sequel to “Vermillion” with a bit of “Virus Of Life” style synth in there too. The slow, drony verses have a Sci-Fi feel. That one bit where they keep throwing in the heavy snare rolls but going back to the slow dirge is cool. Then it does its own version of a clean chorus (kind of) and becomes a normal song. It kind of steals the song’s weirdness. But the vocal specifics and the part which follow it make me think its trying to be like Antichrist Superstar’s pained outcast artist vibe, and that its all a bit “Minute Of Decay” and we’re unfairly treating it as “Everlong”

Who is we? … cripes, I’m going a bit crazy here! You know what I mean right? I think on the one hand it seems deceptively commercial, but on the other hand it isn’t, its just clean prog not noisy prog. There! I’m not crazy, I’m just dorky! (And trying to please an imaginary, disapproving, super-nerd by protesting too much… totally a normal thing to do!)

Anyway, that song is fine. Not great, but not worth cutting either.

“This Cold Black” follows. This seems like a nice “Metabolic” or “Deluded” or “Welcome.” The good Slipknot. The deep cuts. The “this is Slipknot at their most Slipknot” Slipknot. That Slipknot.

I like this song a lot. The variety in the vocals is cool. I wonder if its Clown or Chris doing the backups, or just Corey putting on a funny voice? The chorus is a bit odd. Sort of jagged, and out of nowhere, and yet its catchy, and when it leaves it makes the next bit sound cooler by contrast. That and the build up with the broken key lyrics over it is cool. A build-up that doesn’t build up? Nice one!

Also, hooray for guitar solos and fast parts! Then that staccato part is nice. And the deathy transition riff doesn’t feel forced either. Definitely one of the better songs on the record. Shame it won’t get played a lot live.

“Wherein Lies Continue” comes. Comes like creepy mutant. Well, not that creepy actually. Pseudo-creepy. This is oddly tame, but still clearly another Skunkworks type thing. Its quite “Virus Of Life.” The heaviest of the three, its like Tattered And Torn if that wasn’t creepy. It does that clean chorus trick the previous ones did. The clean chorus is good though, so what’s the problem brain-jerk? The bit that follows that chorus is awesome. I love those multi-percussion bits in Slipknot. Then, wham! Another Machine Head influenced groove ending! Its not the ending…but, y’know it should be. And then it is, later, when it comes back…because OF COURSE IT SHOULD BE. Also some trippy robot-duck guitar hidden in there too, because layering.

“Snuff” follows. It is awesome. It has always been since first listen my favourite song on the album. Interestingly, for someone with so much difficulty accepting the clean vocals and commercial leanings of the album, my unashamed, un-ironic, honest favourite thing on the whole record is a ballad. A brilliant, powerful, non-cheesy and totally dramatic cinematic ballad. It is awesome. A masterpiece. Well done for writing it Slipknot! No matter what score you’d award this album, it is hugely boosted by this gem. There is more brilliance here than on the full rest of the record combined…. Kind of like how Motely Crue themselves think about Home Sweet Home/Theater Of Pain.

Then to close up the album, comes the final track, the Title Track, “All Hope Is Gone.” It has one of those Vol. 3 complex intros. It has speed. It has DJ scratches. It has noisy blast beats and death influenced riffs in the verses. The chorus is strangely a weird rolling post-chorus. Its quite impressive actually. Oh, that’s why, because its not the chorus, because there’s a groove, with a clean vocal instead. The whole bit before and under (during) the guitar solo is awesome, even if the solo itself isn’t amazing. Then a bit that is so massively Slipknot that it defies further comparison. What did Slipknot add to music that wasn’t there before, you ask? That! This bit!

OK. That song is decent too. This third and final time the chorus comes in its actually cool. I wonder would the song be better if that was the only time it was there though? Oh who cares…stop being so picky, jerkwad. This is a good song. This is a good album. Its still their worst. But now only by a hair instead of by a considerable margin. Jerk off, jerky jerk-impression! Your false memories, prejudice against Corey’s clean singing and sickness at the overplaying of the singles is now not how this album is. How this album is, is good!

PS. Oh yeah, and the bonus track, “Child Of Burning Time” which is pretty much Vermillion again. Only better. Maybe this should’ve been on it instead of “Gehenna” and also should’ve been a single? Considering that enjoying money is a thing…

Also, the decision to put a remix of a song from a track from a previous album in-between two proper songs from this album’s sessions is insane and so I’ve disallowed this madness from my iTunes. That song is put on the end of Vol. 3. The next song here is “Til We Die” because that makes much more sense.

“Til We Die” starts out like a creepy-ass sea-side song, in an alcoholic’s memories. Then suddenly turns into a powerful, real-song version of the intro from Vol. 3. (More real, I mean). It is awesome. This, the previous one, Dead Memories and Snuff are the best material here. They are better than all the ones that actually sound like Slipknot. Maybe they should’ve sold out harder…not tried to hide it with blast beats and death riffs.

[Or maybe it’s a good balance you knee-jerk reacting jerkhole. Maybe they aren’t “covering it up” but rather just mixing two things they enjoy.]

STOP HITTING YOURSELF, NUTCASE!

E – BbB

Next, from something with lots of derision to something with universal credibility in our world; Think 1985… Exodus’ Bonded By Blood.

At the time, even in the deepest throes of my Thrash-passion, from my first days of Thrash Obsession, I always felt that this album was poor. The title track was one of the best songs ever written by anyone and then the rest of the album was dull repetitive cack and the band were much better off on the fantastic next two records, Pleasure Of The Flesh & Fabulous Disaster.

Well; one listen and yup, the Title Track is fantastic. Perfect. No further comments, your honour. The defense rests.

The next song, the song actually called “Exodus,” opens up with a riff that kind of sounds like Dave Mustaine. The vocals are weirdly produced, painfully too-loud and kind of in a metal box. Not Metal. Just metal. That Mustainey riff is fun. The bit of the chorus with the “Get In The Way…” is catchy and sort of punky. I also like the little Iron Maiden-esque jangle before “…and Exodus attack.”

The song has a great guitar solo too. If the vocals were produced normally this would be a pretty perfect Thrash song. The deh-neh-nay-ne-neh thing sounds like early Overkill, which is a bonus. And some of the drum fills here are absolutely bad ass. The song only seems dull and repetitive but all the little touches really make it.

Then there’s the nuclear-themed “And Then There Were None” which opens up with a nice chugging riff augmented by a Tom pattern that I’m sure turns up on Nirvana’s Bleach album somewhere. Love Buzz, maybe? This is perfect mid-paced Thrash. It would be good DVD menu music. Or good under-the-narrator in a Thrash Documentary music.

Its kind of weird that the backing vocals just sing the melody. Like at an Iron Maiden concert…but in the studio. “AAAAAH, ah-ahhh-ah-ah-a-a.”

The whole adventurous mid-section and the fast bit which follows are excellent. I love it during the solo. This is a good song. I remember always wanting to turn the record off afterward though. I think it has that problem of the last few Exodus records that the song is just slightly too long. Of all Exodus records. Sometimes they have a song that’s just too long. They’re awesome, but sometimes they need an editor. Only sometimes.

Next comes one of the band’s then-signature songs (the other being “Piranha”) if my memory of various magazine articles from the time I bought this holds up, “A Lesson In Violence.” I remember resenting this song as a teenager for not being as awesome as it should be given how fond the band seemed to be of it. Interestingly, looking back now, these two are the two shortest and presumably therefor tightest tracks on the album. Free from that too-long thing then!

Oh yes, and the chorus is catchy and awesome. I remember hating the lyrics at first impression (essentially rhyming “lesson in violence” with “lesson in violence”) but now that I’m used to it for years and years, its just music, and that music is good. Also, I like the riffs, the speed and the solos. This is a good song. Bonded by Blood is better but this is still a deserving signature track. Consider me converted. Its great not being 14 anymore, isn’t it? 12 years in the future is a beautiful thing, ey?

Next comes “Metal Command” which I remember thinking sounding dodgy, but now it is charming and NWOBHMy and a sort of missing-link moment like early Overkill. Also the production on the solo is awesome and the brief little neoclassical noodle at the very end of the solo is neat. This song just got stars in my iTunes.

The aforementioned “Piranha” makes its appearance next. This song’s opening riff is kind of Slayer/Sodom/Kreator. It is for the mean-Thrash crowd. The people who don’t necessarily like Anthrax as much as they might. Then it kicks into a more bouncy part. The chorus is catchy. There are way too many effects on the vocals, but that’s a very minor complaint. Also, nice solo. The H-team always were awesome at guitar solos. This album in general is way better than my first impression of it was. I wonder if it was just the whole line-up changes thing messing my brain around with Exodus, causing side-choosing.

[Side note: Ohhh, ooooh. Remember that whole intro thing, like “Awaiting Hell”? etc. I do that with Exodus’ “Deranged” because…that intro makes me skip the whole of Deranged when really I should only skip the intro.]

Next up, a nice bit of variety. “No Love” opens up with a nice, fancy, tasteful Spanish Guitar, clean intro. That was a big thing on Thrash openers wasn’t it? – Sometimes separate tracks, sometimes not. – Pleasure To Kill, Alice In Hell, Ride The Lightning etc… they all have that. A little bit of Spanish guitar before the Thrash. I wonder why they didn’t make this the first track then?

Maybe they did, and then they realized that the title track was so absolutely fantastic that nobody had time to wait for it, and so that just HAD TO be the first track?

Anyway, once the Metal-bit starts, it’s a bit more midpaced again. In a slightly off time-sig that reminds me of a specific Dream Theater moment on Awake which I can’t remember right now. Also, the way he say’s “The Darkness Is My Lover” is clearly influenced by Accept. I would have never noticed that before. Also it sounds like he says “Leather” and not “Lover.”

Oh, there’s a neat NWOBHMy bit around 2.40. Then a neat solo. This song is full of surprises. And some bad-ass fills once it slows down around that next set of solos. This song is what we in the Thrash fan world call a mini-epic, and I never even realized. Shame. I wish I realized how good it was at the time I got it. Oh well. I know now.

Next up is “Deliver Us To Evil” which by its two-minutes-longer duration might actually be a mini-epic. It has some nice little touches. With its stop-start bit, and bouncy drums. It also has slightly choppy, but proggy complexity, which at the time I mistook for “not playing properly.” Woops. I guess my brain wasn’t developed enough when I got this initially.

It has a really fun Maideny/Priesty bit underneath the solos around the four-minute-mark. Some really fun riffs!

Lastly, the fast one. Back in the day, instead on ending on the obvious closer… they would usually end on a super fast, shorter song. That happens here. This speedy track could easily be described as a “teeth kicker.” This is pure Thrash. Absolutely pure. Almost too pure? I remember thinking this was too simplistic at the time. I was WRONG at the time. Good song, good album, good band. Good subgenre.

Oh yeah, and here’s a TOP 5s thing for Thrash:

Exodus :
1. Bonded By Blood
2. Fabulous Disaster
3. Brain Dead
4. Chemi-Kill
5. Seeds Of Hate

Testament :
1. The Preacher
2. Souls Of Black
3. Into The Pit
4. Practice What You Preach
5. Apocalyptic City

Metallica :
1. Blackened
2. Creeping Death
3. Master Of Puppets
4. Eye Of The Beholder
5. Ride The Lightning

Forbidden :
1. March Into Fire
2. Forbidden Evil
3. Twisted Into Form
4. Hypnotized By The Rhythm
5. Infinite

Kreator :
1. People Of The Lie
2. Coma Of Souls
3. Terrible Certainty
4. Stream Of Consciousness
5. Pleasure To Kill

Annihilator :
1. Alice In Hell
2. Road To Ruin
3. W.T.Y.D
4. Stonewall
5. I Am In Command

Anthrax :
1. I Am The Law
2. A.I.R
3. One Man Stands
4. Lone Justice
5. Death Rider

Megadeth :
1. Rust In Peace (Polaris)
2. Set The World Afire
3. Hook In Mouth
4. Peace Sells
5. Mechanix

Slayer :
1. Postmortem
2. Raining Blood
3. Blood Red
4. South Of Heaven
5. Crionics

Nuclear Assault :
1. Survive
2. Brainwashed
3. Critical Mass
4. Nuclear War
5. Game Over

Overkill :
1. Overkill
2. I Hate
3. Elimination
4. In Union We Stand
5. Feel The Fire

As for the bands who I don’t feel I can make a Top 5 for, my favourtie Sacred Reich song is “Whos To Blame.” My favourtie Death Angel song is “Veil Of Deception.” My favourtie Vio-lence song is “World Within A World.” My favourtie Exhorder song is “Un-born Again.” My favourtie Heathen song is “Pray For Death.” My favourtie Onslaught song is “Thrash Till The Death.” My favourtie Sepultura thrash-era song is “Beneath The Remains.” My Sodom song is “Agent Orange.” My favourtie Voivod song is “Tribal Convictions.”

Its day 34 of my third Get (Into) What You Paid For challenge. I’ve been adhering to the challenge and haven’t broken the challenge yet. To be honest it hasn’t been too challenging. Challenge, Challenge, Challenge. So; Christmas has came and went, and the kind people in my life have provided me with a brilliant collection of very-well-thought-out gifts, which has definitely taken the urge to buy myself stuff away for a while.

I’ve been given numerous biographies on bands I like (including Sabbath, Megadeth, Slipknot, Jethro Tull); Power Metal albums from Iced Earth and Gamma Ray; Prog Metal albums from Porcupine Tree, Pain Of Salvation and Tesseract; Thrash from Testament. Even a bit of Grunge in the form of the new Pearl Jam album. My listening habits from the last year are all very well served by this.

I’ve been given a massive load of comics from my friend Magnum, and I’ve been given the new Batman videogame. My gaming and reading habits from last year are all pretty well served by this too.

Pretty much, I’ve just had a massive influx of things I like and so that quells the urge to buy more things I like.

Another reason I’ve been doing OK with not buying things is that I’m completely and drastically broke. Its easier to exert some restraint when there’s more reason to do so. Maybe I’m fianlly an adult, now that I can confidently say I’d rather be able to pay my rent than buy myself something entertaining. I’ve got so bloody much stuff already anyway that its becoming easier to shrug off the itch to get more, I’m beginning to learn some perspective and tone down my overspending.

Taking this financial situation into account, and the fact that I didn’t blog as frequently on the subject this December as I had in the previous two GIWYPF challenge months, I’ve decided to extend this one into a two-month epic. That’s right. I’ll try not to buy any books, comic books, DVDs, Blu Rays, Band T–Shirts, Books, Music or Videogames for another month, making it a stretch from December 1st to February 1st. I don’t think I’ve ever went that long without buying something of this nature since turning 18.

But if I was going to break the challenge, what would I break it on?

Riverside’s debut, Haken’s whole discography, the two Psychotic Waltz reissues, some of the more famous Fates Warning albums, and DreamTheater’s Awake all spring to mind. As does Mudhoney’s Superfuzz Bigmuff and Angra’s Angel’s Cry.

I’d also like to get the two most recent Batman collections, the Death Of The Family main story and side-stories books. Everything I’ve read from Snyder so far has been good and I’d like to be a bit more “In The Loop” with things, if it wasn’t so costly.

Oh. And there’s one new Arctic Monkeys B-side that’s came out during the challenge. I like to always buy those B-Sides pretty much as soon as they are released, this is the longest I’ve gone without getting an Arctic Monkey’s B-Side since the release of their second album.

To be honest though, I don’t think there’s much risk of me breaking the challenge. Having a massive exam schedule that requires serious, dedicated revision for, having no money, and having been given those excellent Christmas gifts should keep me busy and thinking straight.

So; today, having done my revision for the day, I’ll take a little break and do a quick little series of mini-reviews/thoughts of what I’ve been listening to lately. As you might imagine, most of it will be the gifts I got for Christmas that I’ve described above. Here goes:

I got a copy of Tesseract’s new album Altered State for Christmas. I went and saw them live about a month ago and was completely blown away by them. They were supporting Karnivool who I’d imagine were less big than them, but who weren’t. They had an annoying loud fan who wouldn’t stop screaming for songs they didn’t play (“Dead Man”) and making a clown’s horn noise. I wish that fan had kept their big mouth shut, but the concert was awesome. Tesseract’s guitarist is very tall… Anyway; This album completely lives up to my expectations. Its absolutely fantastic. Such incredible musicianship and utterly spellbinding vocals. I can foresee this band becoming huge, if there’s any justice. Also, there’s a Saxaphone solo. Always a plus for a Floyd/Tull/Crimson fan!

I think I’m going to be dedicating a heck of a lot of listening time to this record in the near future.

Keeping with the Prog theme, Porcupine Tree’s Deadwing. I’ve been craving Deadwing for quite a while now. Ever since I got into the band, Deadwing has been my number one, most-wanted album of theirs, although I’ve managed to get everything around it first.

Interestingly, on just one listen, I was able to tell instantly that is their best record. I’ve had about five or six listens now and am still firmly of that opinion. The title track and ‘Arriving Somewhere But Not Here’ are absolute gold, and ‘Lazerus’ is a haunting, magical ghost-ballad. If this had the three best songs of Fear Of A Blank Planet on it too, it would be one of the best albums of all time.

I think I might make some sort of Porcupine Tree best-of, with ‘Sound Of Musack’ ‘Drawing The Line’ ‘Normal’ and then the majority of Blank Planet and Deadwing on it.

What else have I listened to? I recently talked extensively about listening to Pain Of Salvation’s The Perfect Element album so I won’t go into too much detail about it again here. Anyway, I listened to it again while I was weightlifting and although I had understandably reduced-concentration on it, I really am impressed by this album. If you like any sort of Prog Metal you should really pick up a copy. Its only about £3 on Amazon.

Tesseract, Porcupine Tree and Pain Of Salvation are three very different bands, and they all scratch very different parts of my brain, but any way you look at it, Prog Metal is pretty well served by that trio of absolutely phenomenal records. What about Power Metal then?

I also got given Horror Show and The Glorious Burden by Iced Earth for Christmas. I’ve listened to them both quite a few times now. I like Iced Earth, they play 40% Judas Priest, 40% Testament and 10% Warning era Queensryche. Pretty well suited to me then. Both albums are great, as was Something Wicked, which I got given for my previous Birthday. The three of them together feel like one big album. There’s sort of a continum between the three of them. Its hard to explain.

On The Glorious Burden, there’s a nifty bit where the lead guitars play the rhythm of “Johnny We Hardly Knew You.”

Interestingly as well; The Glorious Burden has Tim Paper Owens on it instead of Matt Barlow, who at the time had left the band to join the US Police force in the wake of 9/11. He’s a perfect replacement for Barlow. Both are brilliant at high screams, both sing with manly authority and both do a fine impression of Forbidden’s Russ Anderson. I don’t know if its actually the guitarist doing those bits. Could be. They’re so similar across the two records. I’ve also got given their live Blu-Ray for Christmas, so I’ll have a look when I get a chance to watch it, and see if I can crack this mystery. Is Schaeffer the phantom Russ Anderson impersonator? Or do both Barlow and Ripper both have that one particular style really well honed?

This record makes me want to try out the two Ripper-Era Priest albums that I avoided. Tim is certainly an incredibly talented guy. Replacing Halford can’t have been easy. Just look Blaze Bailey. The fans really didn’t go for him even though he’s very talented. Also – Maaaaaaaan hunt. Maaaan, Hunt. Manhuntmanhuntmanhuntmanhunt.

In addition to the serious, Thrashy, USPM… I’ve been listening to the fun, bright, melodic German Power Metal of Gama Ray. I’ve been hammering their 2007 album Land Of The Free II recently; its met with mixed reviews, but I really like it. Its such a fun, energetic, and pleasant record. The guitar solos are magnificent. Kai is one of my favourite guitarists of all time. I read a lot of people complaining about stealing that bass-bit from Maiden’s Rhime Of The Ancient Mariner. Gama Ray frequently steal bits from Priest. They’ve even stole bits from Deep Purple. Its just something you have to deal with. Its still a good song. I don’t know, maybe I should be harsher, but, I just can’t help but love everything Gamma Ray do. Its difficult to listen to Gamma Ray and not just be put into a good mood. I’d absolutely love to see them live. I wish I’d been a fan when they did that tour with Helloween recently. That must’ve been brilliant to behold.

Also, after having listened to Tesseract, I had another listen to Periphery. Periphery’s album is such a shapeshifter. Every time I’ve heard it I’ve listened to it in a completely different way. Sometimes I hear it as a radio-friendly Metalcore record, sometimes I hear it as a crushing desne Messugah-influenced affair, and sometimes I hear it as a rapid-fire, all-over-the-place, highly technical, Protest The Hero style modern prog mish mash.

That’s happened to me before, with Machine Head’s Burn My Eyes. I’ve heard it in completely different ways at different times. Makes you wonder what your ears and brain are up to.

Its also interesting just how different it is to Tesseract’s album. Its like the difference between Anthrax’s Spreading The Disease and Megadeth’s Peace Sells But Who’s Buying. Both are defining albums of Thrash, but both sound vastly different. Same goes here. Animals As Leaders’ Weightless album is as vastly different as those two are from eachother yet again. Perhaps that’s throwing Slayer’s Hell Awaits into the second albums by Thrash bands analogy. If all those Djent bands are Thrash, then what does that make Messugah? Judas Priest?

Oh. Y’know what. I can add three more things onto the “to-do-list” / risk-of-me-buying-these pile. Skyharbour, Monuments and Circle’s new albums.

Anyway, there are some seriously brilliant songs on this record. I particularly love ‘Erised’ and the single, ‘Scarlet.’ The whole album is fantastic though; the musicianship and vocals are incredible. There are parts that are so heavy, parts that are floaty electronic dreams and a lot of memorable clean choruses. Periphery – Love that shit.

I forgot just how good Tool’s Undertow album is. I usually think of the subsequent three albums when I think of Tool. There are some seriously fun, memorable, enjoyable riffs on this album. Some damn catchy vocal parts, some interesting lyrics, and it’s a lot more succinct and serious than I remember. I guess having gotten into all the Tool-influenced bands recently also helped. And the grunge; there’s a slight bit of grunge about Undertow that I may previously have been put-off by.

Speaking of being put-off; I think the thing about the carrots made me forget about all the completely awesome songs on the record. Tool usually have one or two little comedy moments or unusual additions, so I don’t know why that particular one took over. Well, at least I know better now. Songs like ‘Intolerance’ and ‘Bottom’ are absolute gems. I can see this working its way into a much more regular rotation from now on.

Ok; that’s enough for one installment. I’m going to have to keep it up all the way through January. Let’s hope I stick with the whole financial-discipline thing a while longer, ey?