Back catalogue: Metal

Review: Perth based Aussie progressive metalcore outfit Make Them Suffer return with their follow up to 2020's venomous yet audacious How To Survive A Funeral. Their fifth full-length and first to feature newly enlisted keyboardist Alex Reade, who stepped in to replace Booka Nile following his departure in 2022, serves as a self-titled declaration of intent, fusing almost every sonic maelstrom the band have weathered to this point. Elements of blackened death metal from their earliest formation clash with the djent-inflected prog deathcore grooves that have now become their sonic staple, while swathes of symphonic death metal motifs underpin the frenetic breakdowns with ethereal keys. Having left Rise to sign with SharpTone Records to deliver their most cohesive and definitive statement yet, it appears the suffering may have only just begun.

Review: US rock demon and counter-cultural musical star Marilyn Manson returned with his bold, provocative album on vinyl last year and now it arrives on CD. Known for pushing boundaries across his long career, Manson delivers another dark, gripping collection of industrial rock here that is full of haunting melodies and intense vocals that brim with menace. The album explores themes of power, corruption and rebellion all wrapped in his signature shock value and unique expression. With unsettling lyrics and atmospheric sounds, Manson creates a twisted, dystopian world that pulls listeners deep into his confrontational style and is sure to win over fans old and new once more.

Review: Returning with his redemption attempt follow up to 2020's We Are Chaos, industrial metal shock-rock provocateur Marilyn Manson seeks to skirt the numerous controversies and accusations accrued in the last few years with his most potent musical statement in decades. Signing with Nuclear Blast and enlisting the likes of Chelsea Wolfe collaborator/producer Tyler Bates to helm the project, his 12th full-length One Assassination Under God: Chapter 1 (indicating that more is sure to follow), offers up some of the heaviest and introspective material of his career to date, with cuts such as 'Nod If You Understand' harking back to the unhinged angst of Antichrist Superstar, whereas 'As Sick As The Secrets Within' breathes with the same mercurial synth-gloom as the strongest moments on Mechanical Animals. A cynical attempt to regain fan adoration, or the sound of a tortured artist finally coming to terms with his own demons and attempting to rediscover former glory and prowess, the interpretation is entirely your own to consider.

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 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: 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: 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: The trailblazing godfather of grunge, Buzz Osborne, is the sole constant member of Melvins, but he's not burned his bridges. He's invited back original drummer Mike Dillard (with who he founded the band in 1983), along with Void Maines and Ni Maîtres, for the third Melvins 1983 album, the previous two being Tres Cabrones (2013) and Working With God (2021). They're on the form of their life with the new album; it is ferocious and exhilarating. A standout is the lead single 'Thunderball', which is a celebration of the drums. You can hear Dillard hitting his snare with unparalleled force and nailing countless fills. Meanwhile, Osborne's melodic and heavy guitar playing strikes a perfect balance. Vocally, Osborne has the highest level of conviction; he truly belies his years. And with Black Sabbath calling it a day very soon, we need Melvins 1983 more than ever.

Review: Proto-grunge/sludge metal band Melvins laid down six compelling songs on their fourth album. Lice-All was a cohesive, tightly woven trip made up of three original tunes and three fine covers. Two of them were originally written by the man, the legend, Alice Cooper, and one is by nose rock gang Flipper. The record is said to have influenced bands such as Sunn O))) and Sleep over the years because of the way it layer sup heavy, droning guitars. First release back in 1992 and something of a cult classics, this reissue comes on red wax. Back then, the album was known as a set titled LP, but also under the name Lysol.

Review: Melvins' back catalogue is so strong that they could make a living just re-releasing the hell out of it. But Melvins' Buzz Osborne is a true punk and has such an unrelenting passion for music that they will never stop. The good thing is that he is under no illusions that he's great... Melvins in 2025 sound absolutely incredible, like Black Sabbath good. The line-up for this album takes things back to 1983 as the band's original drummer Mike Dillard makes a relatively rare appearance. It's only the third album he's made with Buzz Osborne, but absolutely is it gold when it happens. Dillard famously played in a short-lived pre Nirvana group with Kurt Cobain called Fecal Matter and there's certainly parallels to Nirvana's frantic approach to drums on this album. In terms of the rest of the music it's tuneful in a heavy way and it's that balance between the two that was the cornerstone of grunge and you can hear how Melvins became such a prevalent influence, playing a role in shaping the sound of Nirvana, Soundgarden and countless others.

Review: The Melvins, known for their unapologetically experimental and abrasive sound, continue their legacy of sonic exploration with Tarantula Heart, set for release via Ipecac Recordings. The album, featuring a five-track lineup, including the sprawling 19-minute opener 'Pain Equals Funny, which displays the band's penchant for pushing the boundaries of conventional music. One of the album's defining features is the incorporation of dual drum parts, with longtime Melvins drummer Dale Crover teaming up with Roy for an impressive display of rhythmic complexity. This collaboration adds a new dimension to the Melvins' sound, further solidifying their reputation as pioneers of unconventional music. Recorded, mixed, and co-produced by Toshi Kasai, a longtime collaborator of the band, Tarantula Heart adds to the album's eclectic sonic palette. While The Melvins may never achieve mainstream success due to their avant-garde approach, this album stands by their unwavering commitment to artistic integrity and innovation, making it a must-listen for fans of boundary-pushing music everywhere.

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: Twenty-five years on from the Black Album conquering the globe, what can these gods of Metal do to justify their position on Mount Olympus? We've all heard umpteen reports of the lads getting back to their roots and rediscovering their mojo, yet this time even the most jaded and cynical old thrash metal stagers have been forced to admit that the band are on fire - deploying savage riffage and finely honed songcraft with ruthless efficiency, yet more importantly sounding like they're having a blast doing it, the double-platter both connects with the spirit forged in a garage decades ago yet blasts that template to the stars and back.

Review: It isn't much of an understatement to say that thrash metal giants Metallica got off on the wrong creative foot entering into the 21st century, with 2003's controversial St. Anger still causing ample debate amongst the fanbase to this day. A five-year respite would see a re-channelling of their ethos and approach, resulting in 2008's exceptional return to form Death Magnetic, which finally saw the band crack the code of how to modernise their signature formula without losing sight of why it resonated with so many headbangers in the first place. Following another near-decade long gap, 2016 saw the arrival of Hardwired...To Self-Destruct; a project that furthered their sonic realignment with a near 80-minute opus of lengthy compositions, galloping riffage and anthemic hooks; harking authentically back to the progressive, controlled meanderings of their late 80s peek. If its predecessor was the re-charting of course, Hardwired can easily be accepted as the arrival at the shore of placated fan acceptance and fluid artistic rediscovery.

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: The second and final instalment of thrash metal titans Metallica's Orion Music + More festival took place in Detroit, Michigan, on June 8th/9th 2013, and while the ordeal itself was a complete and utter financial disaster (hence there has yet to be a third event in the decade since), the line-up and performances across the weekend are still hyped and discussed to this day. Where the 4:30pm slot at the Vans Damage Inc Stage on the first day was originally allotted to a mysterious group named Dehaan, eagle-eyed fans connected the dots when remembering the name of actor Dane Dehaan who played the lead role in the Metallica concert film Through The Never. Then, as the "band's" logo was covered up with a hastily spray-painted "Metal Up Your Ass" banner (the original title to Metallica's 1982 debut full-length Kill 'Em All), attendees flocked in their droves just in time for a mid-afternoon shredfest of the iconic first album in its entirety, complete with the first ever performance of original bassist Cliff Burton's solo piece '(Anesthesia) - Pulling Teeth', by his replacement Robert Trujillo.

Review: Easily, the most controversial album in the Metallica back catalogue (with the exception of their Lou Reed collab LP Lulu), St. Anger was originally released in 2003, and marked yet another stylistic shift from the thrash metal titans. Following on from the hard rock-oriented sister albums Load and Re:Load in the mid-nineties, and their Garage Inc. covers collection, the band's eighth full-length would eschew virtuosic guitar solos (once a core staple of their sonic makeup) and their galloping style of frenetic riffage; replacing them with a more jagged style of composition and performance, leading to a unique sound falling somewhere between groove and alt-metal, yet much rawer than either of the two. Maligned by many, yet defended by a vocal section of the fanbase, there's something remarkably ballsy about the sheer abandon of their former selves on this record, while cuts such as the pummelling title-track, the southern-tinged bedlam of 'Frantic', and the chunky heft of 'My World', are all criminally slept on latter day contributions, forgotten to time for being the musical blacksheep of the Metallica discography. Also, if you ever deeply desired to hear drummer Lars Ulrich's utterly bizarre snare sound with pure audio fidelity, this lush orange vinyl 2xLP reissue has you covered.

Review: Ministry's The Land of Rape and Honey is a pivotal release in both the band's discography and the evolution of industrial music. This genre-defining album marked their shift from synthpop to industrial metal, characterised by distorted guitars, pounding beats, and aggressive, sample-rich compositions. The deluxe edition enhances this landmark with iconic tracks like 'Stigmata', 'The Missing;, and the haunting title track, along with exclusive remixes and extended cuts. Tracks like 'The Missing' and 'Deity' highlight the album's metal edge, blending thrash aggression with industrial elements. 'Golden Dawn' introduces a dark, ritualistic tone with samples from occult sources, showcasing Ministry's skill in merging industrial and post-industrial aesthetics. Songs like 'Destruction' and 'Hizbollah' expand the sonic palette with chaotic percussion and Middle Eastern influences. The title track, despite its controversial samples, reinforces the band's anti-fascist stance with its militaristic atmosphere. Closing with 'Abortive', the album offers a reflective end to its intense journey. The Land of Rape and Honey stands as a crucial bridge between early industrial soundscapes and the metal-influenced industrial of the 90s.

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: It isn't too absurd to consider that Motorhead appeared at the 2007 installment of the iconic Montreux Jazz Festival, when the organising team are renowned for purposefully selecting the best artists of leftfield variety to add dynamics to their line-up, and offer respites from the jazz-centric billing. All that said, there's still no denying the face-melting bizarre turn from one of the greatest heavy rock/metal acts to ever shred, and now the set has been immortalised on wax. Featuring essential cuts from their back catalogue such as 'Killed By Death', 'Iron Fist', 'Overkill', and (of course) 'Ace Of Spades', it's a genuine joy to hear Lemmy and co utterly embracing their newfound audience and delivering a breakneck sonic spectacle only the trio knew how to deliver.

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?!

Review: Boom! The year of 1979 saw not one but two classic Motorhead albums being dropped like atomic bombs on an unsuspecting but appreciative public. After the Overkill LP really put the 'Head on the metal map earlier in the year, Bomber consolidated their position as, to quote Spinal Tap's slightly tongue in cheek compliment, one of Britain's loudest bands. In fact, their show at Port Vale in 1981 would appear in the Guinness Book of Records as the loudest ever. Of course, there is much more to them than sheer volume and firepower though. Frontman and bassist Lemmy had cut his teeth as a roadie for Jimi Hendrix and tracks like 'Lawman' follow a similar lineage of blending heavy, psychedelic blues with a genuinely groovy funkiness. When they're on top form the trio of Lemmy, guitarist Fast Eddie and Phil Taylor are a finely trained crack squad, pulling some deft musical moves and unexpected about turns, too. Virtuosity neatly disguised as utter barbarianism - just how we like it. The Bomb!

Review: Fans will endlessly debate the creative high watermark of Motorhead's lengthy career, but there's no doubt that this album, their fourth, was the commercial peak of the trio. Originally released in 1980, with a wonderfuly spaghetti western cover shot doubtless shot in Camber Sands or somewhere similar, it reached number four in the UKalbum chart, at a time when physical sales were pretty close to an all time high. The album's title track is of course their ultimate calling card, from its iconic riff to its lyrical celebration of gambling one of the ultimate metaphors for a - or even the - rock and roll lifestyle. But its greay production job by Vic Maile means the band sound brighter and sharper here than ever before, the sessions doubtless seriously waking up the sleepy Herfordshire town of Rickmansworth where it was recorded. There's also a slew of memorable songs, naturally enough, from 'Love Me Like A Reptile' - who says romance is dead - to '(We Are) The Road Crew', the impossibly speedy two minute thrashout 'Bite The Bullet' and 'The Chase Is Better Than The Catch'. Gambling's for fools, as the song says, but this one is an odds on dead cert.

Review: A new, live album and concert film of Mr. Big's "The BIG Finish" farewell tour, where the band played their million-selling "Lean Into It" album in its entirety plus additional Mr. Big classics. Filmed in 4K at the Budokan, Japan on the 26th July, 2023. This historic performance will be available on multiple high-quality formats- 180g Black Vinyl 3LP, 180g Mint Colour Vinyl 3LP, Hybrid Stereo Multi-Channel 2x SACD's, 2x MQA-CD's, 2x MQA-CD's + Blu-Ray, 4K Ultra HD Blu-ray (featuring Behind The Scenes and Interview footage) and 2x Cassette. These formats all come with a booklet/insert that includes previously unreleased photos from their Budokan performance and a special free gift. This release is a must-have memento for Mr. Big fans as a fond reminder of "The BIG Finish" tour.

Review: Mr. Big's upcoming album Ten is a poignant tribute to late drummer Pat Torpey, featuring eleven original tracks that showcase the band's enduring talent. With Nick D'Virgilio stepping in on drums, the album is a testament to the band's resilience and musical musicmanship. Produced by Jay Ruston and MR. BIG, Ten promises to be a raw and unadulterated blend of riff rock and blues, infused with Mr. Big's signature style. The first single, 'Good Luck Trying,' is a loud and gritty blues rocker that harks back to the band's earliest influences. Eric Martin describes the album as a departure from their previous work, offering fresh and original material. Paul Gilbert's lyrics convey a sense of resilience in the face of life's challenges, with a touch of humor. Recorded both in the studio and on the tour bus, Ten captures the essence of Mr. Big's dynamic energy and showcases their ability to push musical boundaries. With the band retiring this year in 2024, Ten serves as a fitting farewell to a legendary band.

Review: Taking influence from death metal, hardcore punk, jazz fusion, speed metal and hip hop - a heady brew of noises if ever there was one - Mudvayne pretty much invented 'math metal' when they landed L.D. 50. Listen hard and you can hear shades of Pearl Jam, King Crimson, Alice In Chains and Obituary. Listen harder still and you'll catch hues of Motley Crue, Porcupine Tree and Stanley Kubrick's 2001: A Space Odyssey. To say L.D. 50 was a brave record would be understating things, then and 24 years after its initial release we can say the same things with similar confidence. Formed from what band member Matthew McDonough termed 'number symbolism', a process of pairing riffs with lyrics based on their thematic similarities, it's a fascinating record technically, but that never overshadows the impact of the tracks themselves.

Review: There's not a huge amount of background we can share on Mysterium, a startlingly beautiful and complex self-titled six-tracker on the always reliable Silver Arrow. A collection of music that lulls you with its blissful moments but still manages to maintain an air of uncertainty about it. A guitar-led dreamscape filled with achingly serene sections, yet underpinned with a real atmosphere that's neither relaxing nor intense, but is ever so-slightly unsettling at times. At least that's true of 'April Food' and 'I Am The Chaos', two tracks that open scoring here. Both seem to build a subtle darkness in comparison with closer 'Turn In', with its quietly rousing and affirming key changes. Taking elements of shoe gaze, beach pop, psychedelic rock, trip hop and more, it's an intoxicating ride through a spectacular unknown.