Review:
The nu-metal scene of the late nineties/early noughties arguably birthed no act as seminal or incomparable as the masked, nine-member Iowa collective known as Slipknot.
Their highly influential self-titled full-length debut marked the first studio appearance of now iconic vocalist and frontman, Corey Taylor, whose unkempt aggression and visceral performance would help chart a course for a group destined for exposure and acclaim far beyond their murky compositions.
With buzzsaw riffs, a claustrophobic percussive assault and Taylor's vitriolic pennings, cuts such as '(Sic)', and 'Eye Less' have maintained their integral ferocity decades on while the rap-metal frenetics of 'Spit It Out' and melodious lead single 'Wait & Bleed' have remained the high water mark for all chasms of mainstream metal to this day.
Out of print and resold at extortionate prices for years, this reissue is a vital piece of the puzzle for any fan of the nine or collector of genre staples. Don't sleep on this rare chance to lock down a twisted classic.
Review: Originally released in 1994, the fifth full-length from progressive metal-tinged Christian hard rockers King's X is often considered to be their definitive work. Following the breakout success of its Atlantic Records distributed 1992 self-titled predecessor, which already marked a notable heavier turn, this new direction would be fully embraced with the help of producer Brendan O'Brien (having been impressed by his recent work with the likes of Pearl Jam, Stone Temple Pilots and The Black Crowes). Dogman ultimately ended their, at the time, exclusive recording collaboration with rock production veteran Sam Taylor, who had overseen every prior album to date, allowing for a new lease of sonic life, whilst the most profound and resonant aspect of the material came from vocalist/bassist/primary songwriter Doug Pinnick's crisis of faith. Pondering his uncertainty with religious beliefs he had held dear his entire life, this newfound vulnerability and admittance of spiritual void hit home with not only their devout (no pun intended) fanbase but with unfamiliar newcomers lured in by the frenetic heaviness before relating to the potential agnostic viewpoints within.
Review: San Francisco blackgaze auteurs Deafheaven offered a sharp left turn on 2021's Infinite Granite, which saw the band embrace a fully-fledged dream-pop sound complete with lush, gentle vocal cadences from enigmatic frontman George Clarke, known primarily for his shrieking, inhumane howls. Returning with their sixth full-length Lonely People With Power, the band seek to finally strike a balance between their equal understanding of black metal malevolence and ethereal shoegaze beauty, trading their usual penchant for small collections of lengthy, post-rock indebted ten minute plus tracks in favour of more instantaneous delivery, spread out across 12 individual pieces (their most on any project to date). Ranging from their heaviest and most straightforward black metal work on 'Magnolia', to the blackgazing familiarity of 'Doberman' to the seamless fusion of styles exuded on 'Heathen', which makes ample use of Clarke's now fully elaborated vocal range, marrying his caustic screams with fragile crooning, this is where Deafheaven have seemingly always been striving to land, it just took them a few albums of experimentation to get there.
Review: This underground post-rock classic is now available on double vinyl for the first time since 1993, with a fresh transfer by Frank Arkwright at Abbey Road from the original masters. The God Machine, formed in 1990, released two albums that helped shape the post-rock and post-metal scenes. Despite glowing reviews and live shows supporting the likes of Nick Cave & The Bad Seeds and My Bloody Valentine, they never gained wide recognition, often falling between indie and rock circles. Championing the band, BBC Radio 1's John Peel invited them for sessions in 1992 and 1993, cementing their place in underground music history.
Review: Somewhere between Scotland, Leeds and the Welsh border, sometime in or around the year 2022, arose Tristwch Y Fenywod, the craven coven of Gwretsien Ferch Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The Courtneys). Building on years of esteem accrued through their separate solo projects, Tristwch Y Fenywod still marks a stylistic curveball from any of their original works, not taking on a fusion of each, but rather presenting an entirely new triadic, spellbound sound. Tristwch Y Fenywod is an entirely Welsh-language affair, pairing sonic connotations of witch house and 'outsider' folk with otherwise subtle electronic elements and Celtic motifs, inviting instinctive comparisons to ravencore peers Kelora, electro-somnambulists oOOoO, or reverb-doused studio ident This Mortal Coil; but always eluding a facile reduction to any combo of these influences. Their name and eponymous title translating to 'The Sadness Of Women', these eight tracks land us somewhere in a no-go forest between two middle-of-nowhere roads, making for the best gloom-fest of the year.
Review: Following on from 2021's hard left turn into dream-pop territory on Infinite Granite, San Francisco blackgaze legends in the making Deafheaven return with a work that they've always been striving towards. Their sixth full-length, Lonely People With Power, takes lessons from the saccharine shoegaze of their previous outing and injects it directly into the veins of their heaviest material since 2015's New Bermuda, culminating in a deft balancing act that finally combines vocalist George Clarke's shrieking, inhumane howls with his recently discovered crooning lilt, exuded as such on the beautiful warring of styles that is 'Heathen'. Elsewhere, 'Magnolia' provides a cataclysmic beast of proggy black metal akin to latter-day Emperor whereas 'Doberman' goes full euphoric blackened shoegaze reminiscent of 2013's breakout sophomore triumph Sunbather. Striking a unique chord between their equal and effortless understanding of black metal malevolence and the ethereality of cinematic post-rock, the album sees a notable trade off from their their usual smaller collection of lengthy, grandiose tracks that all clock in at over ten minutes a piece in favour of a more varied, yet succinct and instantaneous batch of cuts, 12 in total, marking the most that any Deafheaven project has ever offered.
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: Spiritbox returns with a sophomore effort that builds on the band's explosive trajectory. Following their chart-topping debut and Grammy-nominated EP, the band dives deeper into their signature sound, a visceral blend of metalcore intensity and soaring melodicism. Co-produced by Mike Stringer and Dan Braunstein, 'Tsunami Sea' showcases a band firing on all cylinders, their musicality and songwriting prowess reaching new heights. Tracks like 'Soft Spine' and 'Perfect Soul' demonstrate Spiritbox's ability to seamlessly blend crushing riffs with ethereal vocals and intricate arrangements. This is an album that demands to be heard.
Review: Originally forming in 2016 as a YouTube parody band providing metal renditions of well-known pop songs, it wouldn't take long for Bloodywood to realise their full potential as India's most successful metal act to date. Following on from their 2022 debut full-length Rakshak, the group return with their highly anticipated sophomore effort Nu Delhi, serving as both a tribute to their city of origin as well as their embracing of nu-metal and rap metal styles, combining low-end grooves and bilingual verses delivered in both English and Hindi, though the language palette is expanded to Japanese for the BABYMETAL featuring 'Bekhauf'.
Review: Spanning the years 1978-82, this seven-disc set captures the history of the band put together by Ian Gillan after he departed hard rock giants Deep Purple, the 94-strong tracklisting features remastered versions of all studio their albums alongside a rich selection of B-sides, outtakes and rarities. Key highlights include the debut album, sometimes known as The Japanese Album as it wasn't initially released in the UK, the more intense Mr Universe, the initally fan only Glory Road and the chart-climbing Future Shock Double Trouble is that most novel of formats, a half studio, half live double album, while Magic, captures the group's last creative burst before disbanding. Housed in 7" packaging with a detailed 32-page booklet, the collection also includes an insightful new interview with the often outspoken frontman.
Review: Yet another addition to Rhino Records’ Start Your Ear Off Right series hears a reissue of prog metal band Dream Theater’s fifth studio album and first ever concept album. A sequel to the thrillingly titled Metropolis-Part I: The Miracle and the Sleeper, this record builds an intensive recollective sonic theatre out of the mosaic themes of memory and depersonalisation. Themed around the subject of a young man undergoing past life regression therapy, the record is a compelling, initially psychotic howl into the night, and yet it proves an ultimately integrative, recursive experience, adding themes of murderousness and prophetic fate.
Review: Alter Bridge's debut album made a bold statement when it first arrived in 2004, showcasing a dynamic shift from the members' previous project. With a heavier, more aggressive sound, the band set themselves apart through thick basslines, intricate melodies and fiery guitar work. Myles Kennedy's commanding voice elevates the album, blending seamlessly with the instrumental intensity. 'Metalingus', remains a defining moment, pairing pounding drums with razor-sharp riffs that build to an explosive energy. Its enduring appeal is evident in its inclusion across various media, cementing its place as a fan favorite. Tracks like 'Open Your Eyes' and 'Broken Wings' balance the album's raw power with heartfelt emotion, offering a glimpse of the band's versatility. This deluxe reissue breathes new life into the album, adding five live recordings that capture the electrifying energy of the band's performances. The live versions of 'One Day Remains' and 'Burn It Down' amplify the album's intensity on the last side of this release. These additions highlight Alter Bridge's ability to bring their studio craftsmanship to the stage, delivering performances that resonate deeply with fans.
Review: Returning just one year on from 2023's Zig (with what many initially presumed to be titled Zag), Moriah Pereira, better known as Poppy, delivers her sixth full-length LP Negative Spaces. Fresh off of appearances on both the new Bad Omens and Knocked Loose albums, with the latter marking her most unhinged vocal performance to date, this latest work seeks to strike a balance between her established digi-metal-pop formula and more outsider experimentations in both regards to heavier delivery and more complex electronica. Produced by former Bring Me The Horizon producer/keyboardist/programming wizard Jordan Fish, the not-so-strange bedfellows compliment each other majorly with Fish's ear for the sonic coalescence of metallic and industrial soundscapes within glistening pop structures providing an ample playground for Poppy to stretch her vocal cadences and multi-faceted character dynamics to enthralling new heights. This limited indie exclusive pressing arrives on a trifold pink & white split-coloured vinyl.
Review: No matter what type of project Deftones followed up their career-defining White Pony with, it was destined to disappoint at least some of their devout fanbase. Originally released in 2003, the band's self-titled fourth effort would mark their final collaborative project with iconic producer Terry Date (until reuniting for 2020's Ohms), while notably eschewing much of the "nu-metal" residue that still clung to their sonic makeup. Embracing elements of trip-hop and post-metal, while directly linking the group to the "are they or aren't they shoegaze?" debate which has loomed overhead ever since, the album has seen a steady reassessment from lacklustre follow up to underappreciated gem. With any luck, this reissue should continue to help highlight the cause as cuts such as 'Minerva' still soar with triumphant yet sultry hypnotics while 'Hexagram' serves as one of the heftiest cuts in the band's canon. It didn't even need an additional title. This is simply Deftones, and it still slaps two decades on.
Glorious Liberation Of The People's Technocratic Republic Of Vinnland By The Combined Forces Of The United Territories Of Europa (1:07)
Wolf Moon (Including Zoanthropic Paranoia) (6:37)
Haunted (10:08)
Track 15 (0:10)
Review: Originally released in 1996, October Rust would serve as the fourth full-length from gothic metal legends Type O Negative, as well as the highly anticipated follow up to their 1993 career-height Bloody Kisses. Known for its markedly less gloomy doom metal approach when compared to prior and subsequent projects, the album has grown a devout cult following due to the extensive number of unabashed ballads and compositionally accessible goth rock bangers (reliably shrouded in their own sonic malaise). Boasting the hit single 'My Girlfriend's Girlfriend' as well as their much-adored cover of Neil Young's 'Cinnamon Girl', many could consider October Rust to be the most accessible entry point to those intimidated by the prowess, hair or jawline of the incomparable visionary Peter Steele. Now almost 30 years young, this long overdue reissue comes spread across a limited green & black marbled vinyl 2xLP pressing.
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: 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: Rumour has it that only 15 cassette tapes were initially distributed of this rare demo collection, which earlier in 2024 was revealed to be the most expensive cassette tape ever sold on Discogs (going for a hefty $5,000), though the common consensus is that surely more exist out in the ether. Available digitally for years but now arriving on a remarkably limited run of wax, these demos also appeared on the (Like) Linus compilation CD and feature John Taylor on drums as Abe Cunningham would be in the midst of touring with his original alternative metal outfit Phallucy at the time of recording. Featuring the entire demo which pre-dates their 1995 debut Adrenaline LP, including cuts such as the aforementioned '(Like) Linus' as well as 'Hump', and 'Plastic', this expanded version also boasts early takes of album tracks like 'Engine No. 9', and 'Nosebleed', painting one of the clearest pictures of the band's nu-metal teething phase while creatively and sonically striving to push those confines in a similar manner to early material from their peers in Incubus. Funky, jagged and raw, yet already exuding that signature sultry chaotic nuance, this collection is so OG that initial copies even labelled the band as The Deftones.
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