Review: Announcing a reunion run of festival dates not five years on from their supposed farewell tour, what better time to revisit a truly under appreciated latter day gem from thrash metal titans Slayer? Originally released in 2006, Christ Illusion would serve as follow up to 2001's critically acclaimed God Hates Us All, while marking the band's first full-length with original drummer Dave Lombardo since 1990's Seasons In The Abyss. Somewhat shrugged off upon initial unveiling, in the near two decades since the project has amassed a legion of followers, mainly due to the work ultimately serving as one final effort from the original line up before guitarist Jeff Hanneman's untimely passing, followed by Lombardo's second departure.
Review: Certified 12xPlatinum, winning Best Hard Rock Performance for 'Crawling' at the 44th Grammy Awards, and classified as the bestselling debut album since Guns N' Roses' Appetite For Destruction; the first full-length from nu-metal legends Linkin Park was a world event around the time of its release at the turn of the new millennium. Living up to its title Hybrid Theory with an effortless fusion of alternative metal, hip-hop and turntablism, all unified under late frontman Chester Bennington's immense vocal range and vulnerable lyricism, the project became an instant classic upon release with singles such as the aforementioned 'Crawling', 'Papercut', 'One Step Closer', and, 'In The End', all going on to achieve either Platinum or Diamond status in numerous territories in the decades since. While the band would eventually stray into the realms of U2-indebted arena rock, both this debut and their 2003 sophomore follow up Meteora are still considered, to this day, to be some of the finest, most accessible and pristine displays of the once maligned nu-metal subgenre.
Review: The Certified 12xPlatinum Grammy Award winning seminal debut album from nu-metal heavyweights Linkin Park is set to receive a brand-new limited reissue (along with 2003's Meteora and 2007's Minutes to Midnight) on what has been dubbed the "One Step" remasters. These high-quality audiophile pressings launch the new "Because Sound Matters One-Step" series, with each release providing details of the audio sourcing process; all housed in newly designed slipcases. Pressed on 180-gram black vinyl, numbered and limited to 3,000 copies, mark our words when we say you've never heard the genre-defining hits such as 'One Step Closer', 'Papercut', 'Crawling', or, 'In The End', with this level of clarity and fidelity, while the band's effortless fusion of metal, hip-hop, alternative rock and turntable wizardry, emboldened by the legendary production guru Terry Date, has rarely radiated such towering sonic warmth. Above all, the vulnerable lyricism and cathartic cadence of late, great lead vocalist Chester Bennington looms large and poignant.
Review: Linkin Park's Minutes to Midnight marks a pivotal shift from their nu-metal roots, exploring a richer musical landscape. Co-produced with Rick Rubin, this 2007 release blends alternative rock, hip-hop and political insights, evident in tracks like 'What I've Done' and 'Hands Held High' and a collision of dynamic experimentation with aggressive rock and infectious melodies in 'Bleed It Out.' A commercial and critical success, Minutes to Midnight further broadened Linkin Park's appeal and impact and now vinyl-loving Park fans have a chance add it to their collections.
Review: If you deep dive into online information about this somewhat mysterious Tool live release, you can start to piece together some facts from the mythology. The thing we are most certain about The Pepsi Challenge: Colorado Broadcast 2002 Volume One is that there are many theories pertaining to what it is and whether it's a bootleg or not. Certainly this has nothing to do with the Pepsi Challenge per se, but rather the title refers to where the album was recorded. The year was 2002, the place Denver's Pepsi Center, now known as Ball Arena. Here, mighty metallers Tool stopped by on what was a mammoth tour and delivered what several fan forum posts suggest was the best date of the lot. We're not sure how many of the shows the OPs attended to make that assertion, but we do know that this LP sounds like it was an incredible night.
Review: Ville Valo and the HIM crew made a triumphant return with, Love Metal in 2003. This album, anticipated as the pinnacle of gothic rock for that year, has certainly lived up to its high expectations looking back. The production quality is impeccable, with every note sharp and pristine. The band had clearly invested a significant amount of effort into this album, evident in the intricate overdubs, synth patterns, and layered samples. HIM has never sounded better. This album strikes a balance between being radio-friendly and staying true to its metal roots. Tracks like 'Circle of Fear' evoke the style of The Sisters of Mercy, while 'Endless Dark' features a catchy melody that makes it perfect for radio play. Despite its accessibility, the album retains a haunting quality, with sounds that linger and resonate. 'Buried Alive by Love' is the standout track, delivering a powerful metal riff that will satisfy hardcore fans. 'The Sacrament' begins with a beautiful piano intro, transitioning into an acoustic guitar duet, showing the band's versatility. 'Beyond Redemption' and 'Soul on Fire' maintain a strong metal presence with faster tempos and guitar-driven riffs, proving that HIM can still rock with the best. 'The Funeral of Hearts' is a nod to HIM's earlier sound and it's no surprise that it's currently a top track in Finland. The mood of Love Metal is notably more upbeat than previous albums, offering a refreshing contrast to the typical Finnish melancholy. Fans of the genre will appreciate this evolution. Now reissued on clear vinyl, Love Metal is ready for a new generation to enjoy.
Review: The long awaited follow up to 2018's Grammy winning Electric Messiah comes following a shared introspection amongst artists driven offroad and into their hovels due to the pandemic. Using this time to craft whilst ruminating on the increasingly fractured state of the world, Oakland, California's stoner-doom sons of sludge High On Fire return from the murk with a collection of their most intense, dystopian and cavernously heaving chapters to date. Increasing the tonal torture to nauseating levels, whilst pulling from middle Eastern compositions and even experimenting with Turkish instrumentation, there's a globally expansive aura to their apocalyptic, nihilistic doom-dread this time around, as if Cometh The Storm strives to serve as the soundtrack to all of our collective end-times, regardless of geographical placement on this floating rock.
Review: The first official album released through Ipecac Records; the label of absurdist vocalist extraordinaire Mike Patton (Faith No More, a million other projects), was this self-titled debut from Fantomas, originally unveiled in 1999. A supergroup with no absolutely zero desire to make it easy on listeners, this culmination of Melvins mastermind Buzz Osborne on guitar, Mr Bungle/Tomahawk/regular Patton cohort Trevor Dunn on bass and Slayer's Dame Lombardo behind the kit, would coalesce all of their most extreme creative proclivities into one bizarre maelstrom of avant-garde cacophony that can barely be fit into the metal genre. Intended as the musical accompaniment to a fictitious comic book, with all track titles even listed as chapter/page numbers (a unique theme that would follow into all subsequent albums), the work has since been praised for its sonic abandon and artistic fearlessness, with one critic once referring to their avant-garde jazzy grindcore as "dada-metal". The project would also finally offer Patton the opportunity to prioritise his experimental forms of voice music and scat singing over traditional vocal cadence or standard lyricism.
Review: Serving as the follow up to 2020's crushing Stare Into Death & Be Still, New Zealand extreme metal boundary pushers Ulcerate return with their inhumanely grim seventh full-length Cutting The Throat Of God. Known for their dexterous marrying of highly technical, virtuosic death metal with avant-garde leaning post-rock grandiosity, their mission statement has never been more fully realised than across this punishing opus. Deconstructing the very facets of the death metal blueprint and reassembling with an astute attention to detail that refits all of the pieces with a purposefully incongruous edge, the material sonically vies for hell and peace simultaneously, with the listener caught within the depraved maelstrom of octopus-like drumfills, head-splitting blast-beats and guitar mangling to intimidate the all-time greats of Gorguts and Cryptopsy.
Review: Recorded in Montreal, Quebec in 1981 whilst touring his sophomore solo endeavour Diary Of A Madman, this live LP from the former/current/former (?) Black Sabbath frontman serves up an iconic slice of very-much-in-his-prime metallic rock mayhem. Featuring timeless staples such as 'I Don't Know', 'Crazy Train', 'Mr. Crowley', and even finishing with an electrifying cover of 'Paranoid' (greatly embellished by Ozzy's secret weapon throughout the 80s - guitar virtuoso Randy Rhodes), this LP serves as a high watermark live collection from the Prince of Darkness.
Review: Following on from the blistering re-recorded versions of Sepultura's debut EP Bestial Devastation, and album Morbid Visions originally released in 1985/86, the rebranded Cavalera Conspiracy project boasting both brothers Max and Igor (now going by Cavalera), double down with a newly recorded re-release of their seminal 1987 sophomore effort Schizophrenia. Noted as the first work to begin embracing their more prominent thrash meets melodic death metal style, while eschewing the blackened Celtic Frost worship of their earlier material, this is the album where Sepultura first discovered their own true sonic identity removed from their bevvy of influences. Refined, feral and rebuilt from the ground up with a polish that provides clarity yet doesn't detract from the danker qualities of the original recordings, Cavalera continue their quest to reclaim their Sepultura output, seemingly one title at a time.
Review: HIM's third album, now reissued on vinyl for 2024, remains a standout in their discography. Opening with 'Salt In Our Wounds,' the album showcases a perfect blend of slow build-ups and heavier choruses, featuring a cool solo. 'Heartache Every Moment,' a single, grows on you with its poignant lyrics. 'Lose You Tonight' offers a unique intro with a bass line and intriguing background sounds, while 'In Joy And Sorrow' captivates with soothing guitar riffs and beautiful vocals. 'Pretending' stands out with memorable lyrics and an impressive solo. Although 'Close To The Flame' and 'Beautiful' are slower tracks, they add depth to the album. 'Don't Close Your Heart' and 'Love You Like I Do' close the album on a high note that create a lasting impact on the listeners.
Review: Ungod, the inaugural album by industrial rock band Stabbing Westward, debuted in 1994, merging intense guitar riffs with moody, dark electronic elements and encapsulated the angst and energy of the early 90s alternative music scene. Produced by John Fryer, renowned for his work with Nine Inch Nails and Depeche Mode, Ungod includes standout tracks like 'Violent Mood Swings', 'Control', and 'Nothing', all raw, emotive vocals and the band's gritty, atmospheric sound. While it didn't achieve mainstream commercial success, Ungod developed a cult following, solidifying Stabbing Westward's position as a significant influence in the industrial rock genre. The album's dark, introspective themes and innovative production techniques continue to resonate within the industrial rock landscape, offering a dynamic and compelling mix of electronic music and rock. During a time when Nine Inch Nails dominated the scene, Stabbing Westward was equally impactful within the underground music community. To celebrate its 30th anniversary, Ungod is being reissued for the first time since its original release, this time in translucent red and black marbled vinyl.
Review: Rock & roll is packed with incredible stories of how the tracks we cherish came about. Not to mention the albums. Black Sabbath had only released their groundbreaking, eponymous debut LP four months before they got back in the studio to record what was supposed to be the follow up, War Pigs. Taking its name from the intended title track - a scathing sucker punch aimed at the architects and agents of the Vietnam War. Warner Bros. Records forced a change of record title, and 'Paranoid' the single was hastily written in the studio. While you can argue the trippy, experimental, ketamine dream of 'Planet Caravan', the blues-hued 'Fairies Wear Boots', or the aforementioned protest rage 'War Pigs' stand out the most, in reality it's that last minute addition to the album people usually remember the most. And by god it still sounds incredible, 54 years later.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.