Review: Arguably one of the most integral tentpoles of the grunge movement, Alice In Chains' seminal sophomore effort, Dirt, changed the game upon its release in 1992. Featuring some of the band's most classic cuts such as, 'Them Bones', 'Down In A Hole', 'Rooster', and, 'Junkhead', to name but a few; the incomparable dynamic of Wayne Staley's iconic vocals and cryptic, yet brutally honest lyricism combined with guitarist Jerry Cantrell's mammoth riffs and delicate nuance, still resides high in the echelons of alternative rock three decades on. For lifers and newcomers alike, this 30-year anniversary edition serves as an ideal opportunity to revisit a genuine classic, far murkier and riddled with antagonistic depths than any of its would-be peers.
Review: While the critical reception wasn't initially kind to the final Black Sabbath album of the Tony Martin era, time's healing powers have offered the eighteenth full-length a slight reprieve, with many now learning to appreciate the ambition Tony Iommi imbued into the project. Many might have scoffed at Ernie C of Body Count handling production duties, even enlisting bandmate Ice-T for the spoken word section of opener, 'The Illusion Of Time', but with the subsequent reunion of Iommi and Ozzy not long after, there's no denying the sheer individuality this album offered, toying with everything from blues to power metal motifs. Martin would go on to refer to the effort as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion", but with the near-two decade wait for, '13', some still gave Forbidden, the spins and attention it deserved. Reissued for forgiving ears and those willing to revisit.
Review: Goat returns with their latest self-titled album, the third in as many years, to ecstatic fans of the band. This ever-enigmatic collective continues to push boundaries, delivering a record that blends rhythmically intense rituals with an unmistakable energy that both invigorates dancefloors and stimulates the mind. The album kicks off with 'One More Death' and 'Goatbrain,' two tracks that capture Goat's hedonistic spirit through sharp funk grooves and guitars drenched in fuzz and wah. These tracks set the tone for an album that never shies away from exploration. The closing track, 'Ouroborus,' inspired by the ancient symbol of cyclical rebirth, showcases the band's love for hip hop, combining infectious chants with relentless breakbeats reminiscent of Lalo Schifrin's work. This finale brings the journey full circle, echoing the idea of endless renewal. Goat's new album continues to affirm their dedication to transcendence and transformation, offering listeners a potent escape into a world where the only constant is change.
Review: At the turn of the 21st century, Slipknot opted to take the newfound fame and success rewarded by their self-titled debut, and run it into the ground in, what has to be, one of the most intriguing examples of chaos and inner band turmoil lending to an integral work.
Named after their home state, 'Iowa', still remains an utterly frightening project, driven by addiction, depression, and encompassing negativity. Refusing to pursue a more accessible route regardless of the ensuing momentum around them, the collective would lash out with an extremely severe batch of material that remains challenging even by today's standards.
While the now iconic leads singles, 'My Plague' and 'Left Behind' remain embedded in the metal spectrum, deeper cuts such as the caustic 'People = Shit', nihilism rally of 'The Heretic Anthem' or the decrepit defeatism of 'Skin Ticket' offer the bleakest look into the band's psyche at their most temperamental of conditions.
The fact that frontman Corey Taylor has confessed that the 14-minute closing title-track was recorded while highly inebriated and cutting himself with a broken liquor bottle, should be all the background one could need when approaching this complex, unforgiving beast of an album.
Reissued after far too long an absence, this beautiful new rendering finally allows for a timeless endeavour to be rediscovered in all of its violent glory; rarely bridging the vast dichotomy between mainstream and extreme metal.
Review: Fear Inoculum brought a 13-year Tool hiatus to an end in typically dramatic, knock-your-socks-off and blow wind through your hair style. A fine example of what the group have always done so well - running with wolves like Mogwai, only with far more metal sensibilities, and a damn-sight bigger helping of experimentalism, when this bad boy arrived in 2019 it shot straight to the top of the US Billboard 200, the third consecutive record from the group to do so.
Of course, those charts don't necessarily mean as much in this age as they did when the preceding Tool LP dropped, but 270,000 album-equivalent units within the first week do not lie. Nor does the quality of work here. From the avant-garde percussion and awkward synths of 'Chocolate Chip Trip', to the almost-ethereal ambience of 'Legion Inoculant' and the riff and crescendo heavy 'Pneuma', it's a wild thing of beauty.
Review: Although Senjutsu is the 17th studio album from Iron Maiden, it's really not everyday you get to pen words about the legendary British heavy metal outfit, so let's make the most of this moment. Starting with one fundamental point - if you weren't into Iron Maiden, or the 16 full length records that have come along since, this one is probably not going to change your mind.
If, however, you love the iconic operatic tones of Bruce Dickinson and the guitar searing riffs this lot are known for, then buckle up for a thrill ride through some classic Maiden business. Highlights including the epic, searing guitar solos of 'Hell On Earth', the slow-but-heavy chorus on 'Darkest Hour', and 'Days of Future Past', which is packed with enough atmosphere to fill any of the stadiums the band still relentlessly play, several times over.
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