Ghost Story - The Image and the Reality (Demo) [1990]

The truth hurts. While so many undeserving acts receive recognition and pundits beyond belief, those whose fates are as tragic and fragmentary as Ghost Story becomes lost in the billowing wind. Fortunately, with the technological benefits ushered in by the 21st century, hunting down an obscure demo such as the Atlanta quartet's ''The Image and the Reality'' becomes a much easier task than to have acquired the demo by tape trading in the early 90's. Ghost Story and their second demo are significant for two reasons: not only does the sound existing within these five tracks possess the potential to champion most thrash or speed metal outings that were being put out by 1990, but the sound itself is quite unique, a stunning tribute to the power/speed/thrash traditions of the 80's that, without conspiring to move the genre's foundations in any manner, manages to become one of the most potent and memorable heavy metal demos of all time.

Yes, you heard it right, and the joke is on you if you're smirking behind your PC reading this, smiling at the laughable crudity of the cover art, because ''The Image and the Reality'' is fantastic. There is no tandem to quality here, since each track serves equal portions of ass-kickery, but I love that the band diverges from the linear thrashing simplicity or speed/thrash filth offered by so many of its peers, and a general feel of power metal here runs parallel to the well-forged arsenal of riffs, which are entirely memorable excursions into the wide fulfillment of the genre at large, and you're bound to hear anything from ''Rust In Peace'' era Megadeth to more progressively oriented speed/thrash a la Angent Steel, Toxik, Coroner and Watchtower to more obscure power/thrash acts from the early 90's like Mystik or Stygian. There is a certain hooking quality to the riffs that makes them both immensely entertaining and also slightly moving. ''I Won't Change'' is a good example, with a broad thrashing rhythm accentuating the verses and moodier breaks into ballad-esque arpeggios and melodic guitar solos. But the group also harnesses these chugging, looming that feels completely satisfying in terms of mood and sway, with pure wisps of clear power metal melody reminiscent of early Fates Warning crowning the remaining bits and pieces. Of course despite the marginal variants, Ghost Story's focus remains a furious dialect of speed and thrash metal, like the excellent verse of ''Repent'', full of twisting but uncomplicated riffs which sound like an awesome addendum that Dave Mustaine forgot to add to his first two Megadeth discs. At any rate, the rhythm section remains extremely tight and killer, with no frugality of headbanging material.

Rob Thompson's vocals here are part of what makes the demo so damn unique. A versatile detachment from the classic harsh Teutonic rasp, but retaining enough audibility, poignancy and an arousing timber to sound fresh, I'd say he sounds like a more controlled, gruffer Sean Killan, but all the same he can seamlessly weave into a different tone according to the undercurrent of guitars: granted, he doesn't feel like a majestic soaring banshee destined to bewilder a listener as on a classic like ''Think This'' or ''Control and Resistance'', but he still sounds almost immediately distinguishable than the umpteenth 80's thrash rehash I'd hear. For a demo, the production here, just like everything else, reigns supreme. Sure, you might need to raise the volume a tad before you can really hear the music, but the drums have a crisp tone to them and never perambulate in terms of volume as on an occasional demo recording; the guitars are copious but they never overfeed the mix; and the bass is surprisingly audible in a Steve Harrison kind of way, ballasting the metallic crevices of the guitars with some sweet, raw lines. In terms of instrumentation, Ghost Story sure dwell into a lot of 'contemplative' discourse riffing, more often than a regular thrash act, but the long moments are never dull as to cull boredom from the listener and they're smart enough to break off from the more melodic, moody instruments-only plateau just in time to cut into a fierce chorus or bridge. Every song is truly legendary here, within its minimal cult status: from the introductory arpeggios of ''I Won't Change'' to the irresistible chorus on ''Silent Masses'' to the unforgettable gap riff midway ''What Few Even Dare'' which has stayed with me ever since my first spin, ''The Image of the Reality'' is one of those rare recordings, which, assuming the shape of another abstruse obscurity, heightens to the level of a full-length, beating so many at their own game that it makes my flesh prickly just thinking about it. Truly, its only fault is its brevity and slightly cramped production that feels only natural. Otherwise, find this at all costs, and if you're a collector of heavy metal demos, you've already wasted your time reading this reviewer's fanboyish rant about it.

Highlights
''Sanity Web''
''What Few Even Dare''
''Silent Masses''

Final Rating
Masterpiece [9/10]

Traitors Gate - The Devil Takes The High Road [1985] (EP)

It's truly a shame how hundreds of obscurities were buried and lost during the clamorous days of early power/heavy metal (1983-1988) simply because they didn't have sufficient outings to burgeon into bigger, more commercially successful groups. For the collector of rarities, however, scrutinizing this particular era in search as such exemplary specimens like the one I have at my hand, must be a wonderful prospect; and, given the time and effort I've spent to randomly exhume this EP among a heap of other, less interesting gems, it truly is. The name Traitors Gate will probably be a novelty for many readers who are reading this review, and admittedly, they were not known to me until a couple of weeks. The band's discography is painfully short: two demos followed by their sole EP and final release, ''The Devil Takes The High Road'', but I need not say that their finest offering is magnificent, good enough to top most of its primordial contemporaries.

Traitors Gate toys with that flamboyantly oblique niche in between classic NWOBHM and sturdy USPM ambition that makes for the tool of old school escapism. Granted, the riffs are nothing superior or utterly convincing in their delivery, but the overall ambiance and aesthetic preferences weave a sort of resplendent aura, and the production is quite clear too, if not perfect. For such a short EP, the three tracks presented showed an outstanding amount of variation, constantly channeling between vibrant melody lines that plod on somewhat mournful ground, bouncing off the edges of contours of the rhythms, which sway fluidly but with a crispy speed metal attachment. As you may expect, the riff-work is composed simply, but shift in accordance with the song structures with such fluent finesse that you don't give as much as a damn about the sheer simplicity of the patterns. Hugh Jones' vocals are high-pitched at all times and resonate with a wondrously balanced level of reverb - he has the potential to shriek his lungs out with a banshee-induced inflection, but he prefers to put less emphasis on harsh vocal deliveries and focuses on a much more NWOBHM-oriented timbre. Still, this doesn't hinder the quality of the EP, as his somewhat romantic vocal embrace has a terrific tinge to the ear on the chorus of ''Love After Midnight'', which sounds a lot like ''Wasting Love'' by Iron Maiden.

The title track sets the stage from the start, commencing with moody, mid-paced intro and then converting itself into a hooking verse riff, and truth be told, the lyrics are quite memorable:

I see a gleam in your eye,
the time is fast approaching.
You say you're flying high.
Already hit the headlines,
as they pump out the news,
of a new Enchanter,
as The Devil takes the high road,
he calls the passers by.

Come with me and we'll go,
faster, higher than any star.
Come with me and we'll go,
faster, higher than any star.

''Shoot To Kill'', as the name suggests, dives into a more aggressive territory, with sumptuously crunchy guitar tones and classic NWOBHM chugs, swerving with simple but immaculate authenticity. Among all the NWOBHM/USPM obscurities I've discovered over the past few weeks, who would have know that this, perhaps the obscurest one of them all, would have appealed to me the most? ''The Devil Takes The High Road'' is no novelty for connoisseurs of NWOBHM or USPM, but it's certainly one worth a collector's time - my only gripe was that the brevity of the EP (some 10 minutes) forced me to listen to it intermittently until I had fully satisfied myself. Otherwise, from the hellish creature riding on horseback, to the catchy lyrics, this is a jumpy, even elegant discourse in NWOBHM and USPM 101 which you shouldn't miss out on.

Highlights

''The Devil Takes The High Road''

''Love After Midnight''

''Shoot To Kill''

Final Rating

Awesome [8.3/10]

Helloween - Keeper of the Seven Keys Part I [1987]

Here we have an album that many consider to be one of the most influential Euro-power metal albums of all time, and that wouldn't be an inaccurate statement, only it was influential for a sound that I couldn't care less for. Helloween showed that they were a legit band capable of delivering doses of brilliance in their music when they released the masterpiece "Walls of Jericho," but this album is just... different. For one, "Keeper of the Seven Keys Part I" sees the introduction of Michael Kiske on vocals, and while I have nothing against the man, it's a shame that Hansen could no longer pulled double duty on guitar and as the frontman, because his unpolished and enthusiastic approach to fronting the band was a joy to hear on the debut EP and full-length. Kiske's vocals are on their own outstanding, but they suit a watered down version of Helloween a lot better, and that's really what the band is on their sophomore - watered down. 

It may sound like I'm bashing "Keeper of the Seven Keys Part I," but I do enjoy the album, it's not what I was expecting to hear after listening to the much more raw debut, a bonafide classic, and while this record is considered a classic, it just doesn't live up to expectations. For the most part, the kickass speed-oriented riffs that Kai Hansen and Michael Weikath mass-produced before are gone; replaced by more midpaced riffage akin to groups like Priest and Maiden, which isn't a bad thing, but it doesn't spark the same feeling that amazing songs like "Ride the Sky" and "Victims of Fate" had. It's not all bad, though, as songs like "I'm Alive" and "A Little Time" are great midpaced tunes that show off Kiske's great voice, as well as the non-stop shredding from the guitarists, with the former track featuring excellent solos that are actually some of the better parts of the music at points throughout the record. This album also has one of Helloween's best songs ever in "Twilight of the Gods," an epic anthem with an insanely catchy chorus, stellar guitar playing on both ends, and Kiske's phenomenal vocal performance. 

However, I find myself needing to complain about this album again. It's very short and with only six songs of actual substance, all six of these songs needed to be overly-exceptional, but that's not the case. "A Tale That Wasn't Right" is an acoustic ballad that just falls flat and makes me want to hit the skip button, while "Future World" is another song that just fails to retain anything that could be considered awesome. I don't want to sound like some miserable cunt, but the song is just too damn happy sounding and has no real substance to it. Had these two tracks been cut from the record, "Keeper of the Seven Keys Part I" would've made a terrific EP and another Helloween release that could be considered a major "win." The basic tale of the tape for this record is one that sees the band evolve their sound (which is a natural thing for bands, and one that we as fans have no control over), but not for the better. There are still some great songs here that save it from being a total flop, with "Twilight of the Gods" and the epic closer "Halloween" being worth listening to this record again on their own. This is a band that showed a lot of promise, but unfortunately fell short and it's safe to say this is the last record where I could summon enough fucks to give about the group after they teased me with their fantastic debut. 

Highlights

"I'm Alive"

"Twilight of the Gods"

"Halloween"

Final Rating

Barely Awesome [8/10]

Helloween - Walls of Jericho [1985]

Even with the sudden thrash surge that was taking over the metal underground in the mid to late eighties, Helloween didn't hop onto the bandwagon, at least not the way that other German acts were at the time. When the band released their debut full-length "Walls of Jericho," there were a few other up and coming bands in Germany by the names of Sodom, Kreator and Destruction, all of which released their ruthless music in one form or another around the same period, but instead of releasing a record full of vicious riffs and ugly vocals, Kai Hansen and company delivered the best record that Helloween has ever put their logo stamp on, and it had none of the aggressive assets that made those future-legends stand out. Sure, the music on here is faster than anything the band would ever release again, but I'd hardly call it aggressive or barbaric, especially with all of the melodies and solos that make up a significant portion of the music.

After releasing the five-song self-titled EP several months earlier, Helloween unleashed their debut full-length "Walls of Jericho" which could only be described as Europe's answer to American classics that were released a year earlier such as Omen's "Battle Cry" or Jag Panzer's "Ample Destruction." The Germans had the speed, riffs, melodies, solos and everything else that goes into making a top-notch '80s speed/power metal record. But most importantly, they knew how to write songs that didn't get boring or tread upon a repetitive path that would bore the listener. There's a great mix of faster riffage that was undeniably influenced by bands like Venom, Metallica and Slayer, midpaced riffs made to get your headbanging and plenty of phenomenal solos and melodies that provided even more reasons to fall in love with the music. Kai Hansen's vocals usually draw a pretty split response from Helloween fans, but I have zero complaints about his style or performance on this album. His vocals aren't exactly pretty (like the man who would later take the reins in Michael Kiske), but they fit the music. His high-pitched yells aren't on par with Halford, but they aren't horrible, in fact, they make classic songs like "Ride the Sky" and "How Many Tears" the epic anthems that they are as his vocals mesh with the rest of the music perfectly. 

The only complaint about "Walls of Jericho" that I can make is that the band decided to start the album with the best song the band ever wrote in "Ride the Sky," a masterful song full of terrific riffs, an unforgettable chorus and plenty of lead guitar wizardry. Luckily, the rest of the songs on this record are awesome as well. "Reptile" and "Guardians" are both worthy songs and both show off Markus Grosskopf's bass skills, which is just another reason why Helloween kicks so much ass on the debut. "Phantoms of Death" is a bit more epic than the other songs on here as the verse features (what I believe is a) keyboard parts that back Hansen's vocals as well as plenty of amazing solos and melodies throughout, while "Metal Invaders" and "Heavy Metal (Is the Law)" should please all of the speed-freaks who need their dose of fast riffs. This is definitely one of my favorite power metal albums and it's easily one of the best old-school metal albums from Germany. It's a shame that the band would abandon this sound down the line (the next album, actually) to pioneer the typical Euro-power metal (ugh) that's become prevalent today, but I can always come back to this masterpiece and enjoy Helloween in their finest hour. 

Highlights
"Ride the Sky"
"Phantoms of Death"
"Gorgar"

Final Rating
Masterpiece [9.2/10]

Helloween - Helloween [1985] (EP)

Power metal wasn't a full-blown subgenre by the time 1985 rolled around, with only a handful of bands playing the style of music that was very rooted in the vein of bands like Maiden or Angel Witch, only the music was usually faster and thrashier. Bands like Omen, Savage Grace, Jag Panzer (and the earlier incarnation of Tyrant) and Fates Warning all took their stab at paving the way for this new form of music and they released some damn fine records, but this was mostly being done in the states. Enter Helloween and their self-titled EP, a five track showcase for the young group who would later become much more important in Europe's power metal movement. The music here isn't like the band's latter material that they're more well-known for, but it doesn't shy away from the speedy onslaughts that were made awesome on records like "Battle Cry" and "Metal Church," providing plenty of quickness in the riffs and a lot of substance as well. 

This EP is the brainchild of the master himself Kai Hansen, who not only brandished the kickass riffage on "Helloween," but handled vocal duties as well. His high pitched approach isn't anything overly special or innovative, but it suits the music perfectly and any fan of traditional metal probably wouldn't be able to complain about him. The man is also an absolute beast with his ax, too. The amount of insane soloing throughout this EP (and pretty much every other Helloween release he played on for that matter) is crazy. It doesn't matter if the man is shredding away, playing solos that are as fast as the riffs, or writing more melodic leads that are meant to add some memorability to the songs, this man does not know how to write a bad solo. The rhythm section is also solid. The bass playing and drumming aren't too much of a highlight on their own, but combined with Hansen's impressive guitarwork and vocals, they don't really need to shine so much. 

The EP kicks off with "Starlight," a catchy number that features upbeat riffs, ear-catching melodies and a lot of shredding from the German extraordinaire (which is a common theme for pretty much all of the band's early material that Hansen played on). "Murderer" and "Warrior" both tread along a similar path as both feature their share of solid riffage, solos galore and more over the top vocals (sound familiar?) Of course there's a bit more variety to this EP and that couldn't be more evident than on the track "Victim of Fate" which has some stellar melodic riffs and Hansen's best vocal performance. The way he yells "You will burn in hell!" is fucking killer and reminds one of Grim Reaper's Steve Grimmett, before the equally kickass solos come in and make the track a must-listen. The final track "Cry For Freedom" is almost as excellent as the preceding song; the acoustic intro with Hansen's vocals make for a nice change of pace and show that the band is more than capable of writing more than just fast riffs and a bunch of solos. "Helloween" is definitely a great way to make some noise for a young band getting their start, and while I wouldn't call it a must-have EP for every metal fan, it's definitely worth listening to if you're a fan of the band or the power metal genre. It's just a shame that Helloween would go on to create some shite music that couldn't be any further from the early creations that made the band so awesome, but again, that's a rant for another day. 

Highlights
"Starlight"
"Victim of Fate"
"Cry For Freedom"

Final Rating
Awesome [8.7/10]

Glacier - Glacier [1985] (EP)

Though Glacier weren’t late comers to the early 80’s power/heavy scene, for some reason they were buried deep in the stockpile of bands that were releasing considerably decent, retro material. The band was born in 1979, and their entire discography is adorned with only three releases, two demos, and this, their Ep. It’s quite obvious that Glacier was not intending on doing heavy, exceedingly fast or intense music, and even if they wanted to, the hindrance that is time would be blocking their way. The Ep isn’t even on par with some of the better, more sophisticated acts like Jag Panzer or Fates Warning, often preferring a light overtone to fit the classically decorated traditional heavy/power texture, with a diminishing raw production quality put on top of that, and overall it becomes obvious that Glacier built their five-track Ep upon some of the more classic sounding aesthetics of the genre.

The rawness of the production renders the music itself sharp and crisp, despite picking on riffs that aren’t so hefty. Though throughout the fire tracks that the Ep offers you’ll find an adequate measure of variation, which, mostly reflects the band’s propensity for catchy, hooking material, churning traditional speed metal qualities with power metal traits, there will be a gradual inclination towards an epic touch, most notably on the first two tracks. It’s not a grandiose feeling, but as many of the band’s proponents, the epic sense of the music culminates in the chorus sequence, flaring a soulful mood in the listener, and once triggered with some backup vocals, the combination becomes truly beguiling, if not wholly indulging the listener in burgeoning elegy.

And interesting fact about the Ep is that it consisted of three vocalists, Keith Flax doing ‘’When Heaven’s At Hand’’, Rex Macnew on ‘’Vandetta’’ and Mike Podrybaou on vocal duties on the remaining three songs. This is an interesting element to add to the music because each of the vocalists espouse somewhat of a different touch to the tracks, varying according to their styles, apparently. Keith Flax sounds totally like Ozzy, which is not something I’m complaining about, and Podrybaou is an efficient singer, as he swipes fluently through the finalizing tracks, which prove to the brisker excursions than the first two songs. I wouldn’t really call ‘’Glacier’’ a mind-boggling release, but it semi-complexity pervades and the structures still remain captivating. ‘’Glacier’’ is not essential by any means, though with its classic fluctuations, deep, minor leads thrilling about and excellent share of melody, it makes for a worthy listen.  

Highlights

''When Heaven's At Hand''

''Ready For Battle''

''Speak No Evil''

Final Rating

Awesome [8.1/10]

Chastain - The Voice of the Cult [1988]

“The Voice of the Cult” is Chastain’s fourth album in four years. After releasing their third assault “The 7th of Never,” you would think that the band might want to start stepping their game up and branching out to achieve a better sound, but that didn’t happen. Instead, this album suffers the same fate that the previous one did. Chastain decided to stick with the same formula that got them where they were, and to be honest, this band just doesn’t have the ability to play the same stuff over and over and be revered as legends. Sure, this release is still awesome and I enjoy re-visiting it when in the mood for some heavy/power metal, but the potential that was found on the band’s magnum opus “Ruler of the Wasteland” was gone, and their chances for topping that album were too. 

If you’ve heard the group’s previous album, then you should have a fair idea of what “The Voice of the Cult” sounds like, as a majority of the music here treads on familiar territory, rarely ever attempting to travel down another path. There’s plenty of shredding and melodies to be found in the midst of the solid riffage and Leather Leone’s amazing vocals, which have not lost a beat at all. She’s still got the range and the power she had on the first three Chastain full-lengths and it’s a reason why she’s always being compared to the legendary Mike Howe of Metal Church fame. Like I said before, I don’t really have a problem with the band’s decision to not try and take their sound to another level and sticking with the formula, because tracks like “The Voice of the Cult,” “Live Hard,” and “Chains of Love” are all worth listening to, but it feels like they could have been on any of the other albums before. 

Of course, not all of the music here sticks to the same old, same old. There are some cool little nuances that separate the great tracks from the good ones. “Share Yourself With Me” is one of the group’s more aggressive tracks, with its galloping riffage and the performance of one of the best front women in metal definitely gives the song some more anger. “Fortune Teller” has a darker kind of vibe to it thanks to the melodies and riffs throughout, harkening back to the band’s best record “Ruler of the Wasteland,” and “Child of Evermore” features some thrashy riffage reminiscent of Dave Mustaine. “Take Me Home” is the closest thing to epic on this album, and while not quite as mindblowing as some of the band’s previous material, it’s still a quality listen. I will give Chastain credit, because they released three very good albums in a row, which is not an easy feat. “The Voice of the Cult” ranks below the last album and this also the last album the band released that I care for, but fans of old-school heavy/power metal should still have no problem trying to sing along with Leather Leone and air-guitaring to the inhuman David Chastain. 

Highlights

“Share Yourself With Me”

“Fortune Teller”

“Take Me Home”

Final Rating

Awesome [8/10]

Chastain - The 7th of Never [1987]

If you want to talk about being a productive heavy metal band on the rise, look no further than Chastain. After consecutively releasing two full-length albums back to back, the band would not stop. The result of this persistence is the group’s third album “The 7th of Never.” After delivering their best effort yet with “Ruler of the Wasteland,” Chastain needed to hit their next record out of the park. There’s definitely some differences between this album and the predecessor, but the talks of which is better go back to the sophomore, as “The 7th of Never” is just a notch below. 

The overall sound of the band hasn’t changed much on their third outing, as Leather Leone is still wailing away with her impeccable vocals and David Chastain is still shredding like a maniac. Well, he’s even better than before. David’s lead guitar skills have always been one of the reasons why Chastain is so awesome, but he took his playing to another level for this record. The instrumental “827” is really the only evidence I need that this man is a regular Yngwie with the guitar. Luckily, “The 7th of Never” isn’t just a wankfest for David, as he has plenty of substance (riffs) to go with all of his flashy ability. “Paradise” and “Feel His Magic” have some of the best riffs that have made it to a song on a Chastain record. Also, the chemistry between David and Leone is outstanding on this release, especially on the title track where the riffs and vocals just mesh together perfectly, creating some very memorable moments in the process.

One noticeable change that didn’t sit to well with me, though, was the inclusion of pianos and synths. “The Wicked Are Restless” begins with a piano section, which wasn’t so bad in itself, but it added nothing to the music. The synth parts on “Forevermore” also did nothing for the overall product of the music, other than make plenty of metalheads shake their heads in disapproval. Aside from some revamped guitar abilities and a little less of that “epic” feel the band had before, “The 7th of Never” doesn’t gravitate too far from the album that came before, and it left Chastain on a plateau of sorts. This is still an awesome album, though, so any fan of the band’s previous material should have no problem loving this one. 

Highlights

“Paradise”

“The Seventh of Never”

“Feel His Magic”

Final Rating

Awesome [8.4/10]

Chastain - Mystery of Illusion [1985]

Heavy metal in 1985 was still a morphing and always changing landscape, as there were groups thrashing as hard as they could, bands that were taking evil beyond its limits (Bathory and Celtic Frost), and then there were bands like Chastain who wanted to play like their heroes in Iron Maiden, Judas Priest, etc. A lot of American bands who played in this vein were usually a bit faster and ended up pioneering the USPM subgenre, but Chastain played very much like the forefathers on “Mystery of Illusion,” the band’s debut full-length record. Was this band’s rendition of heavy metal as good as the legends before? No, not really, but this album serves as a terrific foundation of what was to come in this band’s future.

As many would expect, the songs on this album are dominated by midpaced riffs and a lot of melodies, which is made apparent on the first track “Black Knight,” which consists of the aforementioned riffs and a decent melodic intro. The melody that opens “I Fear No Evil” is definitely an ear-catcher and the riffs later on also follow suit. Unfortunately, Chastain wasn’t very consistent and songs like “When the Battle’s Over” and “I’ve Seen Tomorrow” tread along a mediocre path due to derivative riffs and a lack of proper execution that was seen on other memorable tracks like “Mystery of Illusion” and “The Winds of Change.” Another track that just didn’t stick well at all was “Night of the Gods,” a sludgy song that had plenty of St. Vitus and Black Sabbath influence, but this clearly isn’t the style of music that Leather Leone and the crew excel at. 

Speaking of Leather Leone, she is one of the highlights on this album with her beautiful voice that possesses an insane range. Her singing on “Endlessly” is soothing and pleasant, but she can also hit the high notes and bring a bit of aggression to her vocals as well (“I Fear No Evil”). Another bright spot on this full-length is the lead guitar work of David T. Chastain. There are of course the aforementioned melodies that show off his skill, but this man can absolutely shred and this is noted in just about every song. His solos are brilliant, there’s a perfect mix of melody and technicality in every one, adding something to remember on even the dullest of songs. “Mystery of Illusion” isn’t the greatest heavy metal album that you’ve never heard, because there are plenty out there that are better, but it’s still a quality listen from a stellar band who would later go on to unlock their real potential with their next release. 

Highlights

“Mystery of Illusion”

“I Fear No Evil”

“The Winds of Change”

Final Rating

Mediocre [7.8/10]

Outlander - Beckoning [1990] (Demo)

By 1990 all the elements of power metal had been stabilized, and all the classics were already released, rendering the huge portion of upcoming power metal bands unoriginal and derivative. Well, gimmicks certainly didn’t stop the majority of power metal bands from bringing forth their own material, and USPM obscures Outlander were yet another group lost in the hazy vortex of time, flushed back into the pitch black bowels of shadowy obscurity. Outlander’s excursion of classic USPM metal is surely just another predictable splash in the face of a USPM veteran, but the their sole demo and release defines the old school power metal sound as we know it, elegantly engrossing the simply set, classic textures with the band’s own touch, and representing power metal in a way that could be separated both from its cumulative peers and the later-coming wave of modernized freaks that always kept their power metal at busier stance.

Outlander’s ‘’Beckoning’’ is nearly magical. It’s epic and captures the perfect soothing atmosphere within mere seconds, slathers it with some sombre overtones, and presents the ultimate eighteen minute endowment for a USPM fan. Outlander keeps the riffs fairly arduous and confusing, frequently delivering tasty rays of haunting melodies and catchy mid paced riffs. All the works go alongside each other consistently sans and exciting spice to cheer you up, constantly preserving the well-earned darkness of its nature, especially culminating in the delicate clean guitar/melody fusion, ‘’Coma’’. The demo is dynamic, though, but it simply isn’t keen on keeping the joyful and ecstatic mood of power metal, yet another reason it manages to outshine many of its peers.  The extreme ecstasy is palpable in the extra melodious segments however, and with the soaring screams of the vocalist, the atmosphere alternates into a dark, haunting aura.

Even the thrashy riffs which don’t feel like anything out of the ordinary are surprisingly furious, lively and spiking, although I must still say that the demo has no instant ruptures, only riffs that progress with a continuous manner, slowly, incessantly ascending and descending into various riffs, rather than abruptly flashing into one riff to another. The ascensions and descents are exceedingly well done, and one of the great part of the album, the slow fluctuation is formed. With all of its traits, ‘’Beckoning’’ proves to be an excellent release, and an even better demo. It surpasses its imprisoning limits and reaches to a point where it naturally enlarges. It’s a shame that it’s the only release of the band, but sad things happen, and when they do we must learn to cherish what we hold as precious. Like this demo.

Highlights

''Coma''

''Final Day''

''The Beckoning''

Final Rating

Awesome [8.5/10]

Stormtrooper - Armies Of The Night [1985] (EP)

The early and primitive aesthetics of many metal sub-genres were reached their climax during the time where they were first born, and no matter how much you enjoy the brickwall superiority and contemplating complexity of modern power metal bands, you can’t deny that the genre was at its best during the early/mid 80’s when it was dominated by pure raw energy, and the USPM scene always mustered some of the best metal around, brisk, tight, catchy, and even bedecked with carnivorous evil at times. Iron Cross’s sequential debut album is the best example to the early, evil-tinged power metal, and their fellow countrymen Stormtrooper is an act even more obscure, yet just as deadly and vigorous.

The year is 1985, and the USPM power metal classics have just been unleashed, with many more to come, and Stormtrooper’s debut Ep, ‘’Armies Of The Night’’ proves to be an especially original (for the time) five track barrage of early thrash savagery mixed with an energized portion of USPM a la Jag Panzer, and a dose of NWOBHM, since many genres haven’t culminated at that time. The production quality is also surprisingly clean, rendering the instruments audible, but a gritty tone is naturally unavoidable.  Stormtrooper even exploit a bit of punk to add some steam and intensity to the foray of riffs, but there’s also plenty of melody, not just bland chords played in an inexorable attitude, but a fresh breath of air every time another song kicks in. Another record that definitely contributed in the main structure of ‘’Armies Of The Night’’ is undeniably, ‘’Kill ‘Em All’’, but the music here is slightly more epic shrouded in fog than the genre defining masterpiece, and you can also be sure that’s it’s not as sordid, since this is after all power metal.

The rough, croaky delivery of the vocals is perfect for the music under it, raw, evil-natured and frantic, and even raspy when he tends to shriek out, a bit like Millie in his early days. But even though it’s raw and gritty, ‘’Armies Of The Night’’ is surely not dissonant and devoid of harmony, and ridiculously catchy, at that. Unfortunately, it Stormtrooper did last long, and shortly after this, their sole, release, the band disbanded, leaving us with only eighteen minutes evil power/thrash. Perhaps the Ep may not be on par with its peers that helped shape the genre, but it’s an Ep that any resident USPM fan should be zealous about.

Highlights

''Armies Of The Night''

''Steamroller''

''The Beast Within''

Final Rating

Awesome [8.3/10]

Heathen's Rage - Heathen's Rage [1986] (EP)

Even though Heathen's Rage released a demo (though it was more like a full-length, with ten tracks at 35 minutes) before this release, I have yet to locate it, but this three song, self-titled EP that followed is a nice little collection of music for fans of '80s US power metal. This EP doesn't have any material that could really rival earlier bands' outputs, which contains a small list of masterpieces that include "Metal Church," "Battle Cry," and plenty of others, but "Heathen's Rage" is still worth a moment of your time if not for "Knights of Steel" alone. 

"Knights of Steel" is the opening track for this EP, and it's a terrific song with a near-epic clean guitar intro that serves as the backdrop to a melodic solo. Then the bass and drums come in, before this song starts to pick up. Bob Pizzauro's vocals are a pleasant surprise, because they're very clean and soothing. There's not a hint of aggression like there usually is with other power metal singers. "City of Hell" isn't really a great song, but it does show how good the group's drummer is. His opening drum fills and solo moments are top-notch, and this can be said for his entire performance on the EP. "Dark Storm" is a thrashy number that will get your head moving, but not much else. Overall, "Heathen's Rage" is a decent three song EP that power metal enthusiasts are sure to enjoy. It's unfortunate that they never released a full-length album, because based on this performance, that record would have been awesome. 

Highlights

"Knights of Steel"

"Dark Storm"

Final Rating

Awesome [8/10]

Satan's Host - Metal From Hell [1986]

We'd better add yet another great album to the list of legendary albums that came out in 1986 with this record. I'm not saying that "Metal From Hell" is legendary or that is of the same caliber as say "Pleasure to Kill" or "Reign in Blood," but it's a damn fine album that deserves a mention or two anytime that unholy year is brought about. Satan's Host are one of the more peculiar power metal groups from the United States, in that they were much darker and evil than bands like Omen, Griffin, Jag Panzer, and many of the other popular US acts in the early to mid '80s. Their lyrical focus was all about Satan, hell, death, and the evil kind of stuff like that, not your normal power metal type lyrics. Another part of their music that separated them from other bands was the production on this album. It's terrible, but in a great way that adds to the atmosphere, similar to bands like Iron Cross or Heathen's Rage. 

Musically, Satan's Host knew exactly how to work their instruments to near perfection. The riffs range from derivative thrash/speed metal blitzkriegs, to complete Motorhead worship, all the way over to stellar riffs that are blended with melody much like many of the USPM bands of the day. "Black Steele" is a catchy, thrashy track sure to get your headbanging and the next song "Into the Veil" is another decent song, but once past those two tracks, "Metal From Hell" comes in and blows the preceding two completely out of the water with a punk-inspired assault and intense vocals that command the listener's attention. Leviathan's vocals are a definite highlight on this record, as he can sing cleanly and beautifully, but can also scream his fucking lungs out and capture an evil, almost maniacal sound ("King of Terror"). The track "Hell Fire" is an epic one that epitomizes power metal with its terrific intro, top-notch riffs and the incredible guitar solos that lead into a clean section where, Leviathan, once again shows off his vocal skills. 

Much like the vocals and guitars, the bassist's performance on this record is fantastic. There are plenty of nice fills, like on "Strongest of the Night" where the bass almost outshines the guitar solos. The bass parts on the intro to "Hell Fire" is another moment that should be highlighted, as it contributed to the overall brilliance of the track. The drumming isn't quite as special as the other instruments, but it's adequate and no complaints can be made. "Metal From Hell" is quite easily a gem of the USPM scene (Which was one of the best scenes around) simply because it conjured evil spirits and demons that other bands simply could not, and for that I salute Satan's Host. 


Highlights
"Metal From Hell"
"King of Terror"
"Hell Fire"


Final Rating
Awesome [8.7/10]

Enchanter - Defenders Of The Realm [2008] (Compilation)

During the late 80's hordes and hordes of power and thrash bands emerged in the US metal scene. Some of these power metal bands such as Jag Panzer and Fates Warning were brought to higher levels with the help of their huge fan populace, but there were ten obscurities of every known band, and unfortunately these bands were never picked up. Enchanter is just another lost USPM gem, and even though this compilation of their demos helps restore some of their dwindled pride and visibility, I still don't it's sufficient and it's sure as hell not fit for such a great band as Enchanter. Seriously, I can't see why these guys weren't as big as Fates Warning or any other USPM band, they've got some direct, strident melodies, and their music is overflowing with reactive energy, so now, I'll do my best to promote these guys.

The closest comparison I can make is Fates Warning because Enchanter have some serious, heavy riffs to go along with their plodding melodies and the superb high-pitches of the vocalist, though even that comparison is not fully accurate as Enchanter also embrace the mystical power metal feel with epic choruses and some frantic power and melody conflagrations that result in what we dub as ''Happy metal''. Perhaps such moments are scarce, but that epic fantasy vibe combines with the brilliantly suited musicianship, and aura of surrealistic oddity covers the atmosphere. Besides the epic portion of the music, there are lots of catchy, thrashy riffs to found on this compilation, and most of these thrash laden attacks are fueled by utter fury, and the sudden change of mood can really make Enchanter look more than serious. ''Beckoned With A Call #2'' for example, is abundant in outrageous chugs, enhanced by a brooding mysticism, just before breaking into a somber piece of acoustic music. All music is crafted elaborately and their fantastic feel never falls out of place.

The cover art of this compilation really explains all; it's epic and it emphasizes on the glorious moment of war, but you have to admit, there's some pessimism in it. ''Keepers Of The Dawn'' is yet another lugubrious track with more focus of the dismal tone of power metal rather than the epic, glorious tone, and you can understand that easily from the way the chords pass and charge, or by the seriousness in the vocalists tone. The vocalist, is a personifying force on his own. His voice can be related to John Arch of Fates Warning, because he can perfect the same kind of harmonious shrieking and lung-exploding on top of the heavy riffs, and I really can't understand why there's no praise of him. His voice is lasting, forceful, compelling and repelling at the same time, and he clearly earned a large amount of space in the mix. I don't think any resident USPM nerd can dislike this gathering of demos, yet it's an ill thing that these songs will never be exposed greatly, but with the help of the internet, that can heppen. Hopefully.

Highlights
''Thor''
''Defenders Of The Realm''
''Time Gone Past Nevermore''
''Tomb Of the Unknown Soldier''

Final Rating
Masterpiece [9.1/10]

Chastain - Ruler of the Wasteland [1986]

Just by glancing at the album art, you can probably tell what you're getting yourself into when it comes time to listen to "Ruler of the Wasteland." This is epic heavy/power metal of top form with plenty of Judas Priest and Maiden worshiping going on. Chastain is a band that is for some reason, not as popular as they should have been. I rarely ever see mentions of this band on the internet and I stumbled across them by accident myself, but I'm fucking glad that I did. The band's first record "Mystery of Illusion" honestly isn't anything worth writing home about, as it's solid, but it just can't compete with this greatly improved sophomore album, a record boasting epic atmospheres, catchy hooks and fantastic melodies throughout. 

"Ruler of the Wasteland" starts off with the title track and immediately the listener is grabbed by the shredding solos and the catchy Judas Priest-inspired riff that follows. But then the vocals come in, and I'm sure if I didn't tell you or you didn't look it up yourself, you would never guess that Chastain was fronted by a female in Leather Leone. Her vocals are plenty aggressive (well, as far as power metal goes. Think David Wayne of Metal Church), but there are also plenty of moments where she hits the real high notes and she does so with the greatest of ease. The range of Leone's vocals is a definite highlight on this album, as it provides the listener with some added variety to the already varied music. Some of the tracks are typical power metal tunes that feature typical riffage and shredding solos galore, with "One Day to Live" and "Fighting to Stay Alive" being the main ones to follow this archetype. Tracks like "The King Has the Power" and "There Will Be Justice" travel a more unorthodox route, using the bass as the focal point of the music at points and mixing in the acoustic sections with the rest of the music, but the songs are fine nonetheless. 

Of course, I said Chastain has their epic material and that's really when they're at their best. "Angel of Mercy" is the best track on "Ruler of the Wasteland" with its chilling intro, terrific riffs, stellar melodies and solos, and of course the soaring vocals that top everything off. I guarantee this song will be stuck in your head for a while. "Living in a Dreamworld" and "The Battle of Nevermore" are also pretty epic in their own right, though they just can't measure up to the brilliance of "Angel of Mercy" (Then again, that would be asking too much). "Ruler of the Wasteland" is just another awesome album that came out in the year where so many masterpieces were released that it unfortunately got lost in the shuffle, but that's no reason to doubt the top-notch material here, so check out Chastain immediately or heads will roll...

Highlights

"Ruler of the Wasteland"

"Angel of Mercy"

"Living in a Dreamworld"

Final Rating

Awesome [8.6/10]

Warlord - Deliver Us (EP) [1983]

When people think of Los Angeles and metal, it's usually the glam scene that people think of. Or just a little later down the line, people may think of Megadeth, Dark Angel, Evildead, etc, but what about the power/heavy metal group, Warlord? These guys might not be the greatest band to ever come from LA, but they definitely deserve more recognition than the little they have, because the music on their debut EP "Deliver Us" is solid to say the least. And when you consider that this EP was released before power metal classics like "Metal Church," "Ample Destruction" and "Battle Cry" that surely has to serve as another reason why these guys should have been bigger. 

"Deliver Us" came out before the aforementioned power metal classics, but I wouldn't call this EP straightforward power metal as it definitely leans towards heavy metal and even classic rock at points, but there is absolutely no denying that some of the music here sounds like Omen or Savage Grace. The track "Lucifer's Hammer" is a catchy, midpaced number that was more than likely a live favorite, and "Deliver Us From Evil" takes a little more of an epic approach with melodic choruses featuring soaring vocals that sound a lot like some of the Euro-power bands that would pop up later. "Child of the Damned" is some grade-A Judas Priest worship that comes complete with the melodic, upbeat riffage and opening screams, while "Winter Tears" is a melodic song that perfectly conveys the emotion of the lyrics while retaining a great amount of memorability. 

Unfortunately, the second half of this EP just doesn't live up to the first and that drags down the overall quality of this recording. Had "Penny for a Poor Man" and "Black Mass" been on par with the earlier tracks, this would have undoubtedly been a masterpiece, but the lack of catchy passages and the unnecessary keyboards which made the band sound more akin to a band like Rush or Boston (Not that I have any problems with those bands, but I prefer it when keyboards stay the fuck out of my metal) rather than the very capable heavy band that they were. Luckily everything else on "Deliver Us" is terrific, from King's stellar vocals that are highly soothing to the ear, to the fantastic drumming, all the way to the solos. This comes with a high recommendation if you're into any of the other bands that were mentioned earlier on, and if you don't find yourself enjoying this then you might want to slip into some spandex and head out to a Motley Crue show. 

Highlights

"Deliver Us From Evil"

"Winter Tears"

"Child of the Damned"

Final Rating

Awesome [8.4/10]

Iron Cross - Iron Cross [1986]

The power metal scene in America during the eighties was easily one of the best scenes around. These bands, whether it be Omen, Jag Panzer, Attacker, or Metal Church, were all capturing the catchiness of the traditional heavy metal acts around, but they also had a lot of faster material that was more akin to the thrash bands that began to sweep the world. Iron Cross is another one of those bands, though, these guys really stand out because of their underlying evil tone. Bands like Slayer and Kreator were innovating with their takes on brutality in the metal underground during 1986, but they didn't have that dark feeling that Iron Cross could seemingly conjure at will with nothing more than a few melodies, some occult song topics and some stellar vocals that all make their self-titled debut a masterpiece of the genre. 

The album opener "Demon's Disciple" opens with some feedback and the eventual thumping bassline that serves as the prelude to a chugging riff that alone isn't anything special, but then the vocals come in. These are definitely not the kind of vocals that a typical power metal listener would be accustomed to, simply because they sound a little demented which adds to the creepy and sinister feel perfectly. The track "Bloodlust" is even crazier as the vocals are completely unhinged and the addition of sadistic laughter and slow, vile melodies makes for an extremely fun listen. "Dark Dreams" and "Mistress of the Dark" are two basic power metal tracks that don't stray away from the norm, but both songs still rule with an iron fist, the latter track being one of my personal favorite power metal tunes of all time (The catchiness is fucking ridiculous). 

Along with the more upbeat power metal tunes and the more chilling material, Iron Cross shows off some of their versatility with the tracks "Demons" and "Fantasy World," both of which feature clean guitar passages and clean singing, which ordinarily would be completely normal, but in contrast to manic songs like "Bloodlust" and "Demon's Disciple" it's incredible to see the band slow things down for some more relaxing songs that are just as great as the other songs. Aside from everything already praised about this record, there isn't much more to say, except that even guitar virtuosos would drool over the lead work here. The solos are mindblowing, and the epic solos that serve as the ending to the track "Fantasy World" are masterful, which really reflects this work as a whole. Masterful. 

Highlights

"Demon's Disciple"

"Bloodlust"

"Mistress of the Dark"

Final Rating

Masterpiece [9/10]

Paradox - Heresy [1989]

Germany is the Sweden of thrash, a place where you would find hordes of thrash bands. All particularly vicious and savage, the German thrash metal bands were altered and influenced heavily by their most primal countrymen like Kreator, Sodom and Destruction. This trio shaped and respectfully  embodied the German scene, thus constructing into the scene that it is now known as. Paradox, however, were a slightly peculiar group, displaying much different influences and sounds on the table than the already present  unpolished, vicious form of thrash that seemed to flow in the vein of all the German bands of the 80's and early 90's. Everyone brags about their debut album, a relatively fun piece of techy speed/thrash that was already highly present, or their later offerings which still aren't bad offerings, however, these people ought to be informed that ''Heresy'' is their true magnum opus, their most influential, their most effective and their sharpest. ''Heresy'' introduced even more melodic riffing and here, Paradox churned together Bay Area-oriented thrash with power metal most successfully. This is album is gleaming and teeming with energy, and its definitely something that Bay Area thrashers or old school power metal nerds should check out.

Usually well composed songs and simple song architecture doesn't catch my attention right off, but on this album, every aspect is put into place in a very organized manner, so the typical verse-bridge-chorus structure actually becomes an enjoyable experience because you can actually sing along with the catchy choruses and remember the riffing whenever in explodes once more. Every riff is just razor-sharp, and Paradox manages to constantly absorb the listener with a diverse assault, without even being so technical or heavy, showing that a simple, crushing riff isn't the only thing that fuels the fire of a thrasher. Like I said, the album is teeming with energy and vigorous bursts of pure melodic, Bay Area influenced thrash which comes in an abundance. Speaking of melody, I think Paradox is one of the first bands that successfully merge power metal with thrash metal, and not only that but also add some technical spunk on top of the riffs to boast their quality. The power metal influence is inserted in every element of the music is a healthy dose, but certain riffs have a more epic side to them, showing that the power metal influence is the main thing that keeps their blood boiling. The leads are also stellar, dual guitar harmonies, with shredding passages, and the much common sound of the groaning tremolo bar, screaming and shouting, as if being tortured.

The vocalist is an obvious reminiscent of Joey Belladona circa ''Among The Living'' era Anthrax. His style is perhaps a little more high-pitched than the famous thrash frontman, but it only complements the music better as power metal is all about screaming your lungs off with intense energy in the vocal department. There's a vast array of technical and melodic thrash riffing on the title track which tends to live slightly longer than any other song on the album, and ''Search For Perfection'' starts where the title track left, carrying out the robust thrash energy with some more simple riffs, and ''Killtime'' introduces some lower fret tremolo descending and  even more melodic spikes constantly battering the listener. ''Massacre Of The Cathars'' is one of the albums most stellar highlights, gathering all that has been previously done in one package and then displaying them in a most eruptive way. Just as it produces some expeditious power/thrash riffing, it also follows the same path as its primal German ancestors, bringing forth some engaging thrash crushers, while still keeping the the substance sturdy. Paradox truly concentrated and worked hard on this album, because while many people are blindly adore the primitive death/thrash aesthetics originated in Germany, their eyes cannot endure the flashiness of this masterpiece, rendering it a true underground gem.

Highlights:
''Serenity''
''Search For Perfection''
''Massacre Of The Cathars''
''Heresy''

Final Rating:
Masterpiece [9.2/10]

Metal Church - Metal Church [1984]

How fucking sweet is that album cover? It's almost as epic and amazing as the music on the record, which should alone tell you how brilliant "Metal Church" is. In 1984, there was a trifecta of power metal albums, with the two others being Omen's "Battle Cry" and Jag Panzer's "Ample Destruction" (Though, there were several other fantastic records of the US power metal genre), but Metal Church's debut record makes those two legendary records seem nearly obsolete. This album is that damn great. Every single aspect of what makes an album awesome is present here, from the vocals, the riffs, drumming, aura, and everything in between, there isn't a single complaint that could be made about these power metallers (They weren't a thrash band, despite the popular belief, which dictates that they are) and the flawless record that they created. 

The riffs are insane, whether they're the thrashing ones on "Battalions" and the greatest instrumental ever composed, "Merciless Onslaught," or the simple midpaced ones that are prominent on the title track. There's simply no way to deny the catchiness of each riff, but you've got to give credit Kirk Arrington on drums, because his drumming is equally terrific. The fills that can be found on the intro to "Hitman," as well as the intense and thunderous rhythms on "Merciless Onslaught" make all of the riffs that much better. David Wayne's vocals are another fantastic compliment to the music as they bring a different feeling on just about every track. His clean singing on "Gods of Wrath" is top-notch and can be compared to some of the genre's best pure singers, while his fast-paced vocals on "Hitman" and "(My Favorite) Nightmare" are more like those of an early thrash band. 

In addition to the thrashier songs and catchy, simple power metal tunes, there are some much more epic tracks that blow away songs by the much more epic-styled European power metal bands. The album opener "Beyond the Black" begins with a stellar clean guitar introduction that serves as the backdrop to the sample vocals, before turning into a midpaced riff that is guaranteed to get your headbanging, as well as some incredible solos (Which is a common theme on this album, as every song has awesome solos). "Gods of Wrath" also switches effortlessly between clean passages and beautiful vocals, and heavy riffage that balances out perfectly. The description of Metal Church's debut album is nearly pointless, because the only thing that really needs to be said is that it is perfect and if you don't realize this, then you need to be burned and died immediately. 

Highlights

The whole fucking album, but if I could only recommend three...

"Beyond the Black"

"Merciless Onslaught"

"Battalions"

Final Rating

A Merciless Onslaught [10/10]

Attacker - Battle at Helm's Deep [1985]

Aside from the fact that the image depicted on the album cover looks nothing like a battle at the famed Helm's Deep, Attacker did everything right with this record. "Battle at Helm's Deep" is considered a classic of the genre for the simple reason that it kicks copious amounts of asses in the way that cheesy, over the top US power metal is supposed to. These guys weren't worried about being taken seriously like all of those other wankers who name their band "Lord of the Nazgul" or any other Tolkien creation, they just wrote some catchy music that has stood the test of time, 27 years to be exact. Along with bands like Omen, Griffin, Jag Panzer and the like, the United States power metal scene was one to be recognized as a premier one. 

A lot of the riffage on this record would be considered bland and generic by today's standards, but I shit on today's standards which is why the music on "Battle at Helm's Deep" is that damn good. The opening riffs on "Downfall" are complete and unashamed Judas Priest worship while the riffs on the title track could have been transplanted from "Killers." "The Hermit" and "(Call On) The Attacker" both feature relatively thrashy riffs that aren't too special, but with Bob Mitchell's eccentric vocals and the unbridled energy that is present, there is still plenty of substance, making these tracks that much more memorable. I'd also be a terrible liar if I said that I didn't headbang myself into near brain damage while listening to "Kick Your Face," which features riffs that convey the title perfectly. 

Like a lot of US power metal bands, the vocals here are high-pitched and at times quirky. Mitchell's Halford-like screams aren't as pleasant as the legendary frontman, but they do the trick thanks to a little bit of that energy and fervor that people like Balloff and Blitz had. Another highlight on this album is definitely the soloing. Every solo is fantastic with it's miraculous blend of shredding and melody and they could easily get the listener to whip out their air guitar and solo manically on their imaginary axes. Attacker's real strength is the way in that they play their music with such conviction and menacing precision that they're easily revered by fans, despite their music not possessing the memorability of their counterparts in Omen, or the epic feel of Sanctuary. Still, this is a band that should not be passed up and "Battle at Helm's Deep" is an incredibly fun listen that will have you coming back time and time again. 

Highlights

"Batlle At Helm's Deep"

"Kick Your Face"

"Dance of the Crazies"

Final Rating

Awesome [8.7/10]