Manilla Road - Metal [1982]

When you choose the name "Metal" for the title of your new record, that implies a couple of things. The main thing that it implies is that the music found on this album should be heavy metal, but the music on Manilla Road's sophomore full-length is still very proto-metal, embracing the same sound that the previous album had, only Shelton and the gang decided to strip the music of its epic qualities and release shorter songs that had more of a "metal" resemblance. This turned out to be a horrible idea that saw the group fall into the "sophomore slump" as this is easily the most mediocre and forgettable album in the band's (Pre-2000) discography. 

Manilla Road's previous full-length "Invasion" was a terrific starting point that showed glimpses of what the band would accomplish in the future, while "Metal" is an album that should not have been released in the form it was, because there are definitely some moments where the band showed they were ready to take their sound to that next level, but for the most part the execution of that ideal sound was nowhere to be heard. "Queen of the Black Coast" is one of the two solid tracks on this album that is worth listening to, as mostly everything clicked on this song. Mark's ability to create music that flows together smoothly was nearly absent on this record, but on this particular song the riffs are rockin' and his vocals are tremendous. And much like the album that came before, the closing track "Cage of Mirrors" is an epic full of acceptable riffs, solos, and compelling vocals that bring a darker edge to the song, something new and fresh for the band. 

That's really where the praise for "Metal" stops, though. The other songs are far too forgettable to even try and re-listen to over and over hoping for them to suddenly grow on me. The songs started to get shorter, something that I have no problem with, but the music lacked anything memorable. The riffs all maintained an amount of rock attitude and fervor, but they don't seem to stick. In fact, I found the bassist's performance to be more acceptable because I can remember the basslines and fills more than the riffs (something that should not be happening). And of course, there's the incredibly misleading title track. While the lyrics are something that any proud metal fan should enjoy, the music is boring and played on a clean guitar (ironic?). This is an album that I probably won't actively seek out for quite a while, especially when the two songs worth listening to aren't even that great when compared to much better material produced later on in the band's career.

Highlights
"Queen of the Black Coast"
"Cage of Mirrors"

Final Rating
Mediocre [7.2/10]

Manilla Road - Invasion [1980]

This is the album that started what was to become an incredible catalog of epic metal at its absolute finest, and it wasn't even a heavy metal album. Still, "Invasion," is well worth the time for fans of Manilla Road's other work, as there are plenty of seedlings for what Mark Shelton and (various different) company would later produce in their career. The six tracks on this record could all be considered proto-metal, as the music isn't too different from what bands like Heavy Load, Legend, Rainbow, etc were doing in the late '70s and early '80s, taking the rock n' roll attitude (and some riffs) as well and blending them with a heavier kind of sound. There are also some bits and pieces taken from the psychedelic bands of the time that could be plucked out of certain parts of the songs, but not enough to consider Manilla Road a psychedelic, flower-power band, because these guys were creating music about war games and mighty empires with songs that featured long, intricate compositions and an epic feel that would stick with the band for decades. 

Aside from the ballad "Centurian War Games," the songs on "Invasion" clock in from five minutes up to thirteen minutes, leaving plenty of room for the Kansas metalheads to leave an impression. There are familiar aspects in just about all of the songs in that they feature Shelton's unique vocal stylings, scores of solos, rockin' riffs and plenty of catchy moments to keep the listener enthralled. The thirteen minute opus "The Empire" is an essential listen for fans of Manilla Road or the epic style in general, as this track set the bar for the longer and more grand style of songs that the band would create later on. Mark Shelton's ability to craft music that flows together perfectly is displayed throughout the album, from the opening "The Dream Goes On," which blends traditional galloping riffage with vibrant rock n' roll styled hooks, to the aforementioned album closer that shifts effortlessly between soothing clean guitars and distorted, uptempo riffs. "Cat and Mouse" is an absolute solo-fest that has probably had many old-timers whipping out their air-guitars, while "Street Jammer" is a fun tune more along the rock n' roll side as evidenced by the riffs. 

"Invasion" is not the defining album for the prolific Manilla Road, but it was a great starting point for the band and their ever-evolving sound. Having the convenience of being able to listen to this group's latter music and then being able to come back to this record has allowed me to appreciate this one a bit more, because the overall sound of the music is obviously different, but the spirit of the music and the same fantasy-riddled atmosphere is present, having never left the fold from song after song and album after album. This album may not be one that strikes the listener upon the first listen simply because of how different the music is and it isn't necessarily "metal," but after giving it a few spins and letting the music digest, I would find it hard to believe that fans of "Crystal Logic" or "Open the Gates" cannot appreciate this record. 

Highlights
"Far Side of the Sun"
"Street Jammer"
"The Empire"

Final Rating
Awesome [8.4/10]

Morpheus Descends - Chronicles Of The Shadowed Ones [1994] (EP)

The old New York death metal scene was a glorious place during its heyday. There has been a manifestation of indulgent, cadaverous acts, the most prominent ones being Suffocation, Cannibal Corpse and Suffocation, which obviously influences the majority of the metal bands that resided there.  Morpheus Descends is one of the more underground bands to emerge from the filth-laden streets of New York, and their debut album ‘’Ritual Of Infinity’’ is an ever praised underground classic that churns together a bulk of brutal aesthetics and sinister rituals in one place, forming a delicious OSDM feast. The band lived on for some time, relatively longer than other acts which could not withstand the furious winds of change, but in the end they too joined the ashes and dust, only to reappear on the internet. The repute held by about band is simple; an opinion held by the almost the entire underground stating that their debut is their most golden moment. I, for one must agree that it’s a golden release, but not the uttermost golden.

Two years after the exhalation of ‘’Ritual Of Infinity’’, Morpheus Descends bestirs yet another force to unleash, one that has been shamefully overlooked. ‘’Chronicles Of The Shadowed Ones’’ is an EP, released without the aid of any label, yet in spite of being a low budget release, it stands as a better record than the lauded debut. On ‘’Chronicles…’’, Morpheus Descends undeniably leans towards a more cathartic edge, producing a bombastic death/doom mutation of shadowy brute force and despondent, subterranean intellect.  Espousing themselves deeply in a horror concept, the band’s esoteric knowledge excludes the overt brutality present on the first record and transforms it onto a mournful array of melancholic death/doom obelisks, taking on a sinister, dabbling hue to environ the listener in dark, ethereal wroth.

The cravings that Morpheus Descends gouges are still somewhat similar to the aesthetics of the debut album, but the scrofulous chthonic emission on ‘’Chronicles…’’ reeks of misanthropy everywhere it goes. The dynamic, muscular rhythm sequences have all of a sudden been turned into crushing monstrous death/doom exercises, the tremolo-laced patterns are now sweltering with dread and constant horror, and in addition, the vocals are murkier and cavernous, suiting the drudgy trudging of the riffs more. I must confide, however, that even with the additional gnawing aspects of the raw production the EP does is not as evil as some other acts with were dominant over the dark arts such as Infester, but with so much primacy running through veins of punishment, it’s only natural that the band invigorates the static, brawny elements in order to attain a dose of brutality that was highly present on the debut.

With some much ponderous grooving going on, the songs rang at a minimum of five minutes, fuelling numbing pain as the sludgy excursions ooze from their decrepit caves and emerge. The EP is rather lengthy to be an EP, ranging at thirty-two minutes, but I suppose it was never written in the cards for ‘’Chronicles…’’ to reach a higher peak. ‘’Chronicles…’’ also has a very dynamic display of drum fills, my absolute favourite performance on the whole album. Instead of plodding on at an elephant’s face alongside the riffs, the drummer often leaps for dexterous fills and jumps from one queer beat to another, and during faster sections you’ll feel it blasting vigorously. ‘’Chronicles Of The Shadowed Ones’’ is a death/doom masterpiece, a stench laden incursion of muscular spasms and monotonous blasts, its horrid ritual ending with the agonized, lycanthropic howls of the bleak nine minute ‘’Moupho Alde Ferenc Yaborov (In the Land of the Vampire Ferenczy)’’, an ghastly, inhuman hymn.  The debut is a classic death metal monstrosity, but this EP belongs up there with the masters of harrowing monotony, amongst Winter, Incantation and dISEMBOWELMENT.

Highlights:

''The Cruciform Hills''

''Cairn Of Dimitru''

''Sings Of Gehenna''

Final Rating:

[9.0/10] Masterpiece

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]

Demolition Hammer - Tortured Existence [1990]

Bands like Exodus and Slayer wish they had the intensity that Demolition Hammer had on this record. This band might not have been nearly as big as the aforementioned bands, but they didn't lack any of the catchiness or violent energy to be at the top of the thrash scene; they just showed up too late. Around the time "Tortured Existence" hit the metal underground, a lot of thrash bands were already fading out or completely changing their sounds to appeal to a wider mainstream audience (hopping on the groove metal train or even going nu-metal), but not Demolition Hammer. This group could have hopped on the death metal bandwagon of the early '90s, but instead released some of the most savage thrash ever, right up there with bands like Kreator, Morbid Saint, Dark Angel and Sadus. 

Listening to these 9 tracks will almost guarantee a headbanging marathon. From the insane opener ".44 Caliber Brain Surgery" to the closing monster "Cataclysm," there will be several moments throughout that will make you want to awaken your inner neanderthal and fuck everything in sight up. ".44 Caliber Brain Surgery" and "Crippling Velocity" are definitely the two most violent songs on "Tortured Existence," as they effortlessly blend ferocious thrash riffage that is beyond fast with heavy, crushing passages for maximum chaos to ensue. In addition to being speed freaks, the band also provides plenty of music that simply destroys. "Neanderthal" and "Gelid Remains" feature stomping riffs that could be rated on the richter scale. The guitarists for this album also like to duel each other when it comes to the solos. Every song has plenty of back and forth solos that range from shredders to complete whammyfests, and they add just a little more awesome to each track. 

In addition to being varied with their guitar aesthetics, Demolition Hammer is much more than just a brutal thrash act, because their music is entirely memorable. "Infectious Hospital Waste" just might be one of the catchiest thrash songs ever recorded, and the breakdown of the song sends chills down my spine every single time. There are terrific gang (riot) vocals throughout this album, and the listener can't help but shout along with them because they're that damn catchy. Vinny Daze's stellar performance behind the kit also propelled this record's music to another plateau, as the drumming pushed the riffage and tempo far and beyond at points. In addition to providing some decimating vocals, Steve Reynolds also brings some low-end heaviness with his bass playing. The bass tone is thick and monstrous, making its presence felt all the time; "Paracidal Epitaph" and "Cataclysm" both feature some great playing from the brilliant frontman. "Tortured Existence" is definitely one of the most violent thrash albums to ever be released and is a record that I can always come back to and enjoy time and time again. There aren't many thrash albums that I prefer to this one and very few top it, and surprisingly the band would top it with their next skull-fracturing release. 

Highlights

".44 Caliber Brain Surgery"

"Crippling Velocity"

"Infectious Hospital Waste"

Final Rating

Legendary [10/10]

Beherit – The Oath of Black Blood [1991]

Although Beherit’s “The Oath of Black Blood” is often confused for their first album, it is actually a compilation of their “Demonomancy” demo and “Dawn of Satan’s Millennium” EP, due to the recording money for the first actual album being pissed away on drugs and alcohol by the band. The music featured on these early works is, in a word; ugly. Sounding somewhere between early Bathory, Blasphemy, Sarcófago and primitive old-school death metal, this stuff is raw, frenzied and sounds like it was recorded in a cave using a blender. Clearly, a very different approach to what they would later achieve on “Drawing down the Moon”.

The first half of this release is much more primal and violent than the second half; it is here that you notice the heavy influence Beherit took from the ancient South American extreme metal scene. Chaotic and distorted riffs, simple but effective drumming and inhuman vocals assault the listener from all angles. Those looking for melody and fancy musicianship need not listen, as they won’t find it here!

The second half focuses a bit more on the experimental and ambient sounds that they would focus more on later in their career. There’s tasteful keyboard work and whispered vocals worked in with a less is more approach. It’s a bit weird to hear this after the blistering chaos of the first half, but it fits and flows well enough with the first half, still leaving “The Oath…” feeling more like an album than a compilation.

So, while not an actual “album”, I would still say that “The Oath of Black Blood” is an essential in any black metal listener’s collection. Unless you’re a pansy.

Highlights:

The Oath of Black Blood

Grave Desecration

Goat Worship

Black Mass Prayer

Final Rating: Masterpiece [9.0/10]

Absu - Barathrum: V.I.T.R.I.O.L. [1993]

Absu, a band who are now well-known for releasing consistent onslaughts of storming black thrash with a mythological and occult feel to them, were once an old-school death metal band, as evidenced on their early demo material. On their debut full length, “Barathrum: V.I.T.R.I.O.L.”, Proscriptor and co. bridged the gap between these two distinct and totally different styles…

It all begins with the very occult-sounding intro “An Involution of Thorns” setting the mood and then the first actual song “Descent to Acheron (Evolving into the Progression of Woe)” kicks things instantly into high gear with a death metally thrashing onslaught which eventually evolves into slower sections and a bit of occult weirdness thrown in for good measure then picks up again later in the song.

The whole album is actually rather varied, making this one of Absu’s most interesting releases. The influences range from Floridian death metal, old-school thrash (Texan legends Morbid Scream, in particular), early Darkthrone (Proscriptors drumming reeks of “Soulside Journey” era Fenriz worship) and a bit of early Incantation in the slower sections.

With “Barathrum”, Absu managed to put out a very unique album that has done something not many bands can pull off, which is to create a very dark and occult atmosphere whilst still retaining a certain degree of thrash metal in their sound. They slow things down a bit, use occasional ambient keyboards and showcase a meaty-as-fuck buzzsaw guitar sound but still hold on to the old-school metal spirit while drenching the music in occult darkness.

Running at only 30 minutes and 50 seconds, this is Absu’s shortest album. It is also my personal favourite among their killer catalogue.

Highlights:

Descent to Acheron (Evolving into the Progression of Woe)

An Equinox of Fathomless Disheartenment

The Thrice is Greatest to Ninnigal

Fantasizing to the Third of the Pagan Vision (Quoth the Sky, Nevermore Act II)

Final Rating: 9.0/10 Masterpiece