Album Review: Ozzy Osbourne - Bark At The Moon

Ozzy Osbourne - Bark At The Moon

CBS Associated Records - 1983

9/10

The Jake E. Lee era of Ozzy Osbourne's '80s output is one that I think tends to get glazed over if not because of being sandwiched between the legends Randy Rhoads and Zakk Wylde, then because of the glammier tendencies that present on his records. Unsurprisingly, this is something that I think enhances both Bark At The Moon and The Ultimate Sin. While the title track of the one we have before us may be the only pass that's granted by the masses, it's also the sole reason I somewhat consider Bark to be a spooky season record. I mean really, outside of that song, nothing really screams ghouls and ghosts, right?

Mostly. While the raging speeds, inspiring vocals, and sharp leads of said track my claim the album's fame, I do think the rest of the album matches the fervor on vibes alone. Indeed, much of the record feels calmer and less abrasive, but fits into the mold via cooler veneers, synths that don't exactly sync up with power ballads (with one exception), and a deburred surface that equally coats the already massive title track. In fact, I would argue that this is exactly what makes the slower numbers work so well with the heavier bangers. At no point does the colder atmosphere steal from the somber emotions of the steady, nor hamper the passion behind the tough.

Thus, examining the other seven tracks reveals a sturdy and muscular record that's unafraid of catchy or poppy. "Rock 'N Roll Rebel" may be one of the most obvious tracks, with its predictable lyrics and simplistic layout, but the earworm element to it makes it forgivable. If that doesn't, then consider that it's stuck next to "Centre Of Eternity," one that captures the same ferocious speed and attitude as the infamous title track, but I'd argue even better. The synths on this allow the vibes to match organically, and I truly can't get enough of the punch of these tunes. On a more meaningful front, "Slow Down" casts the same energy while looking more at life's unstoppable momentum rather than anything remotely spooky.

We're then left with the four calmer tracks, and I should note that calmer doesn't always mean softer. Sure, "So Tired" is the one exception I mentioned earlier, being a sugary ballad that I love and can understand why others may not. But it matches the emotional energy of the following "Slow Down," before slipping into "Waiting For Darkness," a beautiful closer that nearly taps into existential territory under a seemingly welcoming umbrella. "Now You See It (Now You Don't)" is possibly the record's most throwaway track that nonetheless serves to fill the gap with fun chops; again, at least the synths in this one match the general vibe. "You're No Different" similarly deals in the same subject as "Rock 'N Roll Rebel," if not more mature sounding by utilizing gloom to dirty up the otherwise harmless ballad.

On the surface, I can understand the very fair criticisms that Bark At The Moon is often on the receiving end of. But for every aspect that makes this skippable for some, there's an aspect that makes it special to me, and I revisit it around this season every year at minimum. Ozzy Osbourne certainly had better albums, but even better doesn't dampen great. I look at this one much the same as I look at Iron Maiden's Fear Of The Dark.

Album Review: Hexenhause - A Tribute To Insanity

Hexenhaus - A Tribute To Insanity

Active Records - 1988

9/10

Sweden's Hexenhaus is one of those bands that would have popped up at the perfect time for the small blip of tech-thrash dominance in the late '80s, but never made the impact one would suspect. Perhaps its because of the region's death metal focus at the time, or maybe I'm just full of shit. Either way, their debut record A Tribute To Insanity has had me on a clutch for several years now, for very good reasons. It may just be that they manage such a brash sound without really feeling overly heavy, or I guess, without trying to be.

By that, I simply mean there's no reliance on the South American / German aura of fierce meanness or black/death leanings. The tones aren't overly crushing, and the riffs feel steady enough for the more technical aspects to shine beautifully, despite a fairly untouched production. Yet, the vocals come through with a comprehensive hue that gets its brashness from the echo-snarls that contrast the otherwise accessible energy, and I think that's why it feels so special. With that in mind, the more advanced rhythms and fret-happy solos simply act as a bonus, rather than the main sell. 

Moreover, Hexenhaus doesn't really feel the need to hide much, so you don't have to look too far beyond the surface to grasp their schtick. Simpler tracks like "Delirious" do such a splendid job in weaving together groovy thrash chops and vocals that don't feel overly ambitious, but just want to make a point. "Incubus" even features what feels like a breakdown carried by raw drum-patters near the end, and I love the speed metal frenzy that is "Memento Mori - The Dead Are Restless." At the same time, you get the ten minute centerfold "As Darkness Falls" which winds up pressing forth with more unsettling energy via drastic shifts, varying techniques for leads, and a terror-laced drive that nonetheless is packed with beefy melody.

It would likely be unfair to claim that A Tribute To Insanity got shafted, as there's definitely enough of a following around this record that isn't lost on me. But I also think that if it was released elsewhere, maybe it would have made a larger impact. The band would go on to do a few more records with similar degrees of attention, but if you're just going to listen to one, I'd say make it this one.

Album Review: Madhouse - Madhouse

Madhouse - Madhouse

Madhouse Productions - 1991

7.5/10

Well, I finally found it. Something that equally feels traditional heavy metal, glam metal, and a taste of grunge without any of them oiling the water and refusing to mesh. At a glance, I more or less pictured Detroit's Madhouse to be a late-to-the-game Anthrax ripoff that serves a purpose but a purpose few find any need for. But tease my hair and hand me a flannel, because the debut self-titled record managed to make a sound that Alice In Chains could have morphed into but ultimately didn't. That's not a complaint, because I'm glad we got what we did with them, but perhaps this fills the gap I never knew was even there.

Musically, Madhouse aren't even writing anything riveting. In terms of the first record's mechanics, it plays like a KISS record that opts for more metal-oriented riffing without losing the catchiness, sleaze, or rock 'n roll undertow. The solos are pretty to-the-point, no weird formats or vague ideas are really used, and without paying much attention, you get your basic VHS metal band that may stand in for a scene on a trashy horror film. But it isn't deeper details that require close attention to catch what makes this feel interesting.

Rather, it's literally the vibes. There's no doubt that the earlier NWOBHM acts work as a template, if the production, attitude, and sheer heat are anything to go off of. But equally, tracks like "Keep It Hush" and "I'll Be Back For More" would fit in perfectly on a Ratt or Van Halen record, not simply because of the sexual aromas but because of the delivery. Under all this grit and must is what could pass for pop choruses and biker riffs that manage to not feel uneven. And if that wasn't enough, the grungier aspect works into tracks like "Need A Girl," an acoustic kick-started number that gives the slightest Eddie Vedder snarl. The hella corny "Blood Is Thicker" also feels like it predicted the decade; 1991 was only the beginning of this movement, but Madhouse seemed to have an idea of what was to come.

Much like John Carpenter's Prince Of Darkness, it's vibes alone that sells me on this. The songwriting is just fine, sometimes even stupid, being familiar enough to scratch the right itch when in the right mood. But the delivery has me so stunned. The fact that all of this exists on the same work and doesn't feel extremely awkward or forced, but instead charming is wild. You can only take a band with a song titled "Shake Your T-N-A" so seriously, but if any of this weirdness tickles your fancy in any capacity, I say it's worth hearing just once.

Album Review: Magnus - Scarlet Slaughterer

Magnus - Scarlet Slaughterer

MiL Records - 1989

8.5/10

Out of all the eastern bloc countries that tapped into the metal scene in the '80s, I always felt Poland churned out the most visceral bands, if KAT are anything to go by. Recently, one that tops even them in intensity was brought to my attention called Magnus, a band I've been sleeping on for entirely too long. Simply put, they captured the first-wave black metal movement as well as any South American counterpart. Scarlet Slaughterer was the first full length, a hodgepodge of different directions under this scope.

I say this because, despite the brevity and limitations of early black metal, the burning fury of this expresses itself in several forms. Across the board, you have degraded thrash riffing with varying degrees of tempo but equally mean in execution, thanks to a coarse coating on the surface. Tagging along is an extremely brash vocal style, caking on the raspy shouts pumped full of anger, meeting the occasional falsetto that makes no attempt to come off clean. To round that out, a predictable but welcomed helping of hellish lyrics surrounded by death and destruction give this a campy fascia that nonetheless is loaded with charm.

Sme albums may feel disjointed due to jarring differences in pace, but this general vibe boosts Scarlet Slaughterer rather than harms it. On one hand, you have the steadier bangers that amp up a bass presence for a wavier flow, like "Crosses Of War" and its almost catchy chops. Similarly, you can easily move to "Messenger Of Hell" and its doom-laced crawl. On the other, much of this consists of breakneck slashes that come through in "Pharisee," topped with exceptional solos and gut-punching blast beats. Some fall into hardcore aesthetic, such as the fast and obvious "Rabies" or "Man Condemned," and others feel like a direct nod to early Slayer. In fact, the title track itself sounds like a mangled iteration of "Hell Awaits," if only because of the progressions and delivery.

For its era, Magnus was nothing overly new or original, but I found it to be executed exceptionally. The chaos and corniness gives it lots of charm, the reckless delivery never feels like it lacks focus, and nasty rhythmic integrity is found just below the surface of basically every song. Perhaps the right mood is required for this, but I think any first-wave black metal enjoyer should seek this out.

Album Review: Mortification - Mortification

Mortification - Mortification

Intense Records - 1991

9/10

Australia's Mortification has to be one of my favorite anomalies in existence. By 1991, it wasn't uncommon to find metal of the righteous tongue, but doing it in the death/thrash style in a country that had such little influence in the metalsphere seems like an interesting melting pot in hindsight. Given the extremely raw and absolutely hateful feeling of their style, it almost seems like a paradox. Simply titled Mortification, there's a reason why this still sticks today and works into my regular rotation.

Given that the likes of Sepultura and Morbid Saint had left a pretty menacing mark on the scene, you may expect this to seem like just another one, but a couple things allow this to hold a flame to other classics. For one, the hellish guitar tones meeting the raw atmosphere compliment the straightforward drum blasts that coat this entire record, striking that perfect balance of underproduced but full of clarity. I also wager that this general vibe relishes in more punk-oriented chops beneath the surface than most will pick up upon first listen. I certainly wouldn't go as far as calling this anything falling into the hardcore realm, but the smallest attention to detail will reveal the flavors amidst the thrash foundation.

One of the sneakier examples to me would be "Bathed In Blood" due to its start/stop aura that captures otherwise overtly thrashy rhythms with precise speed. Doing this with such masterful death metal vocals and nothing going over the top is likely one of my favorite features on Mortification. Similarly, shorter numbers like "Break The Curse" sounds like a death-covered Black Flag song, and "No Return" glean hints of crossover fury with its explosive speeds contrasting a calmer center. However, I would even say some songs, such as "Ritual Warfare" almost touch catchiness, mostly because of the sharp basslines pummeling along with the advanced drumming, and the memorable chorus. The longer "Satan's Doom" draws this out into doom territory, but not once does it lose its focus. I guess the short version of saying all of this is that the band has an ear for rhythm, which is sometimes all it takes to be supreme.

I really love how nicely all of these pieces fit together, and that they're executed with such brevity (a theme that unfortunately would not stick around for subsequent albums). Bands like Mortification are so fun, where they take all of the evil themes that Christianity wants to combat and turns them into a proverbial lake of fire meant to capture their figurative threat in musical form. It sounds as evil as the album art looks, but they manage to still sneak three crosses into the logo, matching the covert way righteous messages make it into the otherwise harsh delivery. Anybody that digs the earlier death/thrash sound should absolutely give this holy grail a try.

EP Review: Myth Carver - Twist Of Fate

Myth Carver - Twist Of Fate

Self Released - 2025

9.5/10

Blackened thrash and throwback heavy metal bands are amongst the hardest to mess up, being in such great abundance that it's sometimes equally hard to find ones that stand above their peers. More often than not, it's that "blackened heavy" balance that strikes a real chord, however Dallas's Myth Carver might manage to sidestep any of this by treading that traditional ground that just feels, simply extreme? The lone EP Twist Of Fate could be boiled down to a really aggressive USPM effort, but the sheer feeling of this suggests otherwise. I wouldn't describe this as anything in the actual extreme camp, but the energy could certainly hold a flame to those styles.

In other words, this is stylistically a heavy metal effort of only four tracks that breezes by in under twenty minutes, but has an aura so fierce and a writing style so captivating that I can't help but praise its ambition. Underneath the extremely loud production, echoed soundscapes, menacing falsettos, and crushing rhythms lies a fair amount of melody and passion. When things settle down briefly, the vocals boast such a concise ear for pitch that fits with the angrier punches as easily as the toned-down ones. Thus, every track comes off with superior fervor that is really rare for an act so early in its development, releasing only singles before this.

"Untamed Steel" starts us off with no warning, matching its title to what could trick somebody into thinking you're in for a thrash banger, considering the speed, grit, and power that channels through such raw energy. If you had any doubts, "Thunderkill" follows this up with a more obvious nod towards emotion, sneaking in clearer vocals without letting go any of the rage that carry the riffs. Similarly, "Shadow Firmament" assaults the listener with power-stance rhythms, baking in a wonderfully timed solo that yet again, doesn't let go of the power but manages to make the gang-chant chorus feel organic, stripped of any campiness. "Iron Helm" then closes us off on a similar note, if not caking on harsher vocals a little heavier.

The sheer fact that I struggle with categorizing Myth Carver is all I really need to know that we've got something unique sounding. Traditional metal is very much a spectrum, but it's quite rare that it showcases such a mean playing field without entering the extreme boundaries, and if that's not enough, Twist Of Fate backs it with memorable songwriting too. If power metal around myth, history and nerdy shit actually sounded as threatening as it often tries to, this would be the outcome. Do not sleep on this.

Album Review: Slayer - Reign In Blood

Slayer - Reign In Blood

Def Jam Recordings - 1986

9/10

The recent film known as Backrooms might be one of the most interesting movies to come out in several years, if for no other reason than its falling action. It wraps up its plot by suggesting distortions of banal objects of life as slight jogs in memory, representing the way the mind often chooses how to remember something, be it from a narrative, trauma, or weird facets of nostalgia. It seems that in the now forty years since Slayer's Reign In Blood hit the market, people who were around for it or retrospectively look back to their discovery of it see it as something different than what it really is, which I posit is around a narrative of one of two things. Either the entire thing is non-memorable and just focuses on extreme speeds in exchange for songwriting, save for the bookends, or it's an unstoppable force of aggression that sidestepped even Hell Awaits and paved the path for death metal.

I think both takes are absurd. It really isn't that deep.

Prior to its release, the Bay Area giants had already been crafting thrash metal with extreme speed, ghastly delivery, and horrific subject matter around Satan, Hell, death, and torment. The only thing that really divorces Reign In Blood on a structural level from its predecessors is its more refined production, and swift songwriting. Indeed, only three tracks surpass the three minute mark, and two of them are the classic bookenders that everyone gives a pass when analyzing the record. But I shrewdly reject that the meat of the album is either completely forgettable or taken to a new level. Instead, Slayer's third record is simply an evolution of what they've been doing, landing at the right place at the right time.

And that very thing is no-frills thrash metal. While often played fast, the genre doesn't necessarily have to follow the speed metal template in all of its songs. Much of this record is built with a very sturdy, intentional foundation of swift transitions, catchy rhythms, compelling vocal delivery, and perhaps most importantly, remarkable timing. Extreme speeds, like in any record of the more aggressive thrash type, are merely an ingredient, even if some songs drive with that more than others. If there's anywhere this comes off as a fault, it might be in King's solos, as many of them blitz through with seemingly little rhyme or reason, failing to match the compelling nature of the crushing riffs, or Tom's equally menacing outbursts.

We'll start first with "Criminally Insane," likely my favorite song on the record. A steady drive makes up almost all of this song's genius, cramming several phases into less than three minutes' time that I seldom see pulled off so well. Lombardo's simple drum-echo leading into the also simple rhythm breaks perfectly into the faster meat of the song, before returning to this for its "take your fuckin' life!" bridge. In other words, the speeds almost acted as a cover for a thicker impact that sticks in my head more than any other on the record. Of course, opener "Angel Of Death" is an obvious one, which also breaks in on some of the fastest speeds on the record. But the truth is, like with "Criminally Insane," the song's apex is the slow center that carries with concise riffing and poetic snarl that perfectly paints the horrific images of human experimentation; think of it as the abdomen of the song's proverbial body. Following "Piece By Piece" may be even more impressive in that vocally, it's one of the most comprehensible songs to be found, contrasting the breakneck rhythms nicely.

Such genius placement is found all over the place. "Alters Of Sacrifice" into "Jesus Saves" are an incredible center-piece, with the former yet again slowing down with purpose as a pummeling echo of its fast intro, letting the latter build gradual suspense before ripping into its otherwise simpler second half. "Postmortem" is another fun one, sometimes getting the same pass that "Raining Blood" gets, perhaps thanks to its thunderous move into that song's airy intro, but even ignoring that, "Raining Blood" really just adopts the same tactic of slow introduction, gradual build, and extreme frenzy inspired by the steadier riff. But I probably prefer "Postmortem" if for no other reason than the majority of it allows Tom's vocals to shine brighter than anywhere else, coinciding wonderfully with Hanneman's more precise ear.

All this leaves us with is three fillers, admittedly the more "forgettable" ones, which is what hurts this album more than some of the other classics. "Necrophobic" is possibly the one exception I'll lend to the randomness narrative, as the sub-two minute track quite literally does just feel like speed for speed's sake exercise, save for the last, what, ten seconds? "Reborn" and "Epidemic" are also underwhelming amidst the rest, representing a slight drop-off on the B-side before closing with menacing fervor. But with all of this said, I don't think any of them are bad, just far easier to overlook. At least they still fit the general vibe, utilizing the same type of layout with perhaps a little less magic.

Those three songs are likely what I owe the crux of how Reign In Blood is often remembered to. For some reason, it's like every song with obvious intent and careful placement, despite pacing nuances and poetic flow, get overlooked or lumped in with those. Or, they all just simply get a pass because "fuckin' Slayer!" and the speeds helped pave the path for more extreme genres. I don't buy it; I won't pretend that it's all listener error, or a lack of attention to detail, because for some of us, this style just doesn't quite land. But at the end of the day, I really don't think it's that deep. This was another thrash metal record, that continued the extreme speeds, crushing atmosphere, and jarring lyrics that had been around since Venom and Motorhead kicked things up a notch, and it landed at the right place at the right time. Additionally, most of the songs are just that fucking good! It isn't the extreme speeds that simply made (or didn't deserve) the impact, it's the songwriting, and the song delivery, in the same year that Metallica was taking the world by storm. Far simpler than we're ready to admit, it seems.