Album Review: Rotting Christ - Thy Might Contract

Rotting Christ - Thy Mighty Contract

Osmose Productions - 1993

8.5/10

Much like several of their counterparts, Greece's Rotting Christ played a crucial role in the black metal genre's evolution. Sticking to the first-wave line of emphasizing gruff riffs while borrowing from the atmospheric grain that covered much of the Norwegian scene, it's no surprise that the warmer approach is more appealing to yours truly. The debut record Thy Mighty Contract, however, is now known to only be a sampling of what the Greeks would become, evolving into a more gothic-tinted project. Perhaps they just needed to get the God-hating flavors out while they were young?

Jokes aside, I actually find that Rotting Christ's first full-length already hinted at the direction they would go, despite the emphasis on such a sinking feeling around evil and damnation. No doubt, this record is swarming with proverbial demons, giving an even more zombified sound with the loose production and degrading guitar tones. Hateful drum blasts often take the forefront (one of my only criticisms) that nonetheless still give a harder punch to the otherwise rusty riffing. But for every time we find this happening, we also encounter crystal clear synths, and a vocal approach that matches them with clarity, despite their ugliness.

That's probably what I love so much about Thy Mighty Contract, how hideous it sounds without being overly in your face. If that's not enough, the jammy rhythms that touch melody on the likes of "Fgmenth, Thy Gift" or "His Sleeping Majesty" are so memorable, despite this sheen. Those synths near the end of "The Coronation Of The Serpent" work as a cool break from the otherwise crushing drive of this song. Even closer "The Fourth Knight Of Revelation" gleans this a bit, loading the horrendous base with prettier toppings in a near-epic fashion. It makes me wonder if the band always wanted to go the way of the more accessible, concept-based direction from the start, but just weren't committed to the bit yet. Regardless, I'm glad they weren't, because that also made room for furious ragers such as "Dive The Deepest Abyss" that shed any ounce of emotion for ugly, burning hate.

For many reasons, I certainly need to be in a specific mood for this flavor of metal, but when it hits, it hits hard. The band would evolve in ways that are clearly more refined, with more purpose, if not more reaching more impactful heights. But the first few albums cast the familiar flame that I tend to remain in. As the saying goes, go with the devil you know, and in this case, it's like the fallen angel himself is right there with me. 

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.