Album Review: Metallica - Death Magnetic

Metallica - Death Magnetic

Warner Bros. Records - 2008

8/10

Remember that thing about the discourse around Metallica always being on whether or not they made a thrash metal record or not since the classic run? If there is one that we can say achieves this in full form, being completely honest with ourselves, this is it. Make no mistake, it’s sheerly a coincidence that this is the only record by the Bay Area veterans that holds that title while also being the only one I would call great; very little of this review is going to be about its thrashiness. Why? Because at the end of the day, what matters is the songwriting, and this is their only disc since Load that I only have minor complaints about and no others. Continuing the trend of releasing albums beyond the hour length, Death Magnetic is, in my eyes, the truest realization of something that could sequentially follow And Justice For All in complexity, style, hookiness, and attitude. The only real difference is that by 2008, the music was divorced from the angry youth sensations that their early efforts had. That, and the musicianship doesn’t quite lean into the more technical chops that boosted the 1988 masterpiece.

However, the repetition factor is still utilized wonderfully, and only really oversteps its welcome here and there. Many of the tracks take on the repetitive riff style due to the sheer fact that they’re super catchy and lay explosive groundwork to build superior songs off of. I would argue that “Broken, Beat & Scarred” uses rhythmic fills better than just about any song James and co. did prior, particularly with those rigorous jumps between Kirk’s fret-happy, screaming lead guitar bursts in the solo. A few spots do over do this, such as the obligatory instrumental “Suicide & Redepmtion,” one that would have been just fine cut in half, as well as “The End Of The Line.” Even that one is still structurally sound, but little effect was added from its repetitive nature.

On the other hand, suspense is pulled off in a masterful fashion, staying away from repetition; the combination of both approaches truly aided this album significantly. Opener “That Was Just Your Life” is a shining example, slowly introducing guitar passages over the beat of a heart. Moreover, the speed, clarity, and poetic flow of the vocals in the meat of the song make this one magnificent. The pre-chorus and chorus sync up like none other, and I really can’t think of a better way to open the album. To the opposite end, “The Unforgiven III” blows both of its predecessors out of the water (hot take, I know), laying down a mournful yet compelling piano lick that introduces suspense by gently placing clean guitars atop, under the same scope. And of course, we really can’t not mention “All Nightmare Long,” the bass heavy rager that shatters its security glass early on by jumping from steady rhythms into ballistic thrash driving. Like the record opener, the poetic flow on this one is ferocious and concise.

All that really leaves is the more straightforward tunes that didn’t deviate far from the thrash formula, but are boosted by loud production and refined energy. “Cyanide” is basically a classic at this point, known for its swift chorus repeated just the right amount of times. “The Judas Kiss” is like its inversion that lives on the same nutrients but channels them into angrier emotions, rather than unsettled ones; the same can be said about the closer “My Apocalypse” with its shorter runtime to send us off. If any song could have been cut, it’s “The Day That Never Comes,” only because there’s nothing on it that wasn’t achieved better in “The Unforgiven III.” The main riff feels like a “Fade To Back” rewrite, but I can’t pretend that I don’t hum this one as well, and its presence doesn’t take anything away.

Essentially, the only issue with Death Magnetic is that a few songs could have had some fat trimmed off for a sharper finished product. Had that happened, I’d likely place this alongside the ‘80s records in quality. Otherwise, it far surpasses anything Metallica has done in the last twenty-five years. The songwriting is memorable, explosive, emotional, and heavy. The loud production is not only clear, but boosts the refreshed energy that washes over the listener after five years of St. Anger being the latest. If nothing else, it’s one of the most fun Metallica efforts to talk about, and I’d be thrilled if they just put something this good out again.

Understanding "Left Wing" Communism, an Infantile Disorder, by V. I. Lenin

While maybe not as in-depth or instantly essential as The State And Revolution or Imperialism: The Highest Stage Of Capitalism, “Left-Wing” Communism: An Infantile Disorder is a pretty runner-up work in regards to importance. I would start with those first two works mentioned above. However, I see this as an important one to read once someone has a basic grasp on what Leninism is, which can mostly be understood from those first two works. I do also think that Left Wing Communism is a little less dense, and can be summarized and explained without the section-by-section breakdown that the other two may require for a full understanding. That said, this work may make less sense without the principle Marxist or Leninist understanding, but it really only comes down to a few principle ideas in a historical context.

The work begins with a history of the revolution from 1902 through 1917. This is important to understand, namely because of the 1905 revolution’s necessary lessons to precede the February and October ones in 1917. Lenin talks of party discipline, especially when it comes to the spontaneity aspect of the proletariat and the vanguard. This in particular is expanded upon in What Is To Be Done?, a work that I would also recommend holding until understanding the other aforementioned works. It talks of the dangers of anarchist tendencies and the Mensheviks, and their similarities to petty bourgeoisie politics; how not having a plan and disorganization can lead to failure, and opportunism. Moreover, it covers how the first world war managed to give way more force against Czarism during extreme tensions within Russia, and how the end goal was to give soviet (worker council) control. This is stressed to not having been possible without the entire backing of the working class, which leads us to our next point.

Participation in legal and illegal struggle tactics are said to be important, discussing where it can still be helpful to partake in bourgeoisie parliament, elections, and trade unions. We can see the benefits of a lot of this today, as it’s used to win the backing of the working class regardless of their own beliefs or personal identities. Lenin addresses how “left-wing” communism isolates itself from that mass following, or in other words, doesn’t take the time to meet workers where they are. Again, this is something rather important to organizers that already have a good grasp on Leninism and perhaps are part of a revolutionary struggle. It’s also important to recognize what is worth compromising to work towards the same end goal of socialism. There’s a funny comparison of getting held up by bandits, as you would compromise your car, wallet, and keys for your life. However, this shouldn’t be viewed as a final victory, but a setback that has to be overcome. The bandits are compared to western imperialists. Sometimes it becomes strategic to work with them in order to spare yourself, but you don’t want to become them or let it get out of hand. 

Looking into real life examples seems to be one of Lenin’s favorite ways of explaining things. The split of the Communist Party Of Germany is observed due to reasons mentioned in the prior paragraph. In capitalist society, the masses are divided into classes, a trait Marxists hate from the gate, and this is something to consider. In Germany, much of the masses were used to the legal framework of democracy, and were overwhelmed at the idea of revolutionary crises pushing these tactics into illegal territory. Timing and calculation of how much support a vanguard might have is to be understood. We turn our attention then, to German “left” communists’ refusal to work in trade unions, which also was wrong in the eyes of Lenin. Much of this was written to Germany, and Lenin expanded upon their own example in Russia. The organization of soviets was led by the Bolsheviks, in order to consider the relationship between classes, parties, and leaders. Keep in mind that by April 20 of 1920, the Bolsheviks had roughly 611,000 members, according to the work. Thus, larger amounts of representatives are necessary for proper people representation within soviet organization. The party was then able to rest on the trade unions, rather than refuse to work with them, which consisted of a far heavier 4,000,000 people. Note that this doesn’t discount the struggle with Mensheviks and reactionaries that it allows, which is why connection solely through trade unions isn’t enough, but total control over the state by workers is needed. The importance here is to show the method of organization, rather than isolation. We have some serious issues of this in the United States currently.

Most who have made it this far in revolutionary study understand that capitalism leaves behind the necessary tools to transition to socialism, which is also part of the importance of everything said so far. Keep in mind, the level of development in one capitalist state can heavily influence how easy this transition will go. That’s less from Lenin than it is from myself, as a general note when considering historical dialectics in this transitional phase. This is worked into the importance of trade unions in the earlier stages of capitalism here, which is why conserving them is unavoidable under the dictatorship of the proletariat. Lenin mentions the difference in struggle in the “advanced” countries of the west, that were far further along than Russia at the time. It’s stressed that left wing communists are those who would not work where the masses were to be found, despite the need for sacrifices in these areas of proletarian gathering. Regarding participation in parliament, it’s a bit more direct in how it doesn’t cause any harm, and can sometimes show the backwardness of capitalist “democracy.” Think about the illusion of choice, how little participation most civilians have in government, and how rotten it appears to just about anybody even before you introduce Marxist principles. It seems rather confusing, I know, but in a way, it reveals that simply voting and doing nothing else under this class ruling doesn’t accomplish anything, and that you should vote and carry out activist work and outreach. This is, at least, my understanding of this point.

Ultimately, this is to show that oftentimes it is worth compromising as long as you don’t drop your values entirely, and that you can use the services under a liberal “democracy” to further your move. It comes down to the need for that working class backing, and that not budging anywhere, whether it’s legal vs. illegal action, trade union participation, parliamentary participation, or whatever, is harmful to the socialist movement. This is what is meant by “left wing” communism, even though we know communism as an entire idea to be left wing on the political compass. There’s another entire section of “left communism” in Britain, and along with the German examples and the Russian criticisms, it should be clear that this work relies pretty heavily on the historical context of the struggles.

We conclude with the final result of the fact that Russians were able to bring soviets to complete development on a national scale, following the Russian Revolution, which was only done by meeting the working class where it was. It must experience a struggle in order to grow, and alienation will never allow for this growth. Lenin notes how this shows the importance of studying the unique struggles within every country, and how its differences impact how all of this struggle is carried out. Think about Maoism, or Juche, and how policies were needed for the specific material conditions of the countries each were born in. While many (myself included) would argue that neither of those have any place in the U.S., policies in regards to each were necessary for development in China and Korea respectfully, especially with a large peasantry still remaining at the time. In conclusion, the vanguard is only powerful if it’s seen as a means to spearhead the staff of the entire working class and its material conditions. Proper use of propaganda, party work, tools that the liberal class leaves us, and outreach are important, and while I probably sound repetitive at this point, that is more or less the point of “Left-Wing” Communism: An Infantile Disorder.

Album Review: Pantera - Vulgar Display Of Power

Pantera - Vulgar Display Of Power

Atco Records - 1992

10/10

Groove metal as a whole may be one of the easiest genres to attack, considering the usual tough-guy attitude, gruff vocals, and downtuned guitars that deviate from thrash metal (and perhaps a touch of doom). Pantera has never really helped with that, being the staple band one thinks of. Thinking about Phil Anselmo’s questionable statements of the recent decade, and Dimebag’s stars and bars guitar, it becomes less-than-surprising that so many have a foul taste left in their mouth. I get it, absolutely none of this helped the band age well, but one thing I think is seldom considered is why so many thrash metal bands in the ‘90s went this direction. Someone, somewhere, did something right, and I truly believe the shining achievement of this genre’s peak is Vulgar Display Of Power.

Some stick to “Glamtera,” some avoid it like the plague, and then there are those like myself who think peak Pantera was right in the middle, running from I Am The Night through this one, getting progressively tighter with each album. Here we see the fullest realization of groovy chops, tight solos, and hard attitude that stop just where they should, before going over the top in future efforts. Much of the makeup here relies on clear bass passages paired with intricate click-drumming to let Darrel’s guitar sweeps standout further. Almost never is there a rhythm section backdropped behind the solo for this reason, saving the riffier nature to co-opt Phil’s vocals.

Despite said attitude, absolutely none of the vocals feel forced or overdone, and they basically never lack some form of melody. Different variations of this combo present themselves from cover to cover, without so much as a note feeling out of place. We can talk about how “Walk” is overplayed day in and day out, but for how typical it is, I still think Dime’s solo here is one of his best. Nevermind the fact that its overall steadier nature works as a nice breath between “A New Level” and “Fucking Hostile.” Both utilize my favorite tactics of the same breed, the former flexing repetition and crawling anger for suspense, while the latter channels thrashy inspiration only to feel clearer in the chorus than in the verses. Actually, I would argue that “Rise” does this even better, another favorite of mine that packs in so much, so nicely. The way it transitions from pummeling thrash riffs to bouncy groove rhythms in such a swift manner gives me goosebumps every time.

But like I said, Vulgar Display Of Power showcases its biggest strengths in the grooves; the suspense and speed swapping are just what take it to a new level (pun intended). “Live In A Hole” is a concrete example, layering chugs with splendid timing, and “By Demons Be Driven” amps this same energy to jarring degrees. Opener “Mouth For War” uses this slower crawl to exchange dense fury for tighter melodies, still feeling plenty heavy. “No Good (Attack The Radical)” and “Regular People (Conceit)” work as nice transitional numbers, the former being a bit ironic in hindsight. Nonetheless, it plants a firm message with hook after hook for reinforcement.

All this leaves is the ballads, should one want to call them that, distributing the same characteristics to sit nice and snug with everything else. “This Love” displays clean singing without letting go of that unsettling undertone. Even with the softer guitar, there’s a sense of eruption coming in the chorus, and Vinnie’s fills shine nicely here. “Hollow” takes a more traditional formula, working as the perfect record closer, ending with some settled emotions before fading away with catchy guitar licks.

I understand why this is such a tough sell to some, and I’m probably pretty biased in my assessment here. Regardless, I absolutely adore this album. Seldom do guitar chops that so heavily contrast the same guitarist’s solos work this well, before you even throw Phil Anselmo or Rex Brown into the mix. It’s a shame that Pantera would fall into a pattern of disjointed albums following 1992, as they had a pretty perfect career since 1986. Never will I claim that they carried the torch in the ‘90s like so many other dweebs do, but there’s objectively no way to deny the impact this record (and Cowboys From Hell) had on the scene.

Album Review: Dawn - Nær sólen gar niþer for evogher

Dawn - Nær sólen gar niþer for evogher

Necropolis Records - 1994

8/10

It’s always interesting to dig into black metal bands that had a small hand in death metal, as they tend to be more riff-oriented without feeling like a blatant first-wave throwback. Sweden’s Dawn only have a few full-lengths to offer, with some demos alongside and a few recent compilations, yet they seem to be pretty impactful to the scene. The first album in particular is what struck a chord with me. Nær sólen gar niþer for evogher is its title, one that my monolingual American ass will not attempt to pronounce for you.

Being nearly 50 minutes in length, Dawn are going to need to be good at keeping the attention, and immediately that’s a standout ability of theirs that I can appreciate. All of the instruments have such a loud presence without competing amongst themselves, letting solos feel sharp while the drums pop high above the surface with a nice echo when used for fills. This clarity further lets the melodic riffs make themselves more known, which are used incredibly to contrast the straightforward, blasting drums and rumbly bass. All of this is rather advantageous for sporting stronger songwriting.

Hell, the bass alone is even good at being merely felt when needed vs. taking a forefront. “Diabolical Beauty” works in wonderful phases, containing some of the sharpest fills with both the drums and bass. On the other hand, opener “Eyesland” (Iceland?) lets the bass take the reins along with the guitar chops, double teaming for a neat effect. Moreover, this band is very good at timing its quieter spaces between the louder eruptions, trading melody and aggression under the same type of energy. Doomier sections have a nice accent, such as with “In The Depths Of My Soul.” I’ll admit, some songs might repeat passages a little longer than they need to, but this is a minor complaint.

Nær sólen gar niþer for evogher seems to present a theme of me calling it “sharp,” and that’s really the best way to sum it up. They craft a very rare brand of black metal that stylistically fits in with the second wave bands, but has the accessibility of the first-wave bands, and clarity in every area. It’s certainly a disc worth having minimal distractions while listening, and it may take a couple spins to truly settle in. My kind of black metal!

Album Review: Air Raid - Fatal Encounter

Air Raid - Fatal Encounter

High Roller Records - 2023

7.5/10

Seeing that a band is from Sweden, makes heavy metal, and sports an album artwork like this, you can’t really blame me for immediately assuming it’s going to be the most generic ‘80s revival album I’ve heard since a few days ago. While a little of that is true of Air Raid, I’ll consider myself pleasantly surprised. Fatal Encounter is the band’s fourth outing, once more displaying my lateness to the game. Despite maybe not being the most top-notch stuff I’ve ever heard, I found this to be rather enjoyable.

Much of that is owed to one factor; Air Raid does a splendid job of combining AOR-oriented ‘80s rock with power metal, breaking the mold of the same corny nonsense over and over again (while displaying a little bit of it anyway). Across the board, things remain as clear and concise as ever, if anything casting a poppier atmosphere due to the sugary melodies and nearly glam-like attitude. Yet, there’s no shortage of heavy riffs, loud drums, and screeching solos. Their guitarists have a pretty serious ear for technique, working in some classical influences on the likes of “One By One” and the “Sinfonia” interlude.

Outside of that, much of Fatal Encounter rests on the melancholic, self-reflective side. “In Solitude” is a bit obvious in its post-breakup moods, while others like “Edge Of A Dream” cast this energy into upbeat tempos for something different. Even “Lionheart” is an interesting one, feeling like a Joe Lynn Turner era Rainbow record clashed with the likes of Helloween. The attitude and voice reflects the former, while the makeup and drive reflects the latter to endless degrees. Perhaps the lead guitar structures even remind me of some of the later Deep Purple records as well.

It’s hard to ignore how obvious some of this feels, and including two covers was likely a bit much, but I guess at least they fit. For the most part, I would call this pretty enjoyable even if it isn’t something I’d go out of my way for too often. If nothing else, the Swedes certainly know how to convey emotion properly. Fans of any of the mentioned bands should at least see something redeemable, or those that just can’t avoid hearing traditional metal revival albums at least once, like myself.

EP Review: Invocation - Attunement To Death

Invocation - Attunement To Death

Hypnotic Darkness Records - 2020

8/10

Having yet to commit to a full-length release, Chile’s Invocation come pretty close with their longer EP titled Attunement To Death. While labeled within the “black/death” realm, this extra-step excursion of death metal rakes in dense layers of extra weight. Because of that, I see it more as a cooperation with the doom genre, avoiding shrieks, raw production, and the bells and whistles that you’d expect from the sharper black sphere. No, this is instead doused in deep, muddy rhythms with a thick cadence, and guttural vocals that draw themselves out pretty hard.

Yet, it would still be a stretch to call this a full-on doom/death experiment in the vein of Spectral Voice and such. While Invocation certainly lays down the cavernous echoes and unrelenting bass rumbles, it’s more of an extension of the traditional sound. Speeds are kept relatively high for much of the run. Even the slower beats that let the drums and bass take the forefront allow faster guitar techniques to maintain prominence. “Divine Transition” really makes this known in its drawn-out breakdown, covered in painful howls, before returning to business as usual.

Speaking of which, the vocals do a very good job of working themselves in as an accessory to the rumbling foundation. Much of the time, they’re flattened and slowly belted, and remain constant regardless of the guitar tempos. Sometimes, things feel so dense that they all mesh together, letting the drums pop above the rest; it’s a strong blast amidst little variety. Weirdly, this is let up a bit on the back side, as tunes like “The Officiants” boast just a notch more of clarity.

Considering the thirty-minute runtime, I can only imagine a full-length of Invocation’s style would yield a further elaborated, massive dose of crushing murk. Attunement To Death is certainly a dark force to be reckoned with, alluding to something that could easily fall into the monstrous doom/death makeup. For now, I dig what we’ve gotten. Fans that spin the likes of Nekus, Witchbones, or Grave Miasma should feel right at home.

Album Review: Superstition - The Anatomy Of Unholy Transformation

Superstition - The Anatomy Of Unholy Transformation

20 Buck Spin - 2019

7.5/10

A couple years back, 20 Buck Spin unleashed the first full-length of a death metal outfit that would mostly be described as degraded and desolate. While not really in line with the blackened-death sound, Santa Fe’s Superstition put out a brand that has a hateful feeling through coarse sound quality and pummeling rhythm. The Anatomy Of Unholy Transformation is their first full-length after two demos. Being brief enough, its rough landing is rather compelling.

To achieve this sound, pummeling drums carried by blast-beats and noisy riffs fuse for a muddy bottom that matches the echoing and harsh vocals that avoid the guttural range entirely. Achieved is a bleak feeling of emptiness, save for the somewhat helpless wails that the lead guitars let out. The fact that those are rather clean compared to everything else is pretty fair evidence that this was an intentional contradiction, successfully blending emotion (using that word pretty liberally here) and intensity. Sometimes, the lead sections will let off a riffier build, usually acting as a simpler and straightforward chance for some air.

Thirty-four minutes of this is manageable, especially within the death metal genre. The Anatomy Of Unholy Transformation manages to jump around just enough to make the writing feel focused. Lyrics centered around hellish experience coat loads of evil, which fit the overall sound that admittedly can feel repetitive at times. It’s difficult to tell songs apart from one another, even to the trained ear, but thankfully most of them have moments that make the overall ride enjoyable. All three “Unholy Transformation” parts focus more on the gritty hatred aspect, while the likes of “Spiritual Sundrance” may sprinkle some cleaner flavors.

Thus, I have to give Superstition some credit for being pretty original in taking the classic genre to harsh, unforgiving levels without needing to rely on black metal reinforcement. It makes a decent impression while not being overly strong in the individual standout department, which is fine for a shorter release. Those who appreciate noisy atmospheres that don’t distort the base structure would understand. In other words, if you like your extreme metal to have a definite shape with some sharp and burred edges, this may be for you.

Album Review: Metallica - Hardwired... To Self Destruct

Metallica - Hardwired… To Self-Destruct

Blackened Recordings - 2016

7/10

All of the discourse amidst the release of 72 Seasons brought back all sorts of regular topics among Metallica fans, mostly nonsensical shit that matters little in the long run. Unless you’ve been living under a rock, you’ll know that the whole “we need thrash Metallica back!” schtick has been around for decades, many not satisfied until the release of Death Magnetic, if at all. It really got me thinking, not only about how Metallica really hasn’t done thrash metal in the two recent albums, but that it means that what made for good music never took root here in the first place. Hardwired… To Self Destruct was tough for me to talk about at the time of its release, but all of this discourse around the new record has shed some new light on what made this one kinda good (but not great).

Ignoring the stupidity of using two discs when the songs easily fit on one (and the atrocious artwork), in length and in style it’s really not that different from 72 Seasons, each having very little to do with thrash. Both records bask in the modern rock production tactics with crystal clear vocals even in the heaviest moments. Melody plays a great deal of this record’s makeup, with loud drums that bounce with just as much velocity as the rhythm sections. So what is it that made this one decent, then? Simply put, the songwriting here has a stronger ear for hooks, and if it has a linear flow that doesn’t feel like by-the-numbers nonsense the whole way, then it’s gonna make at least some impact.

Looking solely at the thrash numbers, the opening title track is the obvious “old-school sound” seller that just happened to be pretty strong. Closer “Spit Out The Bone” is where I think this was perfected to a higher degree, however, cueing in repetition dynamics in the vein that James and co. have always been good at. Unfortunately, much of the second disc misses this mark. At least half of these songs could have been cut off, namely “Man Unkind” and “Am I Savage?” being obvious reaches for cleverness that instead feels like someone trying too hard.

That leaves the first disc of Hardwired… To Self Destruct, which is almost entirely masterful, having a consistent aesthetic save for the aforementioned opener. “Now That We’re Dead” utilizes incredible ascending patterns, laying down each element of the buildup progressively to give way to a catchy as hell chorus, reminiscent to the better songs in Load. The percussion and suspense of the guitars pair together wonderfully in this song, and I’d probably call it my favorite one. Similarly, “Dream No More” takes this to a dense plane with doomier tints, and “Halo On Fire” utilizes softer melodies in minor keys that would have really fit into the ‘90s albums. “Atlas, Rise!” and “Moth Into Flame” on the other hand rely on higher energy without letting go of catchy hooks and choruses, the former having one of Kirk’s best solos in ages. Picture the songs that are a little more thrash-influenced on Metallica brought to modern days.

Simply put, I would say that what makes anything good on post-Justice Metallica doesn’t come down to if it’s thrash or not, but on what they present and if it’s channeled into something memorable (just like anything; imagine that!). I’m really glad I waited so long to review this, because the latest discourse really opened my eyes to something that should have been obvious from the start. Thus, the 2016 kinda-but-not-really-double-album is a culmination of the good parts featured in the black album, Load, and Reload all channeled into a modern rock meets traditional metal production sphere. Sprinkle in just a dash of the classic thrash attitude, and you’ve got your record. I find the first disc of this record to be fantastic, and the rest to range from decent to unfruitful. Had they trimmed off like, four songs, I’d likely hold this in very high regards.

Album Review: Cloak - The Burning Dawn

Cloak - The Burning Dawn

Season Of Mist - 2019

9.5/10

With the U.S. black metal (with gothic leanings) Cloak preparing to release a new record, I did what I always do; go back in time to refresh my memory! It’s always fun when something causes me to hear something I haven’t in a while, especially when re-discovering something within my own CD collection that got shelved in the endless depths of stuff I’ve bought over the years. This takes us to 2019’s The Burning Dawn, a fierce disc that does everything I enjoy about black metal with its own tricks to stand out tremendously. It took a few spins to understand the “gothic” tag, but it turns out that it’s been right in front of my face the entire time, being what helped it stand out in the first place.

One could argue that melody makes up a great deal of the standout factors, but this alone is only the surface-level part of the equation. For one, the snarling, blackened vocals are still concise as ever, fitting the rhythms beautifully, and both are clean enough to compliment each other but not so much that overproduction crushes all senses of uniqueness. Furthermore, the light, airy guitars that have a melancholic undertone have an equally heavy impact, sneaking into the background behind blistering riffs. You’ll get a taste of this right away, most apparent in the solo of “The Cleansing Fire.”

What’s extra nice about Cloak is that they have multiple angles to utilize this from, and that melodic topping fits wonderfully in all of them. Dooming out is not out of the question at all, raking in some super devious tones in “Lifeless Silence.“ Crushing drum clashes alongside doom riffs and cold, croaking vocals not far from the likes of Abbath cast such an unforgiving feeling that the title suggests. Just the same, songs like “Into The Storm” deliver a harsher gradient of aggressive percussion and darker delivery under a fast scope, yet it never feels out of place. Managing that and having a strong sense of memorability takes some serious talent.

Somewhere between the lines also lies steadier tracks that inject the sadder elements into the firm black metal structure, showcased on “A Voice In The Night,” giving a larger helping of emotion. Acoustic guitars are even utilized to a wonderful effect, and the phases of this song feel so natural. The closest we get to sheer calmness comes in the beautiful instrumental “The Fire, The Faith, The Void” with its steady gallops and welcoming progression. Closer “Where The Horrors Thrive” douses us in a little bit of everything, tying in with an epic soundscape that impresses itself into us as we take the last exit. 

The Burning Dawn is a fantastic culmination of black metal with other metal influences, gothic undertones, emotion, and lyrical clarity. When this genre sits on the side of something easier to ingest, I tend to gravitate towards it. When it adds several layers to make itself even more unique, I tend to fall in love with it. This isn’t a phrase I like to use a lot, but it’s black metal for people who don’t like black metal, even though I’ve grown to like it these days. There’s almost fifty minutes of music, and every bit of it is worth your time.

Album Review: Frenzy - Of Hoods And Masks

Frenzy - Of Hoods And Masks

Fighter Records - 2023

7/10

Very seldom these days do I find a release that I can call glam metal, or at least something that stylistically would have fit the description if the year were 1986. Frenzy are a Spanish heavy metal act that very much align with tags we would have given to Dokken, Keel, and the likes. Instead of writing about girls and parties, they cover comic books. Their debut album a few years back sees its follow-up in a condensed, slightly more focused fashion, titled Of Hoods And Masks. The seven tracks flow very fluidly in construction and topic, ending with not one but two covers.

Thus, much of this relies on catchy choruses with anthemic boosts, and clean sweeping solos that shred hard. “The Doomsday” is constructed exactly in line with this, one that after only two listens I find myself humming. Others like “Spectres Of Love” are a tad more elaborate, highlighting the guitarist’s ax-wielding abilities. Moreover, their lead vocalist has some serious pipes, reminding me heavily of Stryper’s Michael Sweet. I can even appreciate the “Living In Oz” Rick Springfield cover, as it weirdly fits the aesthetic of the rest of the album, likely due to some of the poppy elements.

My only issue with Of Hoods And Masks, however, is a somewhat damning one. The songwriting itself has very little foundation outside of catchiness and cleanliness. Frenzy’s whole aesthetic is bound to leave room for corniness, but some of the lyrics feel rather campy, namely “Where Is The Joke?” (ironically enough). I don’t think I’d go as far as using the word generic, but there’s also a clear need for identity in the musical makeup realm. Much of the album starts to feel run-of-the-mill once you reach “Uncompromised.”

But I can’t knock them too hard. Nothing is overtly unpleasant, and the talent is evident across the board. Perhaps taking the cleaner aspects back a bit, or adding a little more flavor to the aesthetic could do wonders. For now though, this is worth checking out for metalheads favoring the clean melodies or are sympathetic to the glam scene.

Album Review: Gargoyle - Hail To The Necrodoom

Gargoyle - Hail To The Necrodoom

Sunandmoonrecords - 2021

6.5/10

I always leap at discovering something that combines black, death, and doom metal. Hybrid genres, especially taking foundations of three, have the potential to yield a lot. This combo in particular usually takes on the heaviest, and most crushing approach there is with the extremes of each one’s intricacies displayed at full power. Slowed, blast beat-ridden downtuned riffs? Are they gonna shriek, howl, or use guttural vocals? Gargoyle is an interesting one that sorta breaks all of these habits. Much like the cartoonish artwork, Hail To The Necrodoom is a bit more accessible than you’d picture.

Instead of dragging everything to the most grotesque extremes, the Italian outfit tones-back each influence to the more tame end of each genre. It’s still pretty crushing, but there’s a constant shift between traditional doom riffing, and blasting rhythms that take shelter in death metal tones. Moreover, the vocals are also swapped between monster-like gutturals, and cartoony howls to give a cadence of horror. The higher leads also tend to add in some extra wankery, crossing degraded solos with thunderous blast beats. In other words, the bottom ingredients are ferocious, while the top ones fly around to give the listener some breathing room.

That said, I do think Hail To The Necrodoom feels awkward at times because of it. There is a way to blend these ideas without it being an unlovable, cavernous void of hell, but some things contrast just a little bit too much in this instance. Seldom do vocals play a large part of my takes, but I have a hell of a time digesting them, especially the ones that lean towards the doom howl that sounds more frightened than frightening; they hurt this more than I’d like to admit. The mix of harsh guitars and higher leads playing the same sequence is a nice touch, such as in “Where Evil Spawns,” but this kind of balance is rare throughout the entire runtime. I even appreciate the use of what I call “classic horror flick” organs, but again, molding into a strong song is a weakness.

Gargoyle have themselves a really solid foundation that just feels disjointed, and their vocal style is one that I personally struggle with tremendously. I suppose the bad vocals do fit the aesthetic, but that aesthetic has its own shortcomings. Regarding riffs, general feelings of terror, and ideas, there’s definitely something to be realized. From what I can gather, I reckon it isn’t the type of release to take too seriously. Otherwise, strap on your spooky shoes and go for a nice walk in the dark.

Album Review: Metallica - 72 Seasons

Metallica - 72 Seasons

Blackened Recordings - 2023

5/10

Let me preface this review with some rudimentary bitching. I hope that whoever designed the packaging for the CD got a demotion, because this four-fold nonsense with absolutely nothing to hold the linear notes is an idea so annoying that it’s baffling evolution hasn’t taken us beyond that. Let alone the fact that the album art itself sucks, and has unflattering closeups of the band as the whole reason that this was used in the first place (probably), but if you’re gonna use cardboard, make it a damn digipak. Also, this is the obvious thing everyone probably thinks three whole days after release, but just because a CD can hold 80 minutes, doesn’t mean it should. It’s a little strange that this time around two discs weren’t used, which was never needed in the first place, seeing that both albums are the same length. All that does is confirm my theory that Hardwired… To Self Destruct was Metallica’s response to Iron Maiden, but I’m not gonna spend a whole paragraph about how this is too long, because it pretty much applies across the board and I think it’s not only obvious, but made clear enough in those two sentences.

Well, perhaps the exception is “Lux Æterna.” In any case, Metallica have returned with a similar story six years later with 72 Seasons being the talk of the town amidst the aforementioned single’s release. Musically, this is pretty (and very subtly) derivative of what we got back in 2017, however lyrically it seems to breathe more light into James Hetfield’s personal struggles. Regarding the listening experience, I find it most comparable to ReLoad not only as a continuation of the previous record, but also in quality vs. quantity aspect. ReLoad is a large game of finding the strong songs amidst a lot of boring schlock, here it’s about finding the fun riffs and strong leads that simply just should have ended three minutes earlier than they do. And that very thing is what leads me to single out “Lux Æterna,” because it’s truly great. Perhaps a bit of a tease, since it’s the literal only tune that makes its point swiftly, built on traditional speed metal rhythms with the new-age coating.

The common theme seems to be dragging on intros for too long, and repeating the hooks that admittedly strike a catchy chord following a solo that would have made a nice outing had it stopped there. “Sleepwalk My Life Away” is a fine example, as that bass-heavy, drum-topped kicker makes a nice impression on its own. You could argue the same about the opening title track, however the chorus for this one holds a little more strength than it has any right holding. What it boils down to, however, is that very little stands out on a full scale outside of little moments that you can acknowledge being enjoyable but make little impression. “If Darkness Had A Son” has a neat chorus, and a notable bridge, yet I can’t help but feel like most of it is leftover scrap that James and co. just couldn’t bring themselves to throw away. Seriously, I’ve listened to this disc several times since securing my copy and virtually nothing has grown on me. Hum along and move along.

Finding parts of 72 Seasons that do actually stand out musically is going to rely entirely on stylistic shifts beyond the general thrash clarity on the less extreme side, another thing that could describe much of the album’s makeup. So is there any of this? A little. “You Must Burn” relies on some slower, doom-cladded passages that I can appreciate, and some of the vocal patterns feel like a nod to the ‘90s Metallica run. “Too Far Gone?” seems to have a little more emotion than the others, though I’m using that phrase very liberally here. “Crown Of Barbed Wire” is also pretty catchy, another one that the riffs and vocal work pair together nicely. Notice a pattern about the better songs here? I’ll leave it to you to figure out (it might have to do with the length).

Iron Maiden and Metallica both seem to get off on this type of “record any and everything we think of and release it” mentality lately, and hopefully sooner or later that comes to an end. Megadeth was also guilty of this last year, and I guess in a way I’ve debunked my own idea that waiting enough time must allow for better writing like I said in regards to the latest Overkill record. You’d think the Use Your Illusion albums and the many similar experiences since would reveal the probability of this working by now, but I guess that’s wishful thinking. My final thoughts are this; if you can listen to this enough times to make it grow on you, then more power to you, but I prefer not to gaslight myself. There are plenty of catchy moments, but you have to have some pretty serious levels of patience to make it worthwhile. It’s a lot of what we already got in 2017 but without the concise focus that existed on far more of that. More disastrous things have happened, but sometimes I almost prefer that for the sheer sake that it’s interesting to some degree.