Album Review: Judas Priest - Angel Of Retribution

Judas Priest - Angel Of Retribution

Epic Records - 2005

8.5/10

Long past the classic era, Judas Priest would enter the new millennium in uncertainty. Dropping something as game-changing as Painkiller only to completely shift directions with a different vocalist and everything was sure to generate a liminal "space between space" era that likely felt directionless at the time. For that, I can only imagine what it must have felt like for the longtime fan when Angel Of Retribution was released in 2005. In a vacuum, one wouldn't be able to tell that this modern take on the 1990 style would go to define their career even two decades later, thus I can only imagine it was nothing short of exciting. Folks, welcome to the start of what I call the "comeback" era, one that never truly ended.

Consisting entirely of the classic lineup (minus drums, as those were never that consistent), Judas Priest very clearly set a stage that attempts to pick up where they left off fifteen years earlier, almost dismissing the Owens albums as in-betweener side gigs. I say this only because Angel Of Retribution takes virtually nothing from them, skipping all of the '90s-isms that coated those records. Instead, they arguably strip things back the other direction in a musical sense, trading bombastic and crunchier production for softer clarity. This forgiving atmosphere does not take away from the heaviness of a decent number of the songs, but rather just dulls their tips. Inject a refreshing punch to the songwriting, with its focus on hooks, emotion, and drive, and you've got what was quite unique for its time.

In other words, 2005 was several years before the traditional metal revival that came to dominate a new generation of bands, and the dual-axe veterans were ahead of the curve they themselves influenced. Almost nothing is overzealous, channeling that "we're still young!" energy into several memorable moments. For one, "Hellrider" almost encapsulates the band's entire vibe with one longer, eccentric vibe, while opener "Judas Rising" channels the same energy into a far faster and blunt impression with machine precision. It may come off as a bit on-the-nose, but I think they were pretty self aware of what they were doing. If you had any doubts, "Deal With The Devil" follows it up with a steadier kick, completing the one-two punch we all love to see on efforts like this.

The few times Rob and co. step away from safety land pretty nicely, with only one exception. Perhaps a hot take, but closer "Lochness" absolutely did not need to be thirteen minutes long, and the constant, repetitive pinch-harmonics make me dislike it enough to hold the entire back a notch; never mind the fact that "Eulogy" would have been a perfect closer, keeping the overall runtime breezy too. Otherwise, the other breaks from this traditional norm fit right in. "Angel" is one of my favorite songs of this era, a masterful ballad built on wailing emotion, with slow build utilized by the drums before unleashing a heavier sendoff. Similarly, while nothing exceptional, I appreciate "Revolution" for incorporating doom-riffage to add personality to the traditional formula, and even its follow-up "Worth Fighting For" has a sneaky edge to its somber tone.

In hindsight, Angel Of Retribution isn't overly special, and Firepower will always be my number-one pick from the "comeback" era, but I still find so much charm in this. It was unique for the time, it breathed new life in what the band had already crafted for themselves, and perhaps best of all, even their peers weren't doing the same thing. Iron Maiden had moved on to longer, progressive epics as the norm; Scorpions had fallen entirely into the pop/alt rock realm; Black Sabbath was basically non-existent. With its corny fillers and mild flaws, this record is a force to be reckoned with, and returning to it is always a pleasant time.

Album Review: Judas Priest - Invincible Shield

Judas Priest - Invincible Shield
Sony Records - 2024
7/10

For those that don't know, 2018's Firepower took yours truly by absolute storm, working past forty years of releasing full-lengths, and it would have been the perfect send-off for Judas Priest's career. There's a key part of that statement, though; would have been. Six years later, the British heavy metal titans dropped another full-length, making little impact on me at the time. After some time to properly take it in, I felt there's no better time than the present to check out Invincible Shield again. They've created a hard act for themselves to follow, but time sometimes rids me of that expectation.

Similar to the path they've been on, the latest effort from Rob and co. displays the same base with mild alterations on the surface. Power metal-induced traditional metal under a modern banner with that post-Painkiller flair still reigns, going with the cleaner production that proved to work well last time. Similarly, there's a slight attempt at keeping things varied, even opening on chorus-earworm heavy hitters upfront with "Panic Attack" taking the more sing-along route while "The Serpent And The King" amps up the intensity. Hell, perhaps one lesson the band learned was not overdoing the length, clocking in near the fifty minute mark rather than the hour (or more) mark, giving us sturdy footing.

Alas, I can't pretend that I still don't feel underwhelmed. Only part of it is the fact that this was already perfected the last time, with Invincible Shield bringing absolutely nothing new to the table. After all, no band can reinvent the wheel over and over again, especially a band that played a large role in inventing said proverbial wheel in the first place. However, there's a very obvious step-back in songwriting exchanged for what's arguably heavier chops. I won't pretend that much of this isn't more aggressive, showing blatantly in the likes of "With God As My Witness," but it's lacking where it matters. Most of these songs don't have the emotional charge in delivery that I came to love; the opening numbers I mentioned that clearly rely on catchy elements fall short in repetitive and lackluster choruses; "Devil In Disguise" and "Escape From Reality" attempting that slower-crawl is missing the doomy grit; even the epic buildups attempted in several spots really don't sell me, and closer "Giants In The Sky" misses the attempted emotional charge. If there's any actual standout that comes close to deserving praise, it's "Crown Of Horns" and its anthemic vibes actually feeling focused.

Some will say I'm being rather harsh, and to their credit, this isn't a bad record. Maybe I dislike it more on principle than in execution, but the execution lets me down nonetheless, and in a vacuum I don't think I'd like it much better. Things are competent, the formula works, and everyone is good at what they're doing; but almost nothing sticks. Objectively, it's better than the rightfully critiqued Redeemer Of Souls, but I'll once again say that I'll take a rough-around-the-edges outing that still has a distinct identity over a safe, formulaic one that checks all the boxes. Judas Priest has done more for heavy metal than likely any band outside of Black Sabbath, and for that, they can go out with eternal respect and not lift another finger. This album is a sign that perhaps that's the move.

Album Review: Judas Priest - Nostradamus

Judas Priest - Nostradamus

Columbia Records - 2008

6/10

Following what we may consider Judas Priest's return to form in 2005's Angel Of Retribution, they would continue on that road of reinvigorated energy meeting nostalgia three years later. But unlike the other records that followed that template, they would step into arguably their most experimental effort in this era, maybe ever. Nostradamus saw the band not only tamper with a concept album, but inject musical elaborations that teeter on epic and opera. If that isn't a lot to take in, then perhaps its nearly two-hour runtime will be.

That very fact would prove to be the experiment's biggest retractor. On paper, their second record seeing Halford returning is presented pretty wonderfully. Powerful vocals meet boisterous and thick leads that utilize the bass to amp its presence even higher. Tight and clean production make it so nothing goes missed, with a healthy dose of theatrics and synthesized guitar attacks to add the littlest touch of flair. Throw in a decent ear for impactful hooks, and you've got about as great a template one can use for a strong epic journey.

Moreover, Nostradamus knows exactly when to employ meaner grit for a firmer impact as much as it does the same with softer veneers and emotion. Frankly, the first track (ignoring its intro) "Prophecy" is one of my favorite numbers of the post-2000s era; its opening riff, unrelenting drum blasts, and threatening pre-chorus break into a chanted release that all but brings me goosebumps. "Persecution" feels like a response to that one, morphing matched furious drive into speed, topped with what feels like a classic horror chase bit. "Pestilence And Plague" has some power metal tropes that breath hope beside upbeat chops meeting haunting synth, and "Lost Love" uses emotion and soft guitars to aid a sadness felt miles away. "Alone" coats a similar feeling, but definitely didn't need to be that long. Hell, even "Death" is loaded with obvious doom thrusts, maybe the only long track that holds momentum until its end.

Sadly, there's a tragic other side to all this; after about one third of the record, its thunderous embrace wares off. Normally, saying "this is simply too long" is not enough to tank an album too hard, but it will if that error seeps into many of the individual tracks. "Revelations" is seemingly a stronger number with its symphonic elements and galloping drive, but it meanders far too much for its own good. Both closers "Future Of Mankind" and the title track display this even worse, as by this point of the album it's even harder to forgive that. Make no mistake though, they're guilty of this in a vacuum too, and "Exiled" is a great example of why long repetition borders on corny. "Alone" is a fine example of what could have been a soothing acoustic bit turning into a repetitive mental drain. Even "War," as fun as its marching vigor comes off, is dampened by over five minutes of something that can barely repeat for three before it's overdone, and that's if you ignore its surrounding interludes. As a matter of fact, insult is added to injury with there being too damn many interludes. If you simply tacked those onto every track they precede (or follow?), it adds extra unneeded fluff to even the strong tracks, making any chance of overlooking all of this virtually impossible.

Judas Priest's experimental effort is not awkward nor poorly executed. It's competent, written with a formula that all but promises exceptionality, but falls into a tragic fate of doing entirely too much of a good thing. This is a pattern that would appear on every other post-Painkiller record albeit to a far more manageable degree, even hurting the better records just a notch. Had this been one-third its actual length, and baked the decent interludes into less repetitive main songs, this probably could have been one of the best albums of its time. Instead, we're left with something that's likely no coincidence that most of my favorite moments are on the first disc. Alas, while I may suggest hearing this at least once for all the completists and those who love context, the rest of you are better off using such an allotment of time to watch two Twin Peaks episodes, or four to five Seinfeld episodes.

Album Review: Judas Priest - Redeemer Of Souls

Judas Priest - Redeemer Of Souls

Sony Music - 2014

7/10

It can be a difficult task to assess something without allowing nostalgia to paint an unfair picture of how great something is, but equally often retrospect and surrounding releases make that veneer easier to break. Marking exactly forty years of Judas Priest releasing full-length records, Redeemer Of Souls dropped in 2014, being the first "new" album by the British masterminds for yours truly since discovering them. Place it after an overblown and often considered faulty experiment in Nostradamus, marked by the fact that its release followed my high school graduation, and you've got the greatest vacuum for fond memories to my eighteen year-old self. Unfortunately, hindsight is 20/20, and while it may still be a bit fuzzy, it can be less forgiving.

Let us not get ahead of ourselves too early, though. Redeemer Of Souls rightfully gets lots of criticism, however I'd love first to highlight its strengths, as there are more than most will lend credit to. For one, "Halls Of Valhalla" is one of the heaviest tunes in the band's career, with one of my favorite suspense builds in guitar riffing, utilizing tough stomps and vocal outbursts. Similarly, the title track before it represents this in a warmer tone, cranking out beefy chops with equally crushing drum-kicks, and I even like the catchy albeit corny opener "Dragonaught." Similarly, "Crossfire" in the second half almost predicts the doomier numbers Halford and co. would perfect on the following Firepower, and even the soft closer "Beginning Of The End" seemed a soothing way to go out.

All sounds well and good, until you realize that these highlights comprise less than half of the album, with my single issue on their 2018 effort being ever-more present four years prior. I would be hard pressed to call anything bad, but there's little clarity in many tracks that could reveal songwriting with actual personality. Even as catchy as licks in the likes of "March Of The Damned" may feel, there's a missing oomph that normally makes the band's formula work, and some of that is likely due to the other main issue, its production. Again, I'm a sucker for rough production, but when the drums borderline dominate, the bass is unfelt (save for "Hell & Back" another one with potential that feels flat), and the lead guitars feel compromised, it's tough to get with what they're doing. Actually, I'd say most of these songs show potential that simply isn't quite realized.

Regardless, I will fully admit to having a soft spot for Judas Priest's attempt at painting over their previous mistake. It's simultaneously too long but somehow also unfinished, resulting in a handful of worthwhile numbers to walk away with at the expense of having to look for them. Trimming a few tracks off and touching others up would have done wonders, and perhaps would have shot it up to the way I regard the classic records; but like I said, hindsight is 20/20. Redeemer Of Souls certainly isn't bad, but I wouldn't call it much more than decent either, especially when removing my nostalgia goggles.

Album Review: Judas Priest - Firepower

Judas Priest - Firepower

Sony Records International - 2018

9/10

When a heavy metal band of such magnitude and age as Judas Priest continues cranking out full-lengths past the 40-year (and now 50-year) mark, the criteria for relevancy gets less and less forgiving. Yet, I'm of the belief that the British heavy metallers have given us a mixed-bag of highs and lows in the past couple of decades. 2018's Firepower really didn't promise anything remarkable, given the campy album art and the lackluster response to the previous two full-lengths. But low and behold, not only was my twenty-two year old self absolutely blown away, my thirty year old self still feels the same way in retrospect.

What's even more interesting is the fact that Rob Halford and co. really didn't deviate much from the standard post-reunion sound that's been around since Angels Of Retribution in 2005. Many view the entire band's career from then on to be some variance of the Painkiller formula, but the true difference really does lie in production and songwriting. Despite my soft spot for a rougher sound, Firepower absolutely benefited from a crisp overlay that chops off any excess noise, allowing a thunderous kick that boosts the bass and twin-guitar blasts to pair nicely with Halford's still crystal clear vocals. At no point is the aggression lost, and when necessary, emotion shines even brighter; such a balance would prove imperative.

All of this also winds up being simple icing on the cake when you consider the compelling nature of the songs, and the fluid movement of the varying tactics working in unison so well. Our obvious "hit" numbers blend as well with the more monstrous stompers as they do with the calmer tracks. The opening title track and following "Lightning Strike" may start us off with obvious earworm hooks, but it doesn't take long for that to fold into something bigger than themselves. In fact, I don't really think we'd see this again until far later in the album with the swift banger "No Surrender," being the record's strongest choice for a tune carried by gang-chants. All three of those are fantastic on their own, and I think work as simplified tastes of the protein packed in between.

Everything else unleashes the full-weight of their abilities with the aforementioned varying moods. The fierce and pummeling "Evil Never Dies," the thick and beautifully layered "Necromancer," and the haunting aura erupting into one of the best solos in "Spectre" show that age isn't about to stand in the way of champions. Even the seemingly campy "Flame Thrower" proves more worthy with its aggressive rhythms, powerful chorus, and rising-tide energy, which is embellished on in "Traitor's Gate." Calmer approaches still behold an Earth-shattering presence, like the doom-inspired "Children Of The Sun" boasting clean licks that meet powerful bass/drum combos, or the power metal chocked "Never The Heroes" coating on pretty but heavy melodies. The twin-guitar leads may shine even brighter in those songs, allowing Halford's emotional arc to match swimmingly. The band's (sad) wings reach full fruition this time around in the borderline epic tinted "Rising From Ruins," preceded by an equally melancholic piano intro in "Guardians" to capture what feels like a part two to "A Touch Of Evil" nearly thirty years later. Eight years later I'm still in awe over that song.

I can't express enough how masterful it is when a band who has been around for over forty-five years crafts something as competent and substantial as Firepower. If there's a single complaint to be had, it's the nearly hour long run-time feeling overzealous; I could have done without the final two tracks, especially considering that "No Surrender" would have been a fantastic closer. Neither "Lone Wolf" nor "Sea Of Red" are bad songs, but both go on longer than either needed to as is, let alone following fifty minutes of this record. Otherwise, Judas Priest have crafted something that didn't deviate far from their standard post-classic formula, but managed to pack in not only memorable but consistent bangers one after another under their best production since Painkiller. I can understand the wariness to stay interested this deep into an old-guard's career, but if you only listen to one album after 1990, make it this one.

Album Review: Metal Church - The Dark

Metal Church - The Dark

Elektra Records - 1986

10/10

With their first record, the Bay Area outfit Metal Church established themselves as an act heavily rooted in speed metal that tampered both with the emerging power and thrash metal distinctions, which would come to define their career. In a time when the characteristics of what makes thrash metal different from speed metal were still being worked out, I would argue that the band's sophomore game-changer The Dark played a bigger role in this than they'd receive credit for. If Slayer was showing us just how fast this could be taken in 1986, Metallica were reminding us that strong thrash bangers didn't have to be fast. Metal Church would reaffirm the latter's role, as the meanest and grittiest thrash numbers came in the form of steady tracks on album number two.

As we had seen from the self-titled debut, David Wayne and co. clearly had an ear for sharp hooks and concise vocals under a more accessible veneer. Here they follow suit but evolve by simply adding a harsher, punk-like attitude and a refreshing production that boosts the extra energy to a new high. While there's certainly some charm in the raw nature of the first record, it was now time to showcase everyone's abilities. Wayne's voice now found a perfect balance between standout clarity and tough snarl, the Wells / Vanderhoof combo could now spit compelling riff and lead combos that don't just hook but also stick, and Arrington's drum kicks now felt explosive. Erickson's bass is admittedly felt more than heard, but is that a bad thing?

Again, I must stress that this album's songwriting is elevated by its balance in steadier rhythms in lieu of constant speed. This is realized wonderfully in the form of "Start The Fire," my favorite song the band has ever crafted. Simple power-stance riffs leading us into compelling percussion, topped with a combo of tough attitudes and sharp falsettos morph into a staple gang-chant chorus. More well known is the title track's invoking of fear with the same buildup, emphasizing tighter poetic drive and higher vocals, while "Burial At Sea" takes an approach bordering epic territory with its advanced layering. I almost wish the latter was the album's closer, as it's such a perfect send-off, but "Western Alliance" is still an absolutely swift and sharp banger.

Speaking of swift bangers, for every steady march full of angsty weight, The Dark gives us a song that emphasizes speed to maintain variety in the palette. Opener "Ton Of Bricks" is all anybody could ask for with a thrash opener, giving us some signature drum blasts over burning, simplistic rhythms paired with the meanest of vocals. "Line Of Death" channels this boiling energy towards the harsh reality that is war, showcasing the neatest bridge on the album with some intense picking, and "Over My Dead Body" sneaks in some of the tightest solos between verses (more cowbell!). Even "Psycho," while often overlooked, boasts some of the best start/stop drive on the whole disc.

Yet, the most interesting songs might be the two that break the norm for each set of rules. "Watch The Children Pray" falls into ballad territory with its soft acoustics and beautiful singing, yet it manages to fit in just fine with a slow ascent into the same energy that the calmer thrash tunes flex. Similarly, "Method To Your Madness" is a speed metal oriented one that somehow feels welcoming instead of threatening, perhaps due to its warmer tones and lack of grit. Regardless, both songs fit the general aesthetic of fear, war, and street-fight anthems in a way that's truly unmatched.

Metal Church would move on from here in various directions toeing that speed/power/thrash line to differing degrees depending on vocalist and inspiration, but The Dark easily kicks out the thrash attitude like no other. The faster songs dealt in their shtick with more punk attitude to elevate them, and the slower ones crafted a weighty force that I truly believe helped them in being genre defining. There's not a single moment of this that I'd call filler, and revisiting it is one of the best ways to amp up my energy. If you only ever listen to one Metal Church record, make it this one.

Album Review: Transilvania - Of Sleep And Death

Transilvania - Of Sleep And Death

Invictus Productions - 2021

9/10

Austria's Transilvania has made a bit of a career out of crafting a more unique form of blackened thrash metal, though I may argue that the reason why it's unique is that they deviate pretty far from that tag. While we can certainly discuss traces of it, the more straightforward formula in the outfit's earlier years came to transcend the norm in more ways than just dealing in medieval imagery in place of Satanic debauchery. No, I'm of the belief that Of Sleep And Death deals cards in the vein of its name, falling closer to the blackened death metal realm above all else. This is also probably what really helped sell me on them.

For starters, Transilvania have always somewhat shied away from melody save for a hint of it here and there, favoring rhythms rooted in explosive expression and a furious drive that matches the relentless, blackened vocals. Perhaps one could say the execution feels on the cleaner side, but a rough gradient still manages to dull the blade of our proverbial chops, allowing much of this to sink deeper into full-on black metal territory from time to time. What impresses me more than anything may be the band's ability to quickly shift from a slower, more intricate lick into blasting percussion and tremolos that crawl all over the fret-board. But remember kids, utilizing catchy playing tactics in extreme metal doesn't automatically make it feel thrashy.

What does make it feel thrashy is that punk-oriented attitude that catches the occasional speed metal riff, which you can find from time to time as well. The bridge and following solo on the title track is a fine example of this, though as clear as it is, things get equally muddy surrounding it, complimented by explosive drumming and breakneck tremolos. Bits like this also exist in some of the shorter numbers, namely the end of "Mortpetten," but even much of this resides closer to the impression landed on opener "Opus Morbi"; longer, elaborate numbers where crushing shrieks meet a tough black/death aesthetic. "Heart Harvest" may be my favorite example due to its early Bathory nods, and the cleaner sweeps in "Vault Of Evening" really scratch a nice itch. When a nearly fifty minute record of this type sports zero misses, you know you're in good hands.

Regardless of what you want to call it, what matters is that Of Sleep And Death is an extremely competent, compact slammer of a record that immerses you in a crushing medieval front. The band offers a little bit of all our favorite extreme genres, some more than others. Instinct would tell one to compare it to Hellripper, Witchery or Bastardizer, but I'd sooner compare this to Craven Idol, Proscription, or Necrophobic. If anything of that sort sounds appealing, give these Austrian's your attention.

Album Review: Black Death - Black Death

Black Death - Black Death

Auburn Records - 1984

7.5/10

Right at the medium of glam metal's separation from what was simply a sleazier version of our beloved genre of heavy metal, many would begin falling into one camp or another. Cleveland's Black Death capitalized on this factor with a fun play on words just after the NWOBHM movement had exploded, taking obvious influence from it in a way that almost feels too on the nose. Somehow, the borderline try-hard energy results in something more charming than is deserved, realized in the form of only one album simply titled Black Death in 1984. Despite its format, it almost feels like a long form demo of throwing riffs at a wall and hoping they stick.

For starters, the quality of this is as rough and raw as you'd think, covering their otherwise melodic leads with choppy solos and a rumbling overcast that feels like it came out of your high school best friend's basement. Under such a veneer is a variety of different writing tactics, likely only being held together decently because of said rough production. Very quickly will things move from an explosive riff sandwich coated in coarse vocals, to one utilizing falsettos and a slower crawl to bake in a bit more melody. Similarly, we aren't devoid of softer moments that almost reach balladry, only working with the rest because of the production maintaining the same energy.

The other thing that lets Black Death work nicely is how little it takes itself seriously, allowing some tolerance for the fact that the playing is great but the songs aren't. So much ability is showcased for sure, like the drumming expertise on "The Hunger," the bass frenzy and ear for melody on "When Tears Run Red," or the raging kicks behind "The Scream Of The Iron Messiah," that last one being my favorite. Yet, I would struggle to call any of these super coherent or perhaps even complete; again, things feel more like a demo of ideas put onto a disc than a complete thought. They may as well have included the two bonus tracks as the actual album too.

Returning to that factor of how on the nose everything is, I think the differences in approach are so traceable it's almost funny. The aforementioned "When Tears Run Red" may as well be a cover of Iron Maiden's "Remember Tomorrow" with how much it mirrors the chord progressions, bass layout, and vocal style. In the same breath, you'll snag what seems like a Motorhead rip for "Scream Of The Iron Messiah" though perhaps more intricate than what they do, and "Streetwalker" is like if Lemmy sang a song on Def Leppard's On Through The Night (take your pick). All over the place there's obvious nods to Venom, honing in some early black metal vibes, especially in opener "Night Of The Living Death."

With all of this hokiness, Black Death save themselves by the sheer lack of seriousness, the lo-fi cadence, and overly corny subject matter that injects so much charm. Listening to this feels like being nineteen again, jamming metal with some pimple-faced bros accompanied by beers you snuck from your dad's fridge after he left for the night shift. It's unsure if it wants to be NWOBHM, first wave black metal, or sleazy pre-glam, being an easy contender for the made-up term I'll again call "VHS metal." Some quick reading shows a decent cult following, and I'm sure someone's bound to sneer at my critiques, but as for me, it comes down to some fun ammeture listening that isn't great but I still come back to from time to time.

Album Review: Sadistic Force - Aces Wild

Sadistic Force - Aces Wild

Mercenary Press - 2021

8/10

In the seemingly bottomless pit of blackened thrash sees another one that's been picking up steam lately. Texas's Sadistic Force have only been around since the infamous pandemic, but their output has stayed consistent since. Sometimes it's fun to go back to the start, which is where they came across my radar with the debut album. Titled Aces Wild, it's a brief and digestible spin that strikes a chord quickly and makes its exit.

And I wouldn't want it to be any other way, as Sadistic Force are about as straightforward as it gets on their first full-length. Avoiding any bells and whistles, things take a raw and stripped-down approach that works in the black 'n roll vein, if you will, emphasizing groovy rhythms and simplistic leads meant to quench a basic thirst. Of course, breakneck speeds play an essential role, not often deriving from that save for a few exceptions that allow a little breakup. Topping it all off is a vocal style that has a nastier snarl that's almost too harsh for the more accessible riffing, but if nothing else that keeps things slightly interesting.

Like you'd expect, much of this isn't a listen you go to for standout moments. "Cavern Of The Wraith" early on is a solid tune with its calmer build and striking fret-chops to break away from the speedy foundation some; the solo near the end is pretty exceptional. Closer "Snowblind In Texas" is all sorts of fun as a repurposed W.A.S.P. cover, and the title track has some pretty insane drumming breaks that border on discomfort. Again, nothing overly innovative here, but done well for its craft.

In other words, Aces Wild does exactly what you'd expect, and if it's exactly what you want, it's exactly what you'll need. It even has that Motorhead vibe of gambling and drinking whiskey while heavy tones fill the air. The slim runtime certainly helps its consumption, and any fan of the style should lend it a listen. 

Demo Review: Rotheads - Unfazed By Death

Rotheads - Unfazed By Death

Self-Released - 2016

8.5/10

Despite having about a decade's worth of experience and two full-length records under their belt, it wasn't those that brought the Romanian death metal outfit Rotheads to my attention. Due to an upcoming rerelease via Memento Mori, the first demo was actually what sold me. Titled Unfazed By Death, this first strike is indeed quite deadly, as it lays down their shtick in a very competent way with all the facets I love about the uglier side of the genre. Frankly, you could have told me this was the debut album and I'd have believed you.

Format aside, Rotheads make's their statement quite swiftly in the confines of only five songs plus an intro and outro. Thus, it's no surprise that this grimy grid is easy enough to strap to for a compelling ride. Deep gutturals pressed firmly into the foundation match drumwork that's almost muffled by the thick atmosphere, while the guitars swim above-ground to carry much of the momentum via muscly rhythms. Brighter leads assist wonderfully when we get a break from the growling essence of the vocals, almost giving the latter a backseat role in everything. It's one of those areas where if the vocals were bad, I could give it a pass due to the strength in the music, but the vocals instead being a nice muddy touch is simply a bonus.

In the half-hour run, Unfazed By Death manages to do a decent amount. Some songs take the speedier rumble to exciting heights that still retain a catchy angle, done wonderfully in "Dark War" and "Burden Of Sin." Others work in slightly longer intervals, utilizing bass and gradual slowdowns like "Stench Of Death," one that reeks of its title but is still masterful with its solo leading to a slower outro. The title track similarly handles that energy well keeping the catchy riffs on par, a word I could surprisingly use to describe most of this. The only exception may be "Warding Blood" with its longer stretch of intricacy, sinking deeper into the muck at the expense of accessibility, but really, we get far more of the latter than one would expect with this style of death metal.

Regardless, the Bucharest quartet have managed to not only come out hard with such a firm grip and interesting ideas, but they all fit beautifully into the confines of this short and filthy demo. One of my favorite things is when a band can pull off the uglier aura without dropping too deep into "doom/death" territory or overdoing the gore factor, both of which have been steered clear enough. No shade towards the full-lengths, but at the expense of sounding like one of those guys, the demo is my favorite! Fans of Undeath, Phobophilic, and Ghoulgotha should appreciate this.

Album Review: GraveHammer - Necrotized Mortal

Gravehammer - Necrotized Mortal
Necrolatry Records - 2024

6.5/10

A few years ago, the Malaysian death metallers GraveHammer snagged my attention with their Voices From The Grave EP, presenting a sound quite grating and hoarse. For its short run, it made for a strong sandblast of grit and grime, however last year they came through with a full-length that somehow missed my radar. Necrotized Mortal is the name, fitting quite well for the sound, as this earsplitting sensation was extended to the new format. In other words, the nasty and grating finish that’s covered in burred shards stays quite apparent.

In fact, I’d go as far as saying that there’s zero step-up in production, which could help or hurt depending on what one seeks. On one hand this gives GraveHammer the ability to stand apart from their peers, opting for a blend of the Swedish buzz in the riffs coated in lots of rust. It fits even more that the vocals come through with such a scratchy snarl that border on blackened shriek, even further stomping on the listener while they're already down. Managing to maintain some semblance of rhythm amidst all of this is certainly worth acknowledging, let alone solos still appearing from time to time.

However, I would be lying if I said it really made for a great listening experience. While competent and different, the proverbial unbreathable air can almost be so tough to take in that it's distracting from the music itself. There's also not a lot of standout in the actual songwriting either, so even if things were just a tad easier to digest, I wouldn't have much (if anything) to highlight. The short runtime of seven tracks in thirty minutes plus a Bathory cover certainly allows some forgiveness where this is concerned, but note the word "some."

When I listened to the EP a few years back, I somewhat predicted that this delivery would only work well for a short blast of songs, and it seems like I was correct. Necrotized Mortal does precisely what it sets out to do, and does indeed capitalize on what the Southeast Asian outfit had laid out prior, but it may just not be for me. Those seeking out an unlovable set of horrid riffs with rusty vocals and a musty atmosphere should look no further. Those seeking compelling songwriting or replay value may want to continue their search elsewhere.

Album Review: Phobophilic - Enveloping Absurdity

Phobophilic - Enveloping Absurdity

Prosthetic Records - 2022

9.5/10

As I approach the day that I will get to see North Dakota's Phobophilic live, their one and only full-length has been a heavy part of my recent rotation. In their near decade of existence, they've made a small name for themselves with demos and EPs, before said album realized the greater picture in the form of one of my favorite styles of death metal. Enveloping Absurdity is as meek and malicious as its album art suggests, one aiming to capture a feeling more than craft straightforward chops despite having so many that stick out. Thus, this disc is perfect for complete submersion with little distraction.

Hitting this style isn't anything overly original these days, but I really find solace in any band's ability to strike that narrow chord right between doom/death and the old school Florida sound. Phobophilic are masters of this out of the gate, being crafted around advanced riffing that's easy enough to move to while hinting at more intricacy. At the same time, the murky and filthy delivery of the deep gutturals pair with a very thick atmosphere aided by tough basslines to coat the incredible rhythms with a mucky overlay. When it all comes together, a feeling of cavernous terror and oozy surroundings envelopes (pun intended) the sharp contrast of the rhythms in a way that has such a strong identity.

All of that is great on its own, but Enveloping Absurdity sells the schtick even more by fastening its horrific exterior with a skeleton founded in beefy chops. On one hand, you get a taste of explosive and rumbly roars on doom oriented tracks like the longer title track, leaning far into the terror. Instrumental "Individuation" is like an extra topping, utilizing a droning plane with soft leads and acoustics to establish suspense, working nicely as an eerie break. Other times, songs like "Those Which Stare Back" emphasize not only technical prowess on their rhythms but strong, wailing solos; that bassline right after the repetitive bridge was a neat touch. Even if that's not your thing, "Cathedrals Of Blood (Twilight Of The Idols)" lends us borderline catchy leads, opening with such a fun drum ditty, and the same could be said about sudden and fast swings in "The Illusion Of Self." 

Truly this outfit has absolutely mastered that nearly Lovecraftian approach (as if their lyrical themes weren't enough) that depicts monstrous surroundings while leaving room for accessible tactics. Nothing ever feels overzealous, avoiding pretentious pitfalls that many a tech-death band finds themselves in, nor relying too much on the cavernous echoes. Instead, things are molded with machine precision in a way that's swift, impactful, intriguing, and most importantly, consistent. Anybody with interest landing on the death metal spectrum should give this a shot.

Album Review: Dokken - Tooth And Nail

Dokken - Tooth And Nail

Elektra Records - 1984

10/10

The Los Angeles outfit Dokken would spend all of the early '80s hinting at fitting into the rising glam metal movement, with a mildly limp albeit sturdy start. Only a year following their true debut album's reworking, Lynch and co. would return to leave a far greater impact with Tooth And Nail (ah, the thing I named this blog after). Not only would they rig up a far heavier swing to their formula, but along came greater nuance to the songwriting itself, packaged into an aggressive yet accessible elaboration of what I believe was aimed at before. No hate to Breaking The Chains, but a good idea morphing into a great idea is what truly sells me on a band.

On the note of heaviness, this is concocted on several fronts in the form of a far more boisterous bass kick, confident delivery of Don Dokken's vocal chords, harder drive in George Lynch's riffs, and a production that lets all of this realize its full potential. Again, all of the signs of heavier licks and catchy foundations were present before, but an obvious ceiling prevented the band from spreading its wings the way they did on album number two. Further came varied tactic in writing, letting acoustic guitars miraculously add to the muscular energy rather than taking away from it. Borrowing some of the gang vocals and keen ear for melody established prior was the last method for sharpening the hooks, making for what I can confidently call an unstoppable record.

This newfound energy is evident right away with the title track and "Just Got Lucky" acting as a one-two punch following a little "Without Warning" intro. "Tooth And Nail" holds absolutely nothing back, fitting decently inside a speed metal playlist, while "Just Got Lucky" emphasizes the melodic angle with bright leads that don't soften at all. Similarly, speed works into other numbers like "Don't Close Your Eyes," striking that balance between melody and aggression, backed by pummeling drums and falsettos a la Judas Priest the same year. To the opposite end, "When Heaven Comes Down" rakes in this same fury with a slower march commanded by thick rhythms and powerful vocals.

Looking a little deeper, the acoustic guitar adds fuel to the ever crawling flame, most notably with "Into The Fire," easily my favorite track on the record. The gang chants swinging from the best solo on Tooth And Nail's momentum feels like a release of suspense paired with the acoustics-into-metal riff that carries the entire track. "Alone Again" falls closer to power ballad territory, yet it avoids anything overly sugary or sweet, leaving just enough room for yet another hefty solo. The general atmosphere of it doesn't let it stand out from the rest, and it giving way to closer "Turn On The Action" contrasts its speeds to send us off quite nicely. If there's any filler to be found, you could make a case for "Heartless Heart" and "Bullets To Spare," but both are still very enjoyable, crafted with the same level of care to the point that I couldn't picture listening to this disc without them.

These days, Dokken is somewhat overlooked by the larger metal community due to their heavy association with the glam metal movement. Nonetheless, their sophomore record made a profound impact at the time, helping forge the genre's defining characteristics beside their NWOBHM and US sleaze rock counterparts. A more accessible but heavy-hitting formula where emotions meet aggression bridged the gap between emerging speed and glam metal movements respectively, and for that I'll always love this. Everything falling into place so naturally despite the different directions was simply a bonus to what was already promising.

Pokolgép - Pokoli színjáték

Pokolgép - Pokoli színjáték

Start - 1987

9/10

Despite popular belief, there’s a decent amount of heavy metal that came out of the former eastern bloc that likely never picked up steam due to language barrier and/or cold war semantics. Though a concept not foreign to me, the band Pokolgép of the Hungarian People’s Republic really snagged my interest faster than any other. If the cheesy ‘80s artwork is anything to go by, you can expect a pretty standard heavy/speed metal sound of the time to be the bread and butter of Pokoli színjáték, the band’s second record. However, the variance of direction taken mixed with such smooth delivery and catchier toppings makes it stand out.

Pokoli színjáték is patched together wonderfully with a clear yet blatantly raw finish in a way that lets everything pop clearly without anything competing for attention. Nothing comes off grainy or degraded in the vein of a demo, but there’s a very present amateur feel that enhances rather than retracts from the competent clarity. On that note, the delivery itself is fantastic, with crystal clear vocals, sturdy riffs, and hooky solos coming in beautifully without sacrificing any tougher edge. Thus, it should be no surprise that several different influences of the time are showcased without feeling awkward.

In other words, one should expect equal flavors of glam metal and to-the-point speed oriented rippers. The title track may be the best representation of anything due to its crunchy tones meeting a steady drive, however the ones that take the melody to a higher degree sit better with me. “Halálra szeretlek” absolutely nails the chanted-chorus and big solo combo that could come right out of L.A. instead of Budapest, and “Ítélet helyett” has a softer nature that nearly touches power ballad territory. On the flipside, opener “Tökfej” presents a meaner snarl that deals in heavier speeds to land a tougher impression from the start. Other tracks like “666“ also take this route, littered with pummeling drums as an appeasement of those who sneer at more accessible sounds, and I love the power-stance/pinch harmonic drive and falsettos of "Éjféli harang.”

My inability to understand the voice of the Magyar may leave out some desired context, but the general makeup, vibe, and execution of their sophomore release truly make Pokolgép an absolute beast to be reckoned with. One may complain about some of the inconsistencies from track to track, but considering how straightforward the overall picture is, I think it flowed amazingly. Maybe not groundbreaking, but absolutely impressive in every way. Fans who dig a range of Dokken, Saxon, Steeler, and earlier Pantera should scoop this up.

EP Review: Grim Discipline - Pennsylvanian Thirst

Grim Discipline - Pennsylvanian Thirst

Self-Released - 2025

8/10

One of my favorite genres is starting to become "things that are too silly to take seriously" that end up being pretty good anyway. Learning that Grim Discipline is fronted by a dude from Alms and Witch Hazel sort of adds up, but this new project is based about twenty minutes from my own city, being what I can assume is a hilarious play on Transylvanian Hunger (except this is something I actually want to listen to). Pennsylvanian Thirst is the sole EP by this one-man outfit, staying in the blackened speed/heavy metal lane for everything while surprisingly having nuance for its short run. With how competent it is, it's almost hard to just dismiss it as "fun".

All four tracks on Pennsylvanian Thirst mold together by maintaining a gritty overcast from harsh blackened shrieks and a slightly dirty production. Yet, nothing gets compromised in lieu of that, even allowing some bass to rumble into the brook. Opener "Tormentorer" is pretty black/speed by the numbers, but from there everything slows into the traditional backbone with more melody and identity. "Haunt My Dreams" cools things into this, striking with the best solo. "Night Lord" adds a little more of a steady stomp to the stream, utilizing that clear basswork with higher leads to its advantage, before "Financialized" closes us out with Maideny licks breaking back into a speed metal frenzy.

Clearly there isn't a whole lot going on here, but for an EP that came out of nowhere with such weird song titles and an even funnier album title, Grim Discipline is at least onto something. One part of me can't wait to see if it grows into something more, another part hopes this is a one-off little side project that makes a joke and leaves. Maybe the kid that asked me "Is Pennsylvania the Transylvania of the USA" when I went to Romania was onto something.

Album Review: Dokken - Breaking The Chains

Dokken - Breaking The Chains

Elektra Records - 1983

8/10

Some argue that Dokken's first record dropped two years prior, but in the same way that Slipknot's Mate. Feed. Kill. Repeat. went from debut to demo, it's more or less easier to just regard Breakin' The Chains as a second demo beside Back In The Streets; the G makes all the difference, right? Properly, Breaking The Chains in 1983 would represent a far clearer idea not only of what was attempted the first time around, but would set a strong foundation of what Don Dokken and George Lynch would run with for the rest of the '80s. Moreover, it's one of those odd instances of something where I like every release in the "classic" era better, yet I find myself returning to it just as often.

We'll chalk this up to the fact that it's such an easy listen, bringing me to the overall point that it's about as "safe" as a metal album can be. Dokken would evolve into something more intricate with far more distinct nuances, but in a vacuum, Breaking The Chains simply fell into the sleazy pre-glam sound that dominated the scene in the early '80s (a great friend of mine calls this "VHS metal"). The general formula follows straightforward riffing with typical themes around partying, love, and life, topped off with warm clarity. Occasional falsetto belts and a beefy riff here and there add a dash of flavor, and the meat & potatoes approach lets things move together quite nicely, at least avoiding anything I'd call awkward.

Fortunately, a lot of the songs worked as what we'll call happy accidents. The opening title track may be the grand exception, as the ripping solo, catchy layered chorus, and ascending verses are pumped full of energy with more purpose than anything else on the album. Anything more that I love about this just happened to work nicely. "Nightrider" is the go-to example, driving with a stern rhythm that never lets up despite its less-than-exciting layout. Closer "Paris Is Burning" has loads of energy, utilizing drum kicks and healthier speeds meeting the gang chorus halfway, and "Seven Thunders" is a catchy pop-metal banger that I get stuck in my head quite regularly. Hell, I'll even throw some props towards "Stick To Your Guns" because of its bassy bridge and decent harmonies.

On the other hand, for every tune I'll hype up, there's one that could be skipped. I won't pretend "Felony" doesn't also get stuck in my head with its start/stop structure, but it's a on-the-nose nature and poorly aged lyrics don't help, which also goes for "Young Girls." Similarly, "I Can't See You" is held up structurally thanks to being an earworm, but there's almost no foundation beneath the surface. Others don't even get that much acknowledgement, as "In The Middle" is about as boring as it gets, and "Live To Rock (Rock To Live)" is a supreme let-down despite it's muscular charge.

If the previous paragraph is anything to go by, it may sound like I dislike Breaking The Chains, but despite its one-sidedness, I manage to find plenty of charm. It's a swift listen, showcasing promising foundation of what's to come, and not a single song is overtly bad. Some are just by-the-numbers sleaze-metal of the time that's serviceable enough, but can't distract from the obvious filler element. Similar to Halloween 4: The Return Of Michael Myers, the quirks and chuckles keep me coming back, making it a record that's here to stay.

Album Review: GraveRipper - Seasons Dreaming Death

Graveripper - Seasons Dreaming Death
Wise Blood Records - 2023 8/10

With the new release hitting the scene, I felt it necessary to first revisit GraveRipper’s debut full-length record. Having followed the Indianapolis outfit since its earliest inception, it was neat to watch the demo years evolve into fruition. Therefore, it should be no surprise that Seasons Dreaming Death realizes the general vibe put forth before in a more complete format. No-nonsense thrash with a blackened veneer is what it's still about.

Interestingly, for a genre that typically favors the rough and gruff on its surface, GraveRipper have chosen a clearer direction. Cory's harsh vocals never glean clean for even a minute, yet almost all of them come through as crisp and comprehensible as possible. Complementing this are the same riff-salads that defined their sound on the demos, sticking to a pretty basic formula that's admittedly not unique but is equally difficult to mess up. Thankfully, a nice swift runtime allows this beast to start and end without overdoing anything, making its statement quite digestible.

Considering the bare-bones nature, Seasons Dreaming Death is better understood as a single-purpose approach that still has neat little nuances from time to time. "Divine Incantations" might be a favorite, as the bass ups its ante and the blackened overlay is more ferocious thanks to its blast beat-tremolo combo before returning to the thrash metal roots. The final two tracks "And I Curse Reality" and "Only Coldness" really lean hard into the blackmosphere, caking on even more of this for the majority of their runtimes. On the other hand, there's some fun to the direct but effective method. A slower lead with chugging rhythms running to the solo in "Red Skies" comes in nice and hot, and I love the straightforward nature of the monotoned punch in "Premeditated."

A word I'd use to describe the general idea here is "safe." It would be dishonest to treat this outfit's first record as groundbreaking in any way, but its also exactly what I look for in a black/thrash debut. They're very clearly onto something by this point, the songwriting is competent and clear, and there's a desire to perhaps pack in darker artillery if the closing songs are anything to go by. Anybody looking for the fast and furious attitude under a grainy blanket should seek this out.

Album Review: Vindicator - The Antique Witcheries

Vindicator - The Antique Witcheries

Heavy Artillery Records - 2010

9/10

Two years following Vindicator's thrashy, trashy, but impressively catchy debut album titled There Will Be Blood, the Ohio outfit returned for a follow-up in the same vein showcasing early evolution. No hard deviations from the rough and gruff thrash under a youthful scope were present, but an obvious reigning-in of the chaos and tightening-down of the writing was present. Thus, The Antique Witcheries strikes the iron at that sweet spot where production has that organic grit with song structures that aren't quite as simplistic. I may be a fan of the latter fun, but that direction has a shelf life about as long as milk.

Such a description might make someone predict something leaning into over-sophistication, but Vindicator's attitude dodges that and continues aiming for a no-bullshit punch. As controversial as it sounds, this is Marshall Law's best vocal performance to date, trading some of the harsher shrieks and blitzing energy for a raspy but concise flow, touching the right amount of melody. Moreover, rhythmic integrity takes a step up in the riff department, mixing more intricate breaks into otherwise straightforward structures, and the solos are in no short supply either. Even the drums have an echoed tint that add a little personality, but not overdone to the point that it sounds like it belongs on a demo.

And as immaculately as The Antique Witcheries is pulled off as a complete package, I really appreciate the amount of nuances found from song to song. "Sewn To The Flesh" is a bass-heavy banger that utilizes steady power-stance bridges under vocals that use monotone to their advantage, while opener "Beneath The Guillotine" reveals the band's ability to morph their violent nature into something catchy from start to finish. "Raze The Dead" showcases strengths in obvious zombified themes under a suspenseful scope that bakes crushing riffs and crawling bass lines into the formula. I may even point out some hardcore influences in its little breakdown that precedes some of Vic Stown's strongest leads seeing us out.

Even the speed-heavy blazers leave a sharp impression, like the explosive "Fearmonger" that still packs in layer after layer of aggression. You'll get whiffs of the hectic fun from before in the form of "Quarry Rats," a goofy but impressionable number, and the title track's gang chants following several directions fit all of this very nicely. Hell, there are even early signs of the political and reality struggles that would come with Vindicator's evolution in the likes of "Communal Decay," which doesn't feel out of place with the slime and grime. It's like a reminder that the energy of the first round isn't gone, but simply evolved to fit into a new mold. What matters most is that nothing feels forced, and the different nuances in the band's evolution mesh together with the established attitude, avoiding awkward transition. 

Given my direct insight on the band's history, I find it insane that Mr. Law doesn't particularly care for his performance on this. Maybe it's a happy accident, maybe it's another one of my personal sympathies a la Exodus's Force Of Habit, but I find the sophomore record to be their most essential work. No shade at the other albums, as it's all got its own charm, but it's tough for a throwback thrash act to really feel unique. If they nailed a distinct identity on any record, this is the one.

Album Review: Silencer - Death, Pierce Me

Silencer - Death, Pierce Me

Prophecy Productions - 2001

2.5/10

For about as long as I've been familiar with Silencer's existence, they have basically been a meme to me, nothing more. As much as I shat on it, and laughed at the hilarious vocals, as well as the ridiculous lore behind front man Nattramn's uh, backstory, it occurred to me that I never sat and properly listened to the entire record from front to back. The lone full-length titled Death, Pierce Me seems to have spearheaded what would become known as "depressive black metal," something I basically ignore outside of two Ghost Bath records. For nothing else, I guess the Swedish project's historical significance has to mean... something? A quick search did show the genre existing a few years prior to this, but I can't say I recognized a single name.

On paper, Death, Pierce Me isn't structurally too different than the Norwegian, second-wave format. Long, atmosphere-heavy songs carry roughly fifty minutes worth of music in the form of only six tracks. A grim and cool atmosphere is established, degrading the riffs into a coarse but comprehensive soundscape meant to enhance the heavy backbone, while leaving a bleak impression on the occasional soft parts. Acoustic guitars with the help of synth layers will spruce up both sides here and there for extra toppings, and cleaner electric guitars tend to weld it all together. For the most part, you wouldn't expect this to be much different than the typical Emperor or Mayhem album. Except...

We'll cover the infamous part next, that being the horrendous cry/squeal vocals. Obviously this is somewhat common for the sub-sub-genre at hand, but Silencer's brand seems to do absolutely nothing to add even the slightest hint of desirability. There is the occasional blackened shriek that fits far more into the blackmosphere such as in the bulk of "Sterile Nails and Thunderbowels," but as soon as you're about to take a shred of this seriously, the softer back of the song ruins that. Laughable wimpers that sound like an awful Yoda impression mixed with a distraught toddler's tantrum overtake a window of softer passages that work as a break from the harsher sections. Once the momentum picks back up, on come the crying wails that ruin any sense of decent riff writing behind them. It could potentially be easier to overlook if the vocals were at least toned down, layered back, or just less ambitious as a whole (see Ghost Bath's Moonlover), but that must be asking too much. For some reason, "I Shall Lead, You Shall Follow" randomly drops to demo-level quality, with the roughness somehow making these features even worse, not better.

All of that does also beg the question; is the music itself any good? The answer is really just a simple "I guess?". For the most part, the rhythms are about as black metal by the numbers as the atmosphere and general vibe establish up front. There are a few notable moments, like the bassy rumble that introduces "Taklamakan" before breaking into explosive drum blasts accompanying tremolos, but even this is later ruined with what sounds like hiccup/gargling shrieks of pain. You can find your occasional guitar or keyboard melodies that work decently enough. The opening licks on the album's title track are intriguing (at first), and the closing piano instrumental "Feeble Are You, Sons Of Sion" is probably the best three minute streak on the album. Cool, we'll throw Nattramn a few points for all of this, even if it takes also sifting through the eleven minute snoozefest called "The Slow Kill In The Cold" to find nothing of note.

Even with these areas worth at least acknowledging, I wouldn't call this anything resembling good music, even ignoring the vocals. They're obviously the worst part, but ultimately they just make a boring album far worse, and any good comes with bad tenfold. If you took the formula of In The Nightside Eclipse (an album I find overrated as is), cheapened everything about it, threw horrendous vocals to the top, and made the themes depressing and suicidal, you'd have this record. Even its presentation of such depressing themes is laughable and impossible to take seriously, sounding as if it was conjured up by a middle-schooler who's parents just don't understand. Each layer peeled back reveals something worse than its shell, and I can't really call Silencer's one full-length album anything short of a fifty-minute, cringe, pile of shit. I hope creating this helped the mastermind's mental situation, because it made mine worse.