ALBUM REVIEW: Testament - "Live At The Fillmore", "Demonic", "The Gathering", "First Strike Still Deadly", "Live At Endhoven '87" (Reissues)

By: Richard Maw

Album Type: Reissue

Date Released: 26/01/2018

Label: Nuclear Blast

When at their best, as on “The Gathering”, there are few thrash bands who are their equal.

"Live At The Fillmore" (1995), "Demonic"(1997), "The Gathering"(1999) (remastered by Andy Sneap) "First Strike Still Deadly"(2001), “Live At Eindhoven '87"(2009)

The Review:

Testament's career is generally viewed as being a little behind the pace of the Big Four, but not by too much. Cursed with a late start via their debut of “The Legacy”, they followed it up impressively with “The New Order”, got a little more catchy on “Practice What You Preach” and then... lost their way a little chasing Metallicaand then Pantera'scoat tails. The records they released in the first half of the 90's were thus a mixed bag- great moments, weaker moments, thrash, no thrash and so on.

These welcome reissues, then, remind us of what a potent force Testament returned as via a shot of more extreme metal and an iron will. These reissues cover a couple of live albums- from 1987 and 1995 and then their studio output from 1997 into the new millennium. Let's be clear, Testament at their lowest ebb were still one of the best metal bands around, and so if “Live at The Fillmore” catches them on tour after the release of the album “Low”, it cherry picks the best tracks from their career to that time. It's a solid and punchy listen- if maybe lacking the “lightning in a bottle” x-factor that, say, “No Sleep Til Hammersmith” has. It works as a fine live best of- most of the best album tracks are represented. 1987's “Live at Eindhoven”catches the band at the very start of their international career and the performances are rough, ready, energetic and fiery. Both releases are really for fans only. For me John Dette being on drums makes “Live at The Fillmore” superior for me. He is one of the very best drummers in thrash. He played with Anthrax, filling in for the equally majestic Charlie Benante and he absolutely blew Paul Bostaph away- who must have been having an off night!

1997's “Demonic” is a superb and surprisingly extreme listen. Chuck Billy introduced some very extreme elements to his vocals to excellent effect and the overall impression is of a band revitalised and out-heavying the competition (Metallica and Megadethwere at career low points musically at this point, Anthrax were effectively inactive and Slayerwere coming off the back of their worst studio album). Eric Peterson was firmly at the helm as usual, with Chuck ably upping his game and the mighty Gene Hoglan stepping in on drums. While Alex Skolnick was not present, Greg Alvelais proved a worthy replacement with Greg Ramirez rounding out the studio line up. The death metal influence is strong and the record finds the band doing what they want to do- trends be damned. Great performances all around and impressive writing; what a great come-back record! It also sounds great- tight and clear with lots of weight to the production.

However, with “The Gathering” in 1999, the band hit an all time high. Dave Lombardo delivers a masterclass in thrash metal drumming (thanks Aaron!) and all the material is top notch. From the massive opener “DNR” to “Hammer of The Gods”, this is a thrash tour de force from a time when no-one was releasing such records. There are some classic tunes on here- “Riding The Snake”, “3 Days in Darkness”, “Legions of The Dead”. Every track is prime Testamentand is right up there with “The Legacy”and “The New Order”- with much better production. The fact that it is, in my view, Testament's best makes it one of the best thrash albums of all time. Chuck proves on this one that he is one of the best and most versatile vocalists in metal, while the chemistry between Peterson and Lombardo is sublime. Steve Digiorgio helping out on bass really helps the cause too- metal royalty! As a final boost, Andy Sneap's production is excellent.

“First Strike...Still Deadly”rounds out the studio releases and is one of my favourite Testament records. Whilst some fans may moan about the band re-recording their earlier classics and the clinical sound, I loved this at the time of release and still do. The sound is excellent, the performances are uniformly good (John Tempesta on drums this time around) and the song choices are stellar. Having Steve Zetro Souza come back for a couple of very early compositions is a nice bonus and overall I would recommend buying this over and above the first two studio albums! That may well not be a popular view, but there it is.

The verdict on this set of re-issues? Three essential releases and two live albums of good to great quality. Testament are usually mentioned in the same breath as Exodusand Overkillas being just outside the Big Four, but that is not to say that they don't knock all of Anthrax'swork plus half of Slayer's, Megadeth's and Metallica's discography into a neatly cocked hat. When at their best, as on “The Gathering”, there are few thrash bands who are their equal. After an extended break while Chuck Billy dealt with cancer, Testamentreturned and to date have released three great studio records from 2008 onwards. A classic band.

Band info: facebook

ALBUM REVIEW: Possessor - "The Ripper"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 24/11/2017

Label: Wicked Lester Records |

Graven Earth Records

"The Ripper" is one of the most pleasing releases to wrap 2017 and open up 2018. Possessor's massive sound and brutal composition make it one of the more intimidating listens on the scene, and one you should get to know now, if you aren't already down.

“The Ripper”CD//CS//DD track listing

1. Conjure and Possess

2. Guillotine

3. Wet Cemetery

4. The Slime        

5. Whitechapel Murders

6. Lava 

7. Notting Hell

8. Hacksaw

9. Earth Shaker

The Review:

London's thrash marauders Possessor have been at this for awhile, and get fans excited by its mutated form of garage, hardcore, thrash and even a splash of doom from moment to moment. The three-piece managed to carve its own lane in English metal through efforts like its 2016 album "Dead By Dawn," 2015's "Stay Dead" EP and many more. To its credit, Possessor has garnered, through this time, much critical acclaim for its distorted sludge and classic-metal influenced roar.

A band this busy – Possessor has offered nine records since 2014 – always raises eyebrows. Is there potential for burnout, or whiling through all one's creative juices? "The Ripper," an ambitious nine-song album with miles of fire to it, generates a number of these questions, undoubtedly.

So where is a band that gets high regard and seems to have a lot more in the tank to do when music itself is evolving constantly? In the case of Possessor, which melds enough traditional metal to offer a timelessness to its sound, there is an inherent advantage here, since it is not wedded to trends. "The Ripper"starts with "Conjure and Possess," a double-down of guitars and monster riffs that make it clear that Possessor is taking no prisoners. Again, there's an approach that seems to defy our almost innate desire for something wholly new. We're in a moment of so many metal consolidations – black metal with everything, hardcore and more subgenres are blended all the time – that fans almost start to expect it. Bands like Mastiff and Possessor seem to instead revel in straight-ahead metal. There are a list of gifted influences you hear on the opener and its followup, "Guillotine," including Pantera, Megdeth and Exodus among them. A few critical ears might feel this could be considered derivative or even a bit too 1990s. "Wet Cemetery" delivers a bit of grunge-style punk that still stands out for its heaviness. However, Possessor does something that is much harder to pull off than it seems. Songs like "Whitechapel Murders" and "Earth Shaker" come across as inspired by influences, rather than mimicking those acts. Herein Possessor make a far greater return than maybe even at first glance.

If you enjoyed the band's earlier work, like its driving and ferocious album, "Electric Hell," there's a lot on "The Ripper" to please you. The music thrashes hard while being enjoyable for new fans. Cuts like "Hacksaw" are some of Possessor's better songs.  "The Ripper" is one of the most pleasing releases to wrap 2017 and open up 2018. Possessor's massive sound and brutal composition make it one of the more intimidating listens on the scene, and one you should get to know now, if you aren't already down.

"The Ripper" is available here

Band info: bandcamp|| facebook

TERRIFIER ALBUM PREMIERE: Canadian Thrash Titans debut 'Weapons of Thrash Destruction’ & front man Chase Thibodeau picks his Top 5 Thrash Albums

The terrifically titled Terrifier brings their thrash metal apocalypse straight outta Vancouver BC. As the Metal God himself Rob Halford memorably sang: ‘fast and furious/we ride the universe’, that very much sums up Terrifier’s dedication to the glory of thrash!

Originally known as Skullhammer, Terrifierreleased their debut album ‘Destroyers of the Faith’ back in 2012 and the “Metal Or Death” EP in 2013, so this is no flash-in-the-pan thrash band!  
Incorporating jackhammer drums, bulldozing bass-lines, a twin-lead attack that leaves posers pulped in its wake, and vocals that can level mountains, Terrifier’s motto could well be ‘thrashing is our business…and business is good’ . Terrifier taken the blueprint from the old gods, Metallica, Slayer, and used that template to birth new sounds, indeed the old gods maybe eternal but must embrace the new flesh too!  Vocalist, bassist and founder member Chase Thibodeau explains Terrifier’s reason for being. ‘We formed this band because we love thrash and play what we think sounds cool…our music is fast, technical, heavy and melodic and shredding.’ Indeed, this is a band that truly puts the shred inside your head!


Chase sums up Terrifier’s new music: ‘We think people will enjoy this album and use our music to get pumped up for whatever life throws at them. It would be our honour to inspire others into thrash metal…the world needs more thrash!’  So with Terrifier’s new album ‘Weapons of Thrash Destruction’ is slated for release on January, 20 2017 via Test Your Metal Records you can exclusively stream the album here first below.  Not only that we invited Chase to give us the low down on his top 5 thrash albums, so for the second time in a week, we crack the dial to 11, because “11 is one Louder”





Hey guys this is Chase from Terrifier and here's my top 5 thrash albums.

Metallica's “Kill Em' All” was the first CD I ever owned. The first time I listened to it I wasn't sure that I liked it cause of the quality of the recording. I soon became obsessed with it and would listen to Metallica religiously throughout my teenage years. It has a real sharp mid range sound with blaring solos and the vocals sound so 80's! I always liked that fast upbeat sound. I think this is what really inspired me to play thrash. “Four horsemen”, “Metal Militia” and “Phantom Lord” are really bad ass songs from that CD.

 

“Show No Mercy”by Slayerwas huge for me. I really think this is one of Slayers best albums. It's different than the rest and holds a special place in my influences. “Die by the sword”, “Fight till' Death” and “Evil has no boundaries” are my picks.

 

“Reign in Blood”by Slayerhas always got my adrenaline flying through the roof. I think we take influence from Slayersaggression, speed and attitude. Lyrically I'm very inspired by them. I don't think anyone writes lyrics like old school Slayer. “Altar of Sacrifice” and “Angel of Death” are killer!

 

Testament’s “The Legacy” is so bad ass!!! Chuck Billy's vocals really inspire me in this album. His mix of low, mid and high vocals on this one paved the way for my style. After hearing this I wanted to expand my vocal range and do more with voice. “Curse of the legions of death”and“The Haunting” are both killer songs off that one.

Megadeth's “Peace Sells…” was another CD I've always thought is one of the best thrash albums ever. Dave Mustaine and Chris Poland were a wicked duo on the guitars. “Wake up dead” and “Devils Island” are two songs that stand out to me on that one

Band info:  facebook || bandcamp

ALBUM REVIEW: Sepultura - "Machine Messiah"

By: Richard Maw

Album Type: Full Length

Date Released: 13/01/2017

Label: Nuclear Blast

Will this convert early-Sepultura-only fans? Unlikely. Will it convert Cavalera only Sepultura fans? I doubt it, as those people have made their decision and won't entertain that a Sepultura can exist without the Cavalera brothers. However, this is yet another high quality entry into the Sepultura discography and is one of the best records the band has made.

“Machine Messiah” CD//DD//LP track listing:

1. Machine Messiah 5:54

2. I Am The Enemy 2:27

3. Phantom Self 5:30

4. Alethea 4:31

5. Iceberg Dances 4:41

6. Sworn Oath 6:09

7. Resistant Parasites 4:58

8. Silent Violence 3:46

9. Vandals Nest 2:47

10. Cyber God 5:22

The Review:

Sepultura, it can accurately be said, were once one of the most important bands in metal from 1989 to 1996. In the early 90's they were THE gateway band into extreme metal. People loved them and they were seen as somehow more cool and edgy than bands like Pantera, more modern than Slayer and were perfectly positioned to rule the metal roost in an era when Metallica and Megadeth had gone a little too far from the original blueprint. As we all know, Max Cavalera quit and the rest is a much more low key history than what might/might not have been.

As noted back in 2013 when I reviewed the superb ...Mediator... album, it is such a shame that the latter day work of the band has been dismissed by many. Sure, it may not be the classic line-up(s) that produced the early records but there is a great deal of superb metal to explore nonetheless. Sepultura have become a quirky no-one-album-alike band who have followed their own muse to produce some truly original metal over the course of the last 20 years. Yes, it is now almost that long(!).

With “Machine Messiah”, we find Eloy Casagrande still behind the kit (a monster, one of the best in metal/any genre), along with Andreas, Paulo and Derrick. We also find ten tracks of white hot intensity wrapped up in an excellent production of power and clarity unthinkable thirty years ago at the start of the band's career. The first three tracks take in a downbeat and sombre title track, the flat out thrash assault of “I am The Enemy” and even a mix of instrumentation and fantastic groove in “Phantom Self”, which also possesses a strong hook.

Those former fans wanting a return to the blackened death thrash of the band's earliest work will have to dig out those (recently purchased) cassettes and records again. This is yet another varied and magnificent work of originality. If anything, it perhaps veers a little closer to “Chaos AD” than previous Green-era records. The songs are mostly quite direct and there are no small amount of hooks across the record. There is even an instrumental in the shape of “Iceberg Dances”, which is a beguiling aural assault, packed with great riffs, an acoustic guitar section and very inventive drum work- a mid album highlight and just a superb piece of music.

“Sworn Oath” finds the band in groovily bullish mood, Green providing an excellent vocal performance to accompany the surprisingly dynamic track. “Resistant Parasites” and “Silent Violence” are arguably more “typical” latter day Seps fare; heavy, murky grooves and dark themes, while “Vandals Nest” a rip-roarer with a superb intro and a feel more akin to “Arise”or even “Beneath The Remains”.

The album thus concludes with “Cyber God”, which is a dirge type track full of angular riffs and tom work; a satisfying and dark end to an album that could be described in exactly those terms. The exploration of technologies influence/control over mankind is continued on from the ...Mediator opus and the themes are very prescient.

Will this convert early-Sepultura-only fans? Unlikely. Will it convert Cavalera only Sepulturafans? I doubt it, as those people have made their decision and won't entertain that a Sepulturacan exist without the Cavalera brothers (Sepultura still boasts one original member- there are bands out there that don't, but I appreciate the arguments people will counter that with). However, this is yet another high quality entry into the Sepulturadiscography and is one of the best records the band has made. The days of “Beneath The Remains” are never coming back, but, frankly, why would you want them to? There are lots of thrash bands doing that, but there is only one metal band doing this. Original and uncategorisable, long live Sepultura.

“Machine Messiah” is available now

Band info: official || facebook

THE 16 MOST POPULAR ALBUMS OF 2016: The Sour 16 End of Year List 2016

The Sour 16 End of Year List 2016

Whatever is going on in the world, in our personal lives, at work and at home, music is a constant source of escapism and as one year ends and another begins, the prospect that 2017 will bring another batch of fantastic releases is a mouth watering prospect. 

So, with that in mind, today we present the culmination of our efforts from 2016 and present “The Most Popular Albums of 2016” for your viewing pleasure.  I hope you had as much fun checking out the new music as we did presenting it to you. I’d like to bestow an immeasurable amount of gratitude to the contributors, who made this year so awesome. 

The results are compiled based on page views alone and calibrated into the list below. All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views since their publication are highlighted in red). 

16). Gozu - "Revival” (1753) 

At their core, Gozu is a bad ass American rock band. They’ve got heavy riffs in tow and bang out tunes loud enough to piss off the neighbors. But Gozu is more than this. Gozu is a songwriting machine, one that is able to churn out eight loud, hard hitting compositions without sacrificing the meaning behind the songs or the band.  Gozu’s “Revival” is gruff and dirty when it needs to be just as it’s swift and soulful when the time is right.

15). Slomatics - "Future Echo Returns" (1818)

When a band's guitarist has their own signature fuzz pedal, it's a safe bet that they can cut through solid rock with their riffs; when both guitarists have an alternate version of the same pedal then prepare your eardrums for some serious, rock crushing heaviosity. The towering heaviness of the riffs and the images of the infinite, shimmering darkness of space is executed and captured perfectly. An amazing album worthy of any and all praise it will undoubtedly receives.

14) Rob Zombie - "The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser" (1935)

Rob Zombie hits a home run with each gnarly cut, keeping the fire hot throughout. Pastor Snow was right. Rock n’ roll has a great beat. And that evil feeling you feel when you sing it? It’s a good feeling to feel!

13) Conan – “Revengeance” (1964)

The song 'Every Man Is An Enemy' has one of the most metal sounding titles I've ever heard and the violent intentions inherent in the brooding, bruising riffs put the bands money where its snarling mouth is. 'Earthenguard', the final track of the 6 on offer, is a song so heavy it has its own gravitational pull. Its 12 minutes of neanderthalic doom which also swims and swirls thanks to the phased guitars. It's an odyssey, a massive trek through mountainous chops and pounding beats that are designed to systematically cave your head in.  Have Conan outdone themselves? Quite possibly.

12). Neurosis - “Fire Within Fires” (2056)

As this decade has yet to close, it's difficult to define what Neurosis are...but herein lies their beauty; you define who and what they are to you. After 30 years, these guys know what needs to go into a Neurosis record and will continue to do so until the music is finished with them.

11). Periphery- "Periphery III: Select Difficulty" (2137)

Experimental metal bands like Periphery will (hopefully) never settle for sticking to one particular groove.  Constantly innovating, this adds to “Juggernaut”, jumping off from that platform and diving into dark, unexplored depths.  Music should surprise and inspire, and “Periphery III: Select Difficulty” does both with eye-opening results.  Just watch out for unexpected face-melting, okay?

 

10). Asteroid - "III" (2159)

It is a hugely diverse record and shows the advanced musicianship between the band, blending all kinds of stoner rock and fuzz. This is a band who are firmly on the rise to the top and know exactly how to get there. One of the best releases of 2016 without a doubt.

 09). Dunsmuir - "Dunsmuir" (2341)

Dunsmuir, manages the uncanny trick of amounting to the sum of its parts. The record's players have some serious pedigree and none if it is wasted. Vinny Appice is as powerful as ever, with a beastly snare sound, while Bone and Davis are a formidable strings team. Fallon puts in a hardworking and uniformly stellar shift as per usual.  Simply put, if you like Clutch and Dio-era Sabbath, you will be right at home here. If you are a fan of Fu Manchu, there are sounds for you here as well. This album rocks, it’s that simple.

08). Wretch – “Wretch” (2673)

This is a fine debut and a much needed shot of trad doom, with actual songs, - in an era of obsession with amps and pedals (but without, you know, actual songs and stuff). It is a triumph for this intrepid trio and surely there are great things to come for the band. Make no mistake, Wretch are here and Wretch will bring you real doom or throw you out of the bar if you don't like it.

07). Subrosa- "For This We Fought the Battle of Ages" (3040)

If you love really emotionally charged hard hitting music, give this record a listen. I had very high expectations of this record, and those expectations were met and then exceeded.

06). Meshuggah - "The Violent Sleep of Reason” (3065)

Trying to describe Meshuggah’s sound is a challenge.  The only way I can put it is that they’re a musical cascade: a never-ending barrage of sound and heaviness pounding down upon you. Don’t expect or ballad or moments of levity here, this is a relentless tide which you will not escape from.  Tracks like ‘MonstoCity’ and ‘Our Rage Won’t Die’ are pummelling tracks of new material which can easily be slotted in to their live setlist and not seem out of place.  In fact, the same could be said for any of those songs on display here: like a chain forged by Vulcan, there’s not a weak link present.  It all hits, and hits hard.

05). Gojira - "Magma”(3156)

‘Magma’ is a record that envelopes you with its overtly dark drama, but within its haze, its crushing catharcism makes it one of the most special metal records to be released in some time.  It may not be the relentless assault many fans wanted from the album – and that’s not to say it is barren of those moments – yet, as a vehicle for emotional cleansing, as a eulogy and an obituary for a woman who shaped the personalities that drive this act, it is staggering.

04). Suicidal Tendencies - "World Gone Mad" (3326)

It flows in a virtually flawless manner and I do believe “World Gone Mad” will be remembered as one of their best records, ever.  This one’s a home run with a bullet. 

 

03). Blood Ceremony – “Lord of Misrule” (4006)

If you are new to Blood Ceremony, this album is as fine a place to start as any. If you have heard any of their previous albums and enjoyed them, your enjoyment of this one is guaranteed. This is as good an example as any of a band looking to the past both in terms of musical and folklore tradition to create fantastical and occult inspired music.

02). Megadeth - "Dystopia" (6616)

This line-up has introduced itself with a battering ram of thrash utopia; the riffs, the fury and the sizzling lead playing present here stands toe-to-toe with the bands best 21^st century output.  It’s a record which accentuates the bands relevancy in 2016. Masters of their trade just listen to ‘Lying In State’ and tell me they can’t smash shit up with the best of them. They continue to release music and make the effort to give more content for their fans to consume. Not many other bands their age can say that.

1). Alter Bridge - (20,702)

If you have any interest in the more commercial end of the rock and metal spectrum i.e. Metallica, Maiden, Soundgarden and so on then this album could be a fine intro to the band. If you are a fan already you will enjoy this one immensely. Alter Bridge are leading lights in modern rock and may well be the last of a dying breed.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  September’s “Sour 16” features reviews by:  Richard Maw, Theron Moore, Dan Brownson, Jake Wallace, Phil Weller, Chris Markwell, Chris Bull & Victor Van Ommen

DECADES APART: 5 Albums 5 Different Decades, 1970, 1980, 1990, 2000, 2010

By: Aaron Pickford, Victor Van Ommen

& Phil Weller

Decades Apart

The idea of Decades Apart is pretty simple. I’ll choose 5 different albums from 5 different decades and I’ll share a little information about them and hopefully you’ll check them out if you haven’t already.   Today is 1970, 1980, 1990, 2000and 2010.  Whilst some these albums may not all be considered classics, they’re certainly amazing records.  So be sure to check it out.    

Black Sabbath – “Black Sabbath” (1970)

An argument may still remain whether Black Sabbath truly invented heavy metal , however what is true to say, is that Black Sabbath impact and influence on heavy metal music remains unequalled.  Famously recorded in one day, Sabbath’s debut was released on Friday February 13, 1970.  The foreboding title track and “N.I.B”are perhaps the bands most potent examples of Sabbath’sfundamental power.  Indeed if you ask the question, what is doom?  Well you only have to refer to the title track and there you have your answer.  If satan had an anthem, “Black Sabbath” would be that song. Elsewhere on the album are traces of blues and psychedelia. Early reviews of the album according to Tony Iommi’s were “awful”. But in America, “Black Sabbath”sold a million. In the UK, it made the Top 10. And over time it would be acknowledged as a landmark album in the evolution of heavy metal.

The year proceeding would see the band develop further still morphing from the dark masters of  seemingly occult music to a respected hard rock band, who would help create the emerging genre of heavy metal.   Seemingly doing the impossible by today’s standard, the four brummies recorded not one but two classic albums in the 1970, with “Paranoid” following a mere 4 months later, an album that would cause further a tectonic shift in the rock world.   By the time “Paranoid” emerged, clearly Sabbath has developed greater compositional range to their music and their performances on their second album were further step up. 

To give some context to what Sabbathwould go onto achieve, in 1968, bassist Geezer Butler and vocalist Ozzy Osbourne were in a band called Rare Breedwhen a certain unknown guitarist Tony Iommi invited them to form a blues rock group with drummer Bill Ward. This new band would settle on the name Earth, following the recording of some initial demos and some subsequent positive feedback, the momentum of the band was stunted slightly following Iommi’s brief dalliance with Jethro Tull. Iommi would soon return and the group reunited in 1969, deciding upon the new name of Black Sabbath.  In the Autumn 1969, the group was signed to Philips Recordsand entered the studio with producer Rodger Bain.

“Black Sabbath”was recorded live on the floor in the studio with very few overdubs added ad if you don’t already know the story, due to the loss of a few fingertips, Iommi down tuned his guitar for easier playing, with this new tone giving that synonymous “doomy” effect.

Having been turned on to Black Sabbath by my own Father, listening to this self-titled 1970 is arguably the definitive debut heavy metal record. In terms of a general concept “heavy metal” and it’s development of the genre was moulded not only tone of the music, but because of the band underlying lyrical themes, with Sabbath’s devotion to darker themes that others perhaps  had not dared undertake.  The band’s environment, in terms of living in poverty and career choices being limited to factory worker or petty criminality, Black Sabbath were far removed from hedonism hippie music that was popular when the band formed in 1968, considering themselves a blues band. Instead it is said that Tony Iommi observed the lines that formed at the local movie theatre whenever it showed horror films and remarked that if people were so willing to pay to be scared, perhaps they should try playing evil-sounding music. So with that in mind, they took their name from a Boris Karloff film.  Indeed the title track to “Black Sabbath” capture the essence of horror, with Iommi playing a slow, ominous riff based on the “devil’s tritone,”. The sluggish pacing of the track is truly something to behold and perhaps personifies what is indeed heavy, with the slow and ominous motif becoming the primary influence of the doom metal genre.  There is no filler on this record, “The Wizard” with their inspired use of harmonica, ably backed up by Geezer on bass and a masterful performance from drummer Bill Ward. “Behind the Wall of Sleep,” inspired by psychological horror writer H.P. Lovecraft. “N.I.B.” a Sabbath song for bass-lovers, man that Butler solo and with Osbourne at his mercurial best. 

Sabbath’s cover of “Evil Woman” by Crowwas their first single from the album, a straightforward blues rocker and arguably the most accessible song on the record, Sabbath truly but their own stamp on it, particularly with Iommi’s riffs replacing the brass of the original. 

The title of “Sleeping Village” speaks for itself, a sombre dirge with Osbourne crooning over the top of Iommi’s acoustic guitar from the outset. With dramatic shifts in tone throughout, from a 60s inspired jam to the rigid structure of an menacing, plodding riff. “Evil Woman”is up next into another cover, this time in the form of “Warning” originally by The Aynsley Dunbar Retaliation, clocking in at an immense 10m30s, and taking up most of the album’s second side. This track was the least accessible on the album with “Wicked World” completing the album with politically charged lyrics, A politician’s job they say is very high, For he has to choose who’s got to go and die, They can put a man on the moon quite easy, While people here on Earth are dying of old diseases catchy riffs, booming bass guitar and a master class of intricate drumbeats from Ward.  Black Sabbath made music that personified their environment, dealing with the harsher realities of life in their lyrics, married with dark and sinister tone of the guitar and the flawless display by Geezer and Ward.  Sabbath truly have no equal and the next time someone asks you what heavy metal is, reach for your copy of “Black Sabbath” and utter not a word, because this album speaks for itself. 

Diamond Head – “Lightning To The Nations” (1980)

“Lightning to the Nations” also known as “The White Album” is the debut album by British heavy metal band Diamond Head. The album was recorded in 1979 and released on the 3^rd October 1980 through their own label Happy Face Records.  The album stands in history as possibility one of the most influential heavy metal records of all time. Speaking as a Metallicafan, the band first came to my attention, due to their cover of “Am I Evil?” which featured on the “Lighting to the Nations” album.  One can not be certain whether Diamond Head’s  would have remained in heavy metal shadows without their association with Metallica , however this union certainly helped gain the band more widespread attention, given Metallica  covered no fewer than 5 of the 7 songs from the album. To put it bluntly if Metallicafans thought these tracks were cool, the same fans would check out Diamond Head.  Conversely and perhaps unfortunately so, Diamond Head's were associated more as the inspiration to Metallica rather than composing one of the best heavy metal records of all time.  "Lightning to the Nations" combines great guitar-driven elements with epic sounding vocals and a sound unique to them and whilst Diamond Headnever reached the heady heights that Metallicawould achieve 10 years later, they deserve enormous praise from creating a legendary record, one that would go on to inspire the biggest heavy metal band of all time. 

Megadeth – “Rust in Peace” (1990)

“Rust In Peace” is the fourth album by Megadeth, released on September 24^th 1990.  It feels poignant and only fitting to be discussing this album, given the tragic loss of drummer Nick Menza earlier this year, appropriate then that he be remembered for playing a pivotal role in the creation of perhaps the greatest thrash metal album of them all.  It is safe to say, Megadethwas never the most stable band, disgruntlement of an ousted guitarist from Metallica, which perhaps Mustaine would never recover from, coupled with drug addiction, tragedy and a revolving line up, Megadeth were always on the cusp of creating something huge, but up until this point, the band never quite reached their peak.  Following the release of their 1988 album, “So Far, So Good, So What” drummer Chuck Behler and guitarist Jeff Young would leave the band, to be replaced by Nick Menza and an emerging guitar virtuoso, Marty Friedman, who was known as one half of the speed metal band Cacophony, who also featured Jason Becker, indeed it was the release of Friedman’s debut solo album “Dragon’s Kiss” that piqued Mustaine’s attention, remarking in his biography and I paraphrase that Mustaine was so intimidated by Friedman, it created some anxiety, that he was hiring someone technically superior to him.    Irrespective of this apparent tension, “Rust In Peace” is one of the most technically brilliant thrash albums, indeed it is the sheer technical complexity of the album that would truly define Megadeth and perhaps set a new benchmark for thrash metal standards.

“Hangar 18” and “Holy Wars… The Punishment Due”, with their continuous tempo changes, elegant neo classical inspired solos, along with Mustaine at his magnificent songwriting peak, these two songs would set the tone for the album and inspire it to go down in history as Megadeth’s apex in terms of album output.   Thematically “Rust In Peace” is centered around politics, nuclear warfare, religion, UFOs, and personal issues such as drug and alcohol addiction. “Rust In Peace” is a) an album written by Mustaine at his creative, b) it was performed by members with the technical capabilities of Menza and Freidman members, it is little surprise then that “Rust In Peace” is one of the greatest heavy metal album of all time and the best Megadethalbum ever. 

Queens of the Stone Age– “Rated R” (2000)

The year 2000 was a turning point for the stoner rock genre and this had a lot to do with Josh Homme’s band Queens of the Stone Age. Referred too as trance robot music for ladies, the conception of the band was to make the desert sound more widely known and to make something that women could dance to. If you take these two goals and prop them up against QOTSA’s 2000 sophomore album “Rated R,” then there’s no denying that even this early in the band’s career, Homme could already mark this as his second greatest musical accomplishment, the first of course being Kyuss.

Homme was able to turn heads and grab attention. At the time, “Rated R” was something new for the mainstream, while for the heavy underground, those involved felt like they were finally getting recognition. That’s not to say the underground wanted this recognition, but QOTSAwas arguably the catalyst for many bands like Red Fang, Mastodon, and Truckfighters to spread the stoner rock gospel and influence a generation of their own.

It’s interesting to note that the year 2000 also saw the release of Limp Bizkit’s “Chocolate Starfish and the Hot Dog Flavored Water,” a record that went on to sell millions and was at the time regarded as a would-be classic. In the meantime, that album has faded from our memory, but “Rated R” continues to mature like a fine wine. So what was it that made QOTSA a band to notice?

The album is 11 songs long and ranges from stoned riffing to catchy grooving. “Rated R” leaned in the direction of experimental rock music without neglecting the need for a strong hook. Different instruments were used and the songs were structured in such a way that they could stand alone as a hit single while simultaneously being an integral part of the album as a whole. The album’s lyrical content was for mature audiences, but that didn’t stop radio stations from playing “Feel Good Hit of the Summer,” regardless of the season. And to top it all off, Homme invited several friends from the desert – amongst which Dave Catching, Chris Goss, Mark Lanegan, and Pete Stahl – to contribute to this masterpiece. With all of these creative minds who came from the same scene, it’s no wonder “Rated R” turned out to be a template for the burgeoning stoner scene which has since then exploded.

Ghost – ‘Opus Eponymous’ (2010)

First impressions are pivotal and from the moment the eerie, mysterious swelling organ chimes of ‘Opus Eponymous’, Ghosthave had thousands captivated. Their anonymity, a driving factor in their success, is pure theatre, the cold, occultish feel of Black Sabbath and the horror loving, hip swinging charisma and humour of Alice Cooperpotent flavours on this hors d'oeuvre. Yet, where dark, 70s rock whetted the appetite of so many, they juxtaposed all that with the kind of melodies that made ABBA so irresistible. From the human sacrificing stadium rock of ‘Ritual’ to the poetically haunting ‘Elizabeth’and the beguiling, lofty sounds of ‘Satan Prayer’, while it may not stand as a classic album – especially when compared to the ever increasing quality of their later releases – ‘Opus Eponymous’ provides us with a thrilling first encounter. With the gift of retrospect we can hear their naivety in some ways, this is a band still developing, still laying down the building blocks for a sound that has, today, become truly irresistible.