You want riffs. And they don’t get much better than the angular, thrashy guitar intro that kicks off Darkthrone’s Blacksmith Of The North (Keep That Ancient Fire). Taken from 2008’s Dark Thrones And Black Flags, it’s easily one of my Top 10 favourite riffs since the turn of the millennium and I love the frost-bitten, crusty sound and Nocturno Culto’s echoing, gravelly vocals. It’s a flaming triumph and a cool, apt title for a band that has kept the ancient fire burning, hammering out quality metal with impressive regularity to this day.
Celtic Frost – Into The Pandemonium (Noise Records – 1987)
On its release in 1987, Celtic Frost’s third album Into The Pandemonium achieved instant fame as a ground-breaking work of avant-garde ambition. Notoriously, Frost kicked off the album with an unexpectedly playful cover of Wall Of Voodoo’s Mexican Radio, brought in a soul singer for the should-have-been hit I Won’t Dance (The Elder’s Orient) and went all n-n-n-nineteen on the bonkers One In Their Pride. But the band also continued their established style with aplomb on formidable black thrash songs like Inner Sanctum and there were sumptuously dark, gothic tracks like Mesmerized and Sorrows Of The Moon that would influence future pioneering masterpieces like Paradise Lost’s Gothic and My Dying Bride’s Turn Loose The Swans. Overall, Into The Pandemonium has a mournful, decadent and poetic quality that I’ve loved for aeons. And, listening to it this week, it sounds as bold and adventurous as ever.
Cathedral – The Carnival Bizarre (Earache Records – 1995)
Cathedral sound like they’re having a blast on 1995’s The Carnival Bizarre which is remarkable because a) you don’t normally associate bowel-loosening doom with good times and b) the band were just coming out of a frustrating stint as a major label act that resulted in the departure of talented guitarist Adam Lehan. But the band’s remaining guitarist Gaz Jennings takes up the slack on Cathedral’s third album, delivering a masterclass in doom riffing Sab-otage. The opening three tracks Vampire Sun, Hopkins (The Witchfinder General) and Utopian Blaster are Cathedral at their most entertaining and crushing but the rest of the album is thoroughly enjoyable with a playful array of superb deep cuts like the eerie Night Of The Seagulls and the tuneful Inertia’s Cave. And fans of Lee Dorrian’s exuberant and irreverent vocal interjections will not be disappointed either. Huggy Bear? Ohhh yeah.
I’m cranking the hi-fi high today for my favourite Judas Priest album: 1978’s Killing Machine. Alternatively titled Hell Bent For Leather in some countries, Killing Machine continued the band’s impossibly superb run of metal-defining 70s albums and was their most red-blooded and raunchy release to date. Alongside megaton leviathans like the resolute Delivering The Goods, the turbo-charged Hell Bent For Leather and tough, direct rockers like Running Wild are songs like the glam stomper Take On The World and the wonderfully wistful Evening Star that managed to simultaneously evolve and simplify Priest’s style without diluting their lethal state-of-the-art metal godliness.
On Gods To The Godless, the first song proper on their third album Spirit The Earth Aflame, Ireland’s Primordial nail the unique pagan metal style they will become renowned for: weighty black metal with rolling, folky rhythms and A.A. Nemtheanga’s impassioned vocals. Gods To The Godless is similar in topic to Bathory’s seminal One Rode To Asa Bay but where that song depicted a subjugated, converted Norse community with sympathy, Gods To The Godless takes the viewpoint of the oppressor. And Nemtheanga spits outs threatening declarations with spine-chilling intensity.
It’s rare for a band to arrive as fully formed as Queensrÿche did on their self-titled debut EP. They sound absolutely world-beating, and in a year as strong as 1983 that was no mean feat. But, of the four songs on Queensrÿche, the one that sounds most like the ‘rÿche of the future is the closing track The Lady Wore Black. Geoff Tate’s high-flying yet melodic vocals and the tastefully restrained, emotive guitar solo are the stuff of metal legends and the gothic clean guitar and attacking, angular, textured riffing bear the hallmarks of the band’s best material yet to come. It’s hard to imagine a more attention-grabbing, anticipation-building career launchpad than The Lady Wore Black.
Manowar – Into Glory Ride (Music For Nations -1983)
Titter at the cover and giggle at the video for Gloves Of Metal if you must. We’ve all done it. But the seething Hatred, the awe-inspiring Gates Of Valhalla and the equal parts murderous and heartrending March For Revenge (By The Soldiers Of Death) are some of the most monumental epic doom tracks you will ever hear. And if that drop-tuned intro riff to Gloves Of Metal doesn’t send you into a paroxysm of true metal joy then you are not my friend. Into Glory Ride will crush your bones and kill your face. So wipe that smile off it.
The big news at HMO Mission Control recently is that, at the tender age of 48, I got my first car! At the moment I’m too busy trying to figure out what gear I’m in to want the added distraction of music but I can’t wait to get some Yngwie on.
Bon (and on and on) Jovi
Last weekend I binge-watched Thank You, Goodnight: The Bon Jovi Story. It was a bit like their career: really good fun in the early stages but then increasingly dull as it wore on. It doesn’t help that, with the possible exception of Richie Sambora, nobody in the band seems particularly compelling. Top marks for being so thorough and candid though.
HMO Charts
Darkthrone move up 666 places on the strength of their excellent new album It Beckons Us All…
Coffin Storm are a new entry with their debut album Arcana Rising. Quality doom-laden cult metal.
Mötley Crüe go down, down (and hopefully will just go away) following their wretched new song Dogs Of War.
The only way is up for Bulletboys, as they grant fans the once-in-a-lifetime opportunity to invest in classic tracks such as Smooth Up In Ya. Buy, buy, buy!
HMO Salutes
HMO salutes Mike Pinder of The Moody Blues fame who has recently died aged 82 and ex-Scorpions drummer James Kottak who died, aged 61, back in January. I’ve always been a big fan of The Allman Brothers Band so the passing of guitarist/singer Dickey Betts, at the age of 80, was very sad news. But the worst news of all was the death of Magnum founder, the wonderful Tony Clarkin, whose death at the age of 77 basically signals the end of music as we know it.
Recent Purchases
Judas Priest’s Invincible Shield and Saxon’s Hell, Fire And Damnation haven’t particularly blew me away but are both enjoyable late-career outings. Bruce Dickinson’s more creative and revelatory The Mandrake Project fares better. I also picked up a lovely vinyl reissue of Reverend Bizarre’s II: Crush The Insects and a wonderfully compiled NWOBHM set All Systems Go: The Neat Singles Vol One.
You Won’t Get Out Of Here Alive: Waysted Volume One (1983-1986) compiles three albums and two EPS from Waysted’s initial run and UFO’s Lights Out is now more essential than ever, with the addition of a brilliant live show. I haven’t quite got to grips with the (two!) new Ihsahn CDs and Midnight’s Hellish Expectations yet but initial impressions are positive. And the previously mentioned Darkthrone and Coffin Storm albums are two of the year’s best so far.
Upcoming Releases
Anno Domini 1989-1995, the new Tony ‘The Cat’ Martin era Black Sabbath box set is the one I’m looking forward to the most but it looks like it’s been pushed back a bit so that should free up some cash to buy the new John Entwistle The Ox box set and the reissue of Heavy Load’s Metal Conquest instead.
That’s all for this digest. Until next time… mind the roads!
Anathema – Alternative 4 (Peaceville Records – 1998)
Anathema’s Alternative 4 hits a sweet spot between the doom-laden metal of their early days and the uplifting self-help rock of their final ones. Frontman Vincent Cavanagh finds his voice amidst beautiful layers of instruments but the album also has an edgy, urban darkness. It’s like vicariously experiencing the emotions of someone’s most profoundly drunken bender: from rip-roaringly jubilant to extremely fighty to having a big cry. Alternative 4 is a very British masterpiece of maudlin, metropolitan metal: one of the most unique and intoxicating albums I’ve ever heard.
In a tale as old as time, mismanagement and a shite label almost ensured that The Burning Of Rome (Cry For Pompeii) and its parent album, 1988’s Age Of Consent, were lost to history. But, by the Gods and Godesses, Virgin Steele were able to re-release the album in 1997, by which point they were hitting their stride as purveyors of peerless barbaric-romantic metal and their fans could finally rejoice in this mighty masterpiece. Bombastic and grandiose, it’s a totemic moment in the band’s career and frontman David DeFeis delivers the tale of a fallen warrior with heroic levels of nobility and passion. The Burning Of Rome (Cry For Pompeii) is easily one of the best metal songs of all time. I don’t just get goosebumps listening to it, I get them even just thinking about it.
HEAVY METAL OVERLOAD 