Here’s a fantastic track from Sacred, the new album from The Obsessed. I mentioned the other day that hearing just 30 seconds of this song was enough to sell this album to me, and I’ve not been disappointed. It’s mostly built around an irresistible wind-in-the-hair Motorhead riff but the song peaks with its pounding bar-fight of a chorus. From the lyrics I gather the victim of the crushing is more likely to be a punk of the “worthless person” variety than a punk of the musical persuasion. Either way, this songs deals out a no-nonsense crushing, pure and simple… and that’s why it’s song of the week. Enjoy.
Been on a proper Dokken kick lately so here’s the ace moody rokker When Heaven Comes Down, taken from their classic second album Tooth And Nail. Don’t really need to say much about this one do I? It’s all there: epic Kashmir-esque drama, big riffs, classy and tasteful vocals from Don Dokken and a guitar solo from George Lynch that is equally classy and tasteful too (with a smidgen of widdly thrown in for good measure). Shokkenly good.
It’s officially summer now but winter darkness reigns eternal in the heart of the HMOverlord so here’s Winterland by Copenhagen’s Demon Head. Taken from their 2015 album Ride the Wilderness, we’re in firmly retro territory here, harking back to the vintage proto-metal of Pentagram or even the heavier bluesy bands like Fleetwood Mac. The band’s sound is refreshingly clean and warm, the heaviness coming from the doom-laden riffs and delivery. And Ferreira Larsen’s excellent Bobby-Liebling-meets-Glenn-Danzig vocals are cultishly addictive. It’s great stuff from a very promising debut album. If you like this, the bands entire digital discography can be acquired very cheaply via Bandcamp and keep an eye out the follow-up album Thunder On The Fields, due out in April 2017.
There couldn’t be any other choice today. Chuck Berry was one of the original rock n’ rollers and an essential innovator in the story of rock. A phenomenally talented writer, performer and guitarist.
But which song to pick? I was thinking Reelin’ and Rockin’ or Guitar Boogie from the One Dozen Berrys album but then I remembered this amazing footage from the Heppest of the Hep Facebook page and decided to go with this. It’s an awesome performance of one of his most legendary tunes: Chuck lets rip with plenty of guitar licks and works through all his iconic stage moves too. The audience are justifiably appreciative at the end. And we should be too… a big round of applause, please, for Chuck Berry.
Savage’s relatively late debut album (1983’s Loose N’ Lethal) might make them seem like one of the few New Wave of British Heavy Metal bands that couldn’t lay a claim to being an influence on the mighty Metallica. But, far from being Johnny-Come-Latelies, Savage had already been around for a while. By 1981 they had already released a demo, a single and made two appearances on a compilation album Scene of the Crime. One of those compilation tracks was the classic Let it Loose and it soon made its way into the hands of, you guessed it, Lars Ulrich. Only appearing in early Metallica live sets and on a demo tape, it’s not one of the more famous or celebrated Metallica NWOBHM covers but there’s a strong whiff of the thrash giants’ early style here. And although ‘tallica didn’t exactly pass it off as one of their own they weren’t in a hurry to draw attention to the fact that it was a cover either. And, if any listeners thought it was one of their own original songs, that was fine by them too. Have a listen to the 1981 Scene of the Crime version of the track here to hear why.
The Swiss power trio Coroner has often been called the “Rush of Thrash” for their progressive bent and formidable performances. And their albums don’t get much more progressive and formidable than their fourth, 1991’s Mental Vortex. Here’s one of my favourite tracks from it, Son of Lilith. It’s still got enough crunch and neck-snapping intensity to please thrashers but this song is more about precision and groove. It’s got an earworm of a chorus and a guitar solo to die for. Total class.
This week has been all about Immolation’s superb new album Atonement. This is the first song I heard from the CD and it’s my current favourite. Destructive Currents is seismic enough to deliver on the promise of its title but it’s also delivered with confident restraint so that the twisting, blackened death metal riffs have maximum impact. There have been fun releases so far this year, like Kreator’s Gods of Violence but this stuff is serious: imposing, controlled and impressive. With Atonement, Immolation has set the bar for extreme metal in 2017.