The HMO Vault starts here! If we’re going alphabetically from A to ZZ Top, the first album in my collection is the self-titled album by Abbath. And that means Abbath‘s opening track To War! is the first song. A perfect song title to kick things off! And, serendipitously, it has a particularly magnificent beginning: a repeated single-note riff of martial boldness that builds up tension and excitement for what’s to follow. The rest of the song is the kind of strong, charging black metal blizzard you’d expect from the ex-Immortal frontman even if it’s never quite as attention-grabbing as that amazing intro. Still, To War! is a great way to kick off an album. And a collection.
“The strong do what they can and the weak suffer what they must”
If I was making a playlist of my favourite songs from the previous decade Hold Your Children Close And Pray For Oblivion would definitely be on it. Taken from their 2016 album The Whole Of The Law, it’s absolutely berserk. Excoriating, industrial-grade grind mixes with hammering electronic passages. But for all their nightmarish noise, Anaal Nathrakh sure have a way with a hook and cram plenty of them in here. And in Dave Hunt, they have a vocalist versatile enough to deliver them. So when he’s not creating a white-noise shitstorm out of his face, he’s delivering an insanely catchy chorus with crazed metal god vocals and driving the song to a operatic climax. Oblivion has never been this much fun. This is what you wanted, this is what you need.
Cheap Trick – Bang Zoom Crazy… Hello (2016 Japanese Edition w/ 2 Bonus Tracks)
The acrimonious split with original drummer Bun E. Carlos in 2010 was a disappointingly sour turn of events in the 27-year saga of Cheap Trick. But on 2016’s Bang Zoom Crazy… Hello, their first release without him, his absence isn’t felt too keenly. The album rocks and pops with a warm, vintage sound and Robin Zander’s wonderful voice seems impervious to the passage of time. But the chemistry is undeniably altered. Their old biting quirkiness is missing and this is fairly slick stuff, like a souped-up version of the poppier Lap Of Luxury/Busted era, with by-the-numbers lyrics and happy strumming in place of decent riffs. That said, it’s a fun album with a perky spirit and, although the ideas gradually dry up as the album progresses, there are a few songs that fans will enjoy: driving opener Heart On The Line, the sparkling No Direction Home, glammy stomper Blood Red Lips and jangly ballad Sing My Blues Away. But the album’s saving grace, and the song that keeps me coming back for more, is the ghostly When I Wake Up Tomorrow. Overall, it’s not destined to go down in history as a classic, but its definitely one of their more enjoyable modern releases. And the band do sound like they’re having a good time. They don’t seem to miss Bun E., and this is solid enough that you probably won’t either. But he must have been the guy coming up with the album titles because Bang Zoom Crazy… Hello?
Funnily enough, after reading an article about Anthrax’s Scott Ian (reportedly) behaving like an arsehole, I ended up going on a big Anthrax kick and buying another copy of their last album For All Kings. Goes to show all publicity is good publicity!
I wasn’t all that impressed by For All Kings when it was released back in 2016 but after hearing some of the songs live on the recent Kings Among Scotland release, I felt like revisiting it. And ended up not only listening to it again but enjoying it enough to add the ‘Tour Edition’ to my collection (for its extra disc of demo versions). Some great tracks here like You Gotta Believe, Suzerain, Evil Twin and the title track. I’d prefer the sound to have more attack and I find songs like Breathing Lightning and This Battle Chose Us a bit too slick for comfort but, judged on its own merits as a We’ve Come For You All kinda album, it’s a solid and memorable release. Just don’t ask Scott Ian to sign it for you.
Candlemass bassist/songwriter Leif Edling has dubbed his latest project “music from the catacombs” as it was a visit to Paris’ bone-ridden underworld that inspired its creation. It’s an apt description. With The Doomsday Kingdom’s debut EP Never Machine, Leif’s music goes deeper and darker than it has for some time. The opening title-track and The Sceptre stick fairly close to Candlemass’ modern style but Niklas Stalvind’s grave and gravelly vocals and Marcus Jidell’s excellent, vintage soloing give the songs a fresh, grittier edge. But it might just have been a decent, unremarkable release if it wasn’t for the more interesting and engaging second-half. Zodiac City is a coiled and creepy serial killer yarn with a great chorus hook and the EP ends on a high with Edling taking the mic for The Whispering, a haunting and ghostly string-laden ballad. Never Machine doesn’t quite reach the inspired heights of Leif’s classic output but it’s a real grower and a definite improvement on last year’s half-(Candlem)assed EP Death Thy Lover. Candlemass might have fallen out of favour but these demos show promising signs that Edling still has what it takes to reign again as a king of doom.
(Here’s my copy. It’s the new edition released by Nuclear Blast. With new artwork, lyric sheet and red vinyl)
Here’s a rousing track from Primordial’s new live album Gods to the Godless (Live at Bang Your Head Festival Germany 2015). I always feel like live shows are defined by the inclusion of new tracks. My memories of live performances usually revolve around the new songs that were played. For better or worse, bands seem to put extra welly into the new stuff: meaning that brilliant new songs make for an unforgettable show but weak ones will likely mar my recollections, no matter how classics-laden the show might have been. The former is definitely the case with Primordial. Four of the eleven songs here are taken from their last album Where Greater Men Have Fallen and here’s an amazing version of the title track: a burly and martial take that surpasses the studio version. Alan Nemtheanga proves himself, once again, the consummate metal frontman, and the band’s chemistry and the skill of their arrangements are even more evident in the live setting: every instrument occupying a unique space to create a massive wall of sound. Primordial, over twenty years into their career, sound like they’re determined to remain impassioned and vital until the bitter end.
[To hear the Song of the Week, click track three on the YouTube screen below. And then listen to the whole thing, you won’t regret it]
Fans of 2014’s excellent Promulgation of the Fall would have been hoping for more than just two tracks from these Greek death metallers this year but their new EP Sombre Doom satisfies with quality over quantity. Opening with a howling dead wind of feedback, the first track Redemptive Immolation is grave and doom-laden with a thick, dark atmosphere. After the oppressive opener, the up-tempo battering of Wind’s Bane comes as a relief but is still rich in ghostly gloom and haunting guitar. The songs and riffs aren’t the most original but Sombre Doom is all about the vibe and the execution: this reeks of rain, death, evil and graveyards. Proper death metal if you ask me, and one of the best EPs of the year.
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