Tag Archives: Debut Albums

Bulldozer – The Day Of Wrath (Review)

Bulldozer – The Day Of Wrath (1985)

“Welcome all you fuckers/seeking evil excitements/yeah! You want to be cool” Of course you do! Then why not impress all your friends by listening to Bulldozer’s excellent debut album The Day Of Wrath. The Italian band was often written off as Venom clones but they were a more musically capable outfit (check out the maniacal guitar soloing throughout Mad Man) and edged very close to the crude Teutonic thrash of bands like Destruction and Kreator. And even if it didn’t exactly break new ground, Bulldozer’s debut endures on the strength of its songs and its attitude. The album is laden with killer riffs and hooks: from the sacreligious darkness of Welcome Death, the marauding Cut-Throat, the seductive Great Deciever and the unforgettable party-banger Whisky Time (“It’s fucking whisky time!”). Falls short of full points due to skippable intro/outro shenanigans but make no mistake! If you’re an uncool fucker, seeking evil excitement… it’s fucking Bulldozer time!

HMO Rating: 4.5 Out Of 5

[Bulldozer – Whisky Time]

FOAD Deluxe Edition

Bruce Dickinson – Tattooed Millionaire (Review)

Bruce Dickinson – Tattooed Millionaire (1990)

The release of Bruce Dickinson’s first solo album,1990’s Tattooed Millionaire, didn’t represent the fulfillment of some pent-up creative ambition. Instead, an offer to record a track for Nightmare On Elm Street 5 turned into an opportunity for the Iron Maiden frontman to have some simple fun recording an album with his drinking pal, jobless ex-Gillan guitarist Janick Gers. Unsurprisingly, it’s a bit of a throwaway effort. The title track is upbeat and infectious but pub rockers like Lickin’ The Gun and Zulu Lulu prove every bit as unremarkable as their titles and album nadir Dive! Dive! Dive! is just too silly (“no muff too tuff”). But the album gets evocative and personal on the excellent Born In ’58, the dusty Bad Company-esque opener Son Of A Gun is one of my favourite Bruce tracks and there’s a sense of fun and warmth in the band’s unpretentious approach. So, while far from a classic, time has been kind to Tattooed Millionaire, especially its stronger first half. I return to this album any time I want a bit of nostalgic summery fun.

HMO Rating : 3 Out Of 5

My copy – Reissue CD with bonus disc

KISS – KISS (Review)

Can you guess which of these guys got someone else to do their makeup?

KISS, the band’s self-titled debut album from 1974, is loaded with more classics than any other studio album they would ever put out. The masked New York rockers were already making a reputation as an explosive live act and when you look at the tracks featured here, Strutter, Firehouse, Cold Gin, Deuce, Black Diamond and 100,000 Years, it’s no wonder few bands dared take them out as support act.

But it’s not all cut from that timeless cloth. The gimmicky single Kissin’ Time and the aimless instrumental Love Theme From KISS detract from the album. And the band were unable to capture the power and excitement of their live shows in the studio. KISS at their best put a spring in your step like no other band but the production and performance here is too tentative to quite achieve that.

KISS would eventually deliver definitive renditions of these songs on their mega-selling 1975 album Alive! But there’s a reason so many of that live album’s songs were drawn from their debut. KISS is a must-hear for fans of street-level, meat and potatoes hard rock. A flawed classic that planted the seeds of success with its pop-savvy mix of Humble Pie boogie, tasty heavy riffs and an array of songs that would become the stuff of legend.

HMO Rating: 4 Out Of 5

[KISS – Deuce]

Ted Nugent – Ted Nugent (Review)

Ted Nugent – Ted Nugent (1975)

He’s a phenomenally exciting guitar player and intense live performer but there are a disconcerting number of patchy studio albums to wade through in “Terrible Ted” Nugent’s discography. This 1975 album, his solo debut after ditching the Amboy Dukes band moniker, is as close to filler-free studio greatness as he ever got. Outside of a compilation or live album, this is the most classic Nuge songs that you’re going to find in one place.

And what classics! Stranglehold is an audacious and timeless opener: a moody, psychedelic workout that brilliantly showcases the excellent band, Nugent’s guitar chops and that superbly raunchy Gibson Byrdland tone. Motor City Madhouse is a gonzo rager and the stunning hard rockers Just What The Doctor Ordered and Stormtroopin’ are two of my all-time faves. The lesser-known Hey Baby and Snakeskin Cowboys are catchy, swaggering rock n’ rollers that hold their own among the hits.

But the patchy criticism still applies and Ted doesn’t always hit the target here, running out of steam with a brace of comparatively forgettable closing tracks. But this is still the most consistently brilliant studio album of his career and a great place for newbies to start. Like the “murder capital of the world” referenced in Motor City Madhouse, Ted Nugent is loaded with killers.

HMO Rating: 4.5 out of 5

[Ted Nugent – Just What The Doctor Ordered]

Great reissue with quality bonus tracks

The HMO Top Albums of 2017

Twelve whole months of your human time have passed. An entire year of metal releases that have all been building up to one thing: The HMO Top Albums of 2017!

And what a year it was. I reckon the overall standard in this year’s list is the highest since I started doing these, with albums in the lower reaches that would have ranked higher in a less competitive year. Consequently, there was also a bunch of very deserving albums that just missed the cut:

Formicarius – Black Mass Ritual, Contaminated – Final Man, Power Trip – Nightmare Logic, Full Of Hell – Trumpeting Ecstasy, Vampire – With Primeval Force, Demon Head – Thunder In The Fields, Spectral Voice – Eroded Corridors of Unbeing

All of these were favourites of mine that would very likely have made the list any other year and I’d heartily recommend all of them. But there can be only ten…

NUMBER TEN: Satyricon – Deep Calleth Upon Deep

The black metal duo returned with this powerful and deceptively simple set of cold, bleak, groovy and progressive black metal hymns. Following frontman Satyr’s recovery from illness, the album was heralded as “day one of a new chapter”. But it’s no reinvention, just the sound of a band knuckling down with fresh dedication and commitment.

NUMBER NINE: The Obsessed – Sacred

Doom icon Wino returns with a new lineup of his old band The Obsessed and an album that lives up to their classics of old. Hefty biker doom riffs with ace songwriting, soulful maturity and vintage musicianship. Wino’s voice and guitar slinging are as badass as ever. He sings “I was born with my heart on my sleeve” and, 56 years later, he’s still wearing it well.

NUMBER EIGHT: Artificial Brain – Infrared Horizon

No AOTY list would be complete without some death metal in space and this year’s guttural cosmic travellers are Long Island’s Artificial Brain. Post-humanity, cyborgs ponder life and their predecessors and the wonderfully ambient blend of tech death, beautiful dissonance and filthy vocals suits the theme perfectly. Also… might be the only album in my collection that features the word “urinals”.

NUMBER SEVEN: The King Is Blind – We Are The Parasite, We Are The Cancer

The King Is Blind make the HMO Top Ten for the second year in a row. No mean feat. This sequel to their debut album Our Father, brings that album’s biblical tale into the modern day with harrowing results. The UK headbangers bash out an intelligent, raging and monolithic slab of metal that fuses a whole bunch of styles into a crushing, grooving whole that grows in stature with each listen.

NUMBER SIX: Immolation – Atonement

No big back-story, concept or narrative to talk about here. Just straight-up quality death metal from a veteran act that’s still hungry. As with other releases this year, it’s definitely got a whiff of the end-times about it. But instead of dishing out the political rage, Immolation deal out a restrained, ominous and dark indictment of our times. Crushing, twisted, authoritative and destructive from beginning to end.

NUMBER FIVE: Midnight – Sweet Death And Ecstasy

Hooded demon Athenar returns with his third full-length album of black thrash hooliganism. No zeitgeist-y vibes here: just Satan, shagging and Venom-worship. But there’s a lot of creativity crammed into this album’s short running time and its bookended by two epics that push the band’s stylistic (long)boat out: swashbuckling, scything mid-tempo metal that invokes the legends of old… the legends of Ye Olde Bathory and Manowar. It’s that good.

NUMBER FOUR: Cradle Of Filth – Cryptoriana: The Seductiveness Of Decay

The loved-or-loathed British institution continues a late-career renaissance that finds them tipping the balance firmly in the loved direction. Themed around the Victorian obsession with death, Cryptoriana… is a darkly fabulous romp of hard-hitting gothic metal delivered with expertise and passion. It’s atmospheric, cinematic, galloptastic and just tons of fun with a vocal turn from Dani Filth that cements his place as the veritable metal legend that he is.

NUMBER THREE: Memoriam – For The Fallen

Featuring ex-members of Bolt Thrower and Benediction, Memoriam were formed as a tribute to Bolt Thrower’s late drummer Martin ‘Kiddie’ Kearns and what a tribute it is: crusty, primitive old-school death metal with a sense of tragedy and loss. But it’s not a total downer, there’s enough carnage here to please Bolt Thrower fans. Vocalist Karl Willetts performs with charisma and heart while the band unleashes the kind of filthy, strafing riffage that’s guaranteed to have you running for cover.

NUMBER TWO: Paradise Lost – Medusa

2015’s The Plague Within was a welcome return to growlier death/doom fare but I don’t think anyone could have expected Paradise Lost to dredge the depths of misery like they have with this near-flawless album of gothic gloom. Anthemic hooks, crusty riffing, mournful harmonies and a fearless vocal performance from Nick Holmes put Medusa right up there with the band’s best work. No small feat, considering the number of innovative and essential albums that make up this legendary band’s discography.

NUMBER ONE: Akercocke – Renaissance In Extremis

The great comeback of 2017 was the return of these much-missed British Satanists with their most progressive, personal and accessible album to date. But the blackened malevolence of old remains and the fact that this album could well lure fans of more classic fare into a more extreme musical realm suggests these suave Londoners are still doing the devil’s work. The eclectic variety, complex structures and dreamy introspection make for a fascinating, rewarding listen and the intense, dynamic, neck-snapping skill of the band’s performance is the stuff of metal gods.

HMO TOP ALBUMS BY YEAR

2017: Akercocke – Renaissance In Extremis

2016: Darkthrone – Arctic Thunder

2015: My Dying Bride – Feel the Misery

2014: Voices – London

Venom Inc. – Avé (Review)

While the actual Venom continue under the leadership of infamous bassist/vocalist Conrad ‘Cronos’ Lant, the return of the band’s classic guitarist Jeff ‘Mantas’ Dunn and drummer Tony ‘Abaddon’ Bray as Venom Inc. has caused quite a stir. Surely two thirds of the band’s massively influential and legendary formation is better than one? And to cap it all off, the band has been rounded out appropriately and authentically with Prime Evil-era bassist/vocalist Tony ‘Demolition Man’ Dolan. It’s an exciting unit and the band has been going down a storm touring a classic Venom set. But playing live oldies is a no-brainer. Now the real test comes as the band offer up their first new material with their debut album Avé.

Venom Inc. perform like heroic metal veterans throughout. Mantas in particularly impressive form, peeling out genuinely thrilling guitar solos like it’s a piece of piss. They’re too seasoned to play with the filthy, bulldozer energy of old but as gutsy, trad metal goes much of this is hard to beat. It’s also hard to stick with. Songs like Avé Satanas and Preacher Man are average songs stretched way beyond their breaking point and, while it works better as an album track than as a single, Dein Fleisch causes a hefty lull at a crucial point.

With those three totally removed Avé could have been easily and massively improved, while coming in at the golden running time of 40min too. Ace biker metal tracks like Forged In Hell and The Evil Dead would get old heads banging again and raging thrashers like Metal We Bleed and Time To Die would give young Venom-worshipping upstarts like Midnight a run for their money too. But, as a complete listening experience, Avé is overlong, uneven and frustrating: the two thirds of Venom Inc. proving that it is possible to ‘ave too much of a good thing.

HMO Rating: 3 out of 5

Possession – Exorkizein (Review)

Following an impressive demo and mini-album, I was expecting to be more impressed by Possession’s debut full-length album. The Belgians dish out impressively clear and concise black/death with plenty of evil atmosphere but they never really lift themselves out of the solid zone. Despite some strong riffs, the songs in the first half all blur into one. Exorkizein gradually improves, and is at its best in its closing stages with tracks like In Vain and Take the Oath being standouts. Possession have an appealing Watain-like delivery and catchiness but there’s not enough of that band’s threatening audacity and ambition here. Exorkizein is far from execrable but not exactly exciting either.