Given that their frontman Sam Loynes also keeps busy with Akercocke, The Antichrist Imperium, and Voices I can’t blame Shrines for taking six years to follow up their 2015 debut album with a four-song EP. But it helps that the EP, 2021’s Ghost Notes, is good: angular, dissonant progressive metal with pristine guitar tones, killer riffs and Loynes’ unique, melancholic voice and harmonies. While I miss the eclectic creativity and plaintive atmosphere of the debut, its good to have Shrines back and they sound like they have found a strong direction and purpose with Ghost Notes. Hopefully they won’t take so long to make their next move this time. Of all the bands in Loynes’ impressive CV this is the one I’d most like to hear more of.
The narrator of I Am The Black Wizards has been a ruler for eternities and is so mighty that the souls and spirits of numerous obedient wizards now belong to him. Or something like that. Whatever is going on, it’s metal as fuck. And it’s black metal 101 too, an essential track from a mandatory band. Taken from their debut 1993 EP Emperor, this is absolutely caustic stuff with an unforgettable guitar melody snaking through the furnace of noise. I Am The Black Wizards was recorded again for Emperor’s debut album In The Nightside Eclipse and that version is even better than this. But this version came first so it has a special importance and its cavernous cacophony has an appeal of its own.
Written and recorded specially for Paradise Lost’s 1994 EP Seals The Sense, Sweetness has become a much-loved gem in the band’s discography. Over time its status has been enhanced by its position as a B-Side underdog, to the extent that the band amused themselves by calling it “the greatest song ever written” in a recent interview. Northern piss-taking aside, it is an excellent track that hits the sweet spot between the heavy doom of Icon and the goth of Draconian Times. The combo of lead guitar and grinding riff in the chorus section is especially killer. Apart from Sweetness, the EP isn’t much to write home about, but the inclusion of “the greatest song ever written” makes it essential.
This is one winter wonderland you won’t be walking in. Autopsy’s In The Grip Of Winter is one of my absolute favourite death metal tracks. It’s a tale of arctic demise, perfectly expressed with (impending) doom metal swagger, panic-stricken death metal hammering and blizzardy guitar solos. It’s brilliant stuff and one of the tracks I always spin the minute I feel a chill in the air. There’s an even frostier version of this on the Mental Funeral album but this earlier version (from 1991’s Retribution For The Dead EP) emphasises the doom with its humongous, fat sound. But, no matter which version you hear, In The Grip Of Winter is a stone cold classic.
Manowar once pledged “if you don’t strap your nuts to your leg, they’re going to get blown off.” On their latest release, 2019’s The Final Battle I, it seems like the straps are now optional. The EP is inspired by the “legions of loyal Manowarriors” and they, like me, will find it enjoyable enough. It sounds great, the orchestral intro is quite stirring, Blood And Steel is the heroic pumper and SwordOf The Highlands is the elegiac (if overly Hobbit-y) ballad. Closing track You Shall Die Before I Die even turns the clock back to the band’s doomier early days. But there’s nothing here that hasn’t been done before, better. I’ll tap my feet and hum along but where’s the guts? Where’s the glory? Why are my unstrapped nuts still safely intact? This is supposedly the first EP of a trilogy. But two years on, there hasn’t been a follow-up and I’d hate this to be the last thing the Kings Of Metal put out. Come on Manowar! Stop preaching to the converted. Defy the naysayers, kill all the unbelievers. Give us part two and, this time, fucking go down fighting and take all the false metal with you. Blood! BLOOOOD!!
Try as they might, Jersey’s Legend just couldn’t rise above the myriads of NWOBHM bands all competing for attention during the early 80s. It didn’t help that they were stuck out in the Channel Islands, removed from the scene’s industry hotspots and gigging circuit. But their proggy brand of metal was also intropspective, dark and dour. Great stuff for fans of gloomier fare; not the kind of music that was going to stand out alongside anthems like Angel Witch, Let It Loose, and Blitzkrieg.
Legend eventually gave up the ghost but on their final release, 1982’s Frontline EP, they went out in style: taking a more direct and melodic approach. The title track and Open Up The Skies are on the slight side in terms of song structure but are packed with catchy melodies and Peter Howarth’s masterful guitar work. The latter song in particular features the kind of axe heroics that would have gone down a storm if the band had been based in LA rather than Jersey. The ballad Sabra & Chatila gets back to the darkness of their previous work but its dreamy quality and lush Bill Nelson-esque textures make it a highlight.
But best of all is the awesome Stormers Of Heaven. It’s the kind of anthemic, hook-laden rock song that would have graced any compilation of the genre. If it had appeared on any. But sadly, it remains criminally overlooked. Legend might just have been in the wrong place at the wrong time all along.
It’s almost unrecognisable as the band that became a major force in metal years later but the early Sepultura stuff is still pretty remarkable. Brazil wasn’t a corner of the globe where anyone was expecting a metal scene to pop up and when the band recorded their 1985 debut EP Bestial Devastation (a split release with fellow countrymen Overdose) it was just emerging from decades as a military dictatorship. Musically it’s not the most amazing stuff you’ll hear from the era but the band were pretty impressive considering they were all still in their mid-teens. And they got in early enough and extreme enough that their raw, filthy undergound thrash was also a primordial stew of nascent black and death metal.
My favourite track from the EP is Necromancer, with its naive evil lyrics, grinding Celtic Frost riffs, blasts of Discharge-like speed and a wild “all notes matter” guitar solo right out of Slayer. Fun stuff. Unfortunately, my favourite part of the song is a bit that I always mishear and misremember. One of the great metal mondegreens. After the chaotic solo the song returns to a slow sludge as vocalist Max “Possessed” Cavalera sings “necromancer, dead’s invoker”. But in my world this line has always been “necromancer, dirty fucker”. And it always will be! And it’s about time they just ‘fess up and admit that’s what the lyrics really were all along.
I want to get HMO circa 2019 off to a mighty start and it doesn’t get much mightier than everyone’s favourite brick-breaking, steel-bending and hot water bottle-exploding Canuck Jon Mikl Thor!
The former bodybuilding champ (and naked waiter) plugged away with various bands like Body Rock and Thor And The Imps before finally settling on Thor, releasing their debut album Keep The Dogs Away in the late 70s. The debut’s ropey (but infuriatingly catchy) glam made for a bit of a false start and it wasn’t until 1983’s Unchained EP that Thor finally hit his musical stride, with a nifty new band and a hard metal backing that was much better suited to his voice, persona and Herculean physique.
That physique and viking imagery often gets Thor lumped in with HMO-heroes Manowar but the music on Unchained is much more along the lines of the party-hearty block riffing of Twisted Sister. Traces of the debut’s glam approach remain, especially in the EP’s weakest track Lazer Eyes. But Unchained is even catchier than the debut and tracks like Anger, Lightning Strikes Again and When Gods Collide are instant favourites and mandatory listening for any true metal party!
Better still, the recent reissue from Cleopatra bolsters the already mighty EP with tons of quality bonus tracks like War Hammer and Rebirth Of The Hero as well as the ultra-rare Lightning Strikes Again EP from 1982 which features raw earlier versions of the Unchained tracks. When you’re fucking and fighting in Valhalla, Unchained will be playing in the background. Essential listening for anyone that needs some devastation with their musculation.
Def Leppard roared onto the UK metal scene with this self-titled EP. Hard to imagine now, but the squillion-selling stars of Hysteria fame had to release this on their own label Bludgeon Riffola after paying for the recording with borrowed money and recording it with borrowed drummer, Frank Noon. It was the kind of DIY move that became a big factor in the growing New Wave of British Heavy Metal and The Def Leppard EP put the Sheffield band right at the forefront of the movement. Before the term NWOBHM had even been coined!
Released in January 1979 the EP features early versions of Ride Into The Sun, Getcha Rocks Off and The Overture: all songs that would be re-recorded later, with varying results. A later Hysteria-era remake of Ride Into The Sun improved on the original’s clunky vocals but that bouncy riff is still killer here and it’s fun to hear Lep in such naïve form. Getcha Rocks Off and The Overture would appear again on the band’s debut album On Through The Night but these are the definitive takes with their lively hot-of-the-press feel. The Overture in particular is a highlight, top epic-metal cobblers that puts the album version in the shade.
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None of this is going to blow you away but it’s a fun, interesting listen and must-have for Lep fans. It’s been released in various vinyl editions that might set you back now but it has just been made available digitally for the first time EVER so there has never been a better time to getcha rocks off with this excellent piece of metal history.
I don’t normally get all that excited about covers EPs (Danzig excepted) but Thus Defiled’s A Return To The Shadows is a total riot. The release marks the UK black metallers’ 25th year in action and sadly, also their last. The quality-over-quantity band hasn’t exactly been prolific during that quarter century so the chance to hear some new recordings is hugely welcome.
The main attraction is the new track Armagedda In Rapture and it’s a scorcher. The impressive production is simultaneously clinical and savage. It’s pure riff destruction with fantastic demonic vocals and it’s easily the best black metal track I’ve heard this year so far. The kind of song that’s so awesome it just makes you laugh the first time you hear it.
The rest of A Return To The Shadows is taken up by cover versions and, interestingly, the band opted to only cover non-black metal material. It turns out to be a great call as the band are able to put their own spin on a batch of songs that less daring souls would consider unfuckwithable.
They scythe and scream their way through Death’s Evil Dead and Metallica’s Creeping Death. Impossible to top such classic tracks but they inject so much energy and spark into them that the effect is like hearing the songs for the first time. You can’t ask for more than that.
Next up is a bewitching version of Morbid Angel’s Demon Seed and as an extra bonus they’ve got Morbid Angel/Nocturnus legend Mike Browning adding superb ominous and cultish vocals to another belter of a track. The cover of W.A.S.P’s Hellion that closes is the weakest here, a shade lost under the windy howls of vocalist Paul C, but with repeat listens it starts to make more and more sense. The riffs are undeniable and a black metal band that covers W.A.S.P. deserves instant HMO bonus points.
It’s a brilliant EP. Tons of fun and if it wasn’t digital I’d have probably worn it out by now. Fans of extreme metal should not miss out on this download-only release (available here). All the band ask is that you donate anything you can spare to the Chuck Schuldiner-approved musician’s charity Sweet Relief. It’s a great gesture and, with the band deciding to call it day and slink off into the shadows, a great way for them to close out an impressive career of evil.
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