The meanest and heaviest album of KISS’ classic era. When their self-titled debut LP wasted no time in sliding out of the charts, KISS headed back into the studio to rush out a replacement, 1974’s Hotter Than Hell. This time ramping up the layers and distortion in an attempt to replicate the power of their live sound. The sludgy, messy end result is oft-criticised but I think the album has a dark, underground edge and the more metallic material here works really well. Songs like the genius riff-fest Parasite and the predatory Watchin’ You sound gritty and nasty. My main gripe is the stupidly slow tempos. Top tunes like Got To Choose, the title-track and Let Me Go Rock N’ Roll just sound like they need a good kick up the arse. But they’re still enjoyable versions if you just get into that blockier, doomier mindset and, best of all, there are no real clunkers here. They won’t show up on greatest hits sets but tracks like Comin’ Home, Goin’ Blind and Strange Ways are all choice deep cuts for the KISS connoisseur. Especially Strange Ways for its phenomenal whacked-out Ace Frehley guitar solo. Total attitude. Not their hottest album then but definitely one of their coolest, a rewarding evocation of KISS’ hungry years.
Released back in 1987, before lineup changes led to a chain of events that would make them infamous, Mayhem’s debut EP Deathcrush achieved notoriety on the strength of its music alone. It’s 18 minutes of metal that’s as primal and abrasive as it gets. With neither black or death metal codified as separate musical styles yet, Deathcrush is a mercurial mix of both. The rumbling riffs and crude lyrics (“her guts were boiling out of her butt”) lean towards the fledgling death genre. But the necro production, bulldozer guitar tones and punk mentality follow in the footsteps of early Bathory, Hellhammer, Sodom et al: a course that would eventually to lead to the birth of black metal in the band’s native Norway. The howling, stubbed-toe vocals of Maniac, the harsh Quorthon-like vocals of Messiah and the spooky unease created by the avant-garde instrumentals Silvester Anfang and Weird (Manheim) all add to the palpable sense of darkness and evil that make Deathcrush a crucial evolutionary step in the black metal story. Pure Fucking Armageddon from start to finish. And the band was just getting started…
He was the lurking, shadowy menace on the cover of Iron Maiden’s first single Running Free and now wwoooaarghh… here’s Eddie! The band’s undying, murderous mascot was finally revealed in his full glory on the front of their self-titled debut album. His ghoulish presence amidst London’s grubby bins, doorways and streetlights perfectly evoking the rough, dangerous music on this NWOBHM classic. Iron Maiden sounds like it wants to jump you in an alleyway and cut your face. Gritty and aggressive tunes like Prowler, Transylvania and Iron Maiden taking the metal pioneered by Priest and Rainbow to a new level of raw intensity. And guided by bassist/songwriter/Genesis fan Steve Harris, there’s also plenty of ambition and excitement in the extended structures of tracks like the lucozade-powered Phantom Of The Opera. These days I gravitate to the Hendrix-y mellowness of Remember Tomorrow and Strange World but all the songs on this album have been a favourite at one point or another. The whole band impress but Paul Di’Anno’s raucous vocals and Harris’ forceful basslines deserve special mentions. The band members still whinge about the gnarly production but nobody else gives a flying fuck. Iron Maiden wants you for dead and if this album doesn’t get your blood flowing, you might as well be.
The return of Swedish orthodox black metallers Funeral Mist has been one of 2018’s most welcome surprises. And Hekatomb, their first album in nearly ten years, is a raging reminder that the Devil still has all the best tunes. Tracks like Shedding Skin and Hosanna are absolutely flaying, a purist’s delight, and the rest of the album has imaginative depth and rich layers: In Nomine Domini’s addictive sliding riff; Naught But Death’s wicked mix of groove and gospel; Cockatrice’s ambient keys and the monk-y magic of Metamorphosis. It’s a stunning accomplishment from Arioch who, ably assisted by drummer Lars B, is the mastermind behind all the music, imagery and charismatically demented vocals here. Easily the album of the year so far. It’s so good I had to buy their entire back catalogue on vinyl.
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.
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.
HMO Rating: 4 out of 5
(Here’s my copy. It’s the new edition released by Nuclear Blast. With new artwork, lyric sheet and red vinyl)
Chase the Dragon and On a Storyteller’s Night are the sturdier, rockier picks of the Magnum back catalogue but they reached their peak of life-affirming, pop rock joy with Wings of Heaven: one of the most feelgood albums ever created. Tony Clarkin writing simple, catchy AOR rockers par excellence delivered with winning passion and panache by the ever-lovable Bob Cately. Boaby sings like he would take bullets for Magnum. “It’s a flame that keeps burning… everLASTing torrrchhhh!”, “Too old to die young, too big to cry… MAMA!” The guy’s a total hero. As soon as he chimes in on genius opener Days of No Trust (“Pray to the future…”) you are on your feet. The album continues with the vista of Wild Swan and the sublime power pop of Start Talking Love. Classics all. Different Worlds is a mid-album lull but Pray for the Day and the WWI epic Don’t Wake the Lion (Too Old to Die Young) end the album with weight and compassion: breathtaking, heartrending but still triumphant, mighty and melodic. It’s a colossal climax to an excellent album. File this in your collection alongside your Jovi, Lep and Whitesnake and it won’t be long before it steals your heart. A heavenly magnum opus.