FOR THE LOVE OF METAL
First thing I thought when I woke up this morning was “Hey, it’s Record Store Day!” No, not Hitler’s Birthday, the Columbine Massacre Anniversary, the day Black Sabbath tickets go on sale (I got mine on Thursday via presale–33rd row floors) or even that day when everybody gathers in a park to smoke pot. Apparently, purchasing vinyl is now more important to me than smoking marijuana. I think I’m becoming a square, maaaaan!
“We were still trying to come of age. I was 25 and trying to find my way in the world. I think we all were. We had started to find our sound and were able to express ourselves in a way we had been trying for a long time. Souls At Zero (1992) was a step in that direction. When I listen to it I find songs where we were tapping into it. But it was hit or miss, especially with keyboards and different textures. We had to get more proficient at our instruments to pull the things in our heads out. Enemy was a bold step in that direction.”
Justin M. Norton sits down with metal pioneer Scott Kelly of Neurosis to discuss the re-issue of 1993’s critically acclaimed “Enemy of the Sun”, psychedelic cyborgs, and the band’s live experience.
All in all, if you don’t own Infinite and are a power metal fan, I recommend you pick it up. If you already own it but don’t have the bonus material, it’s not essential but it is cool to hear at least once.
San Francisco’s Hammers of Misfortune have recently signed to Metal Blade, and as a result, the label has reissued their entire back catalogue in hopes that it will get the due recognition it missed the first time around. With no expectation and no foreknowledge of the band, I tossed myself in at the deep end to review these four reissues and wound up discovering something completely fresh.
Kyle Harcott reviews the new Metal Blade reissues of the Hammers Of Misfortune back catalogue.
Helstar could have been a much bigger band if the songs had just been a bit stronger. Rising From The Grave is an enjoyable listen though and it’s easy to get carried away in Rivera and company’s enthusiasm and skill.
As for the bulk of the original album, it’s what you would expect from a former member of Within Temptation (Westerholt): soaring vocals, bombastic guitar solos, pounding drums, lush keyboard and symphonic string arrangements. All played with subtlety and an attention to contrast that it seems only those in power or progressive metal remember any more
This reissue of Raw Power is satisfying because, unlike so many of the more “adventurous” re-workings of the material, this release stays true to the original; even leaving some of the noticeable flaws (like the clipping that might be from volume or from a little bit of tape left mangled in “Your Pretty Face Is Going To Hell” intact) in place to imply the rough, warts-and-all initial recording process.
Boasting the most robust guitar tone of the band’s career, Trouble shifted to a riff-heavy approach and embraced the almighty groove. Trouble did not abandon its zeal for all things 70s so much as it reconciled this enthusiasm with a straight-up metallic punch. However, what truly allowed Plastic Green Head to stand out was its songwriting.
As previously mentioned in Albert Mansour’s recent Wolfbane review, Hellbound.ca has a pretty deep respect for the excellent job Pittsburgh’s Shadow Kingdom Records is doing chronicling long lost metal gems for modern day consumption. The long line of obscurities they have dug up in the past three years is admirable and this new reissue by legendary DC doom crew Iron Man is no exception.
To celebrate the recent tour edition reissue of this album, Adrien Begrand revisits Testament’s The Formation of Damnation for Hellbound.ca