Heavy Maytal - Eradikated : "Wiring of Violence"

 

This Swedish thrash band leans pretty heavily onto the more punk side of thrash on the opening track, with the taunt Slayer like riffing anchoring them in metal. Their lyrics are often political, and spilt out in an angry fashion that is suited for that they are doing. Though everything races at you with such ferocity, I lost track of where I was by the third song and had to go back and give things a better listen. "Mortality" carries a more metallic chug. The vocals are accented more like Nuclear Assaults' though not screamed in the same manner. "Again I Rise' finds them wisely changing things up to gather a more deliberate purpose that pays off as it's the best of the first three songs. Gang vocals in the chorus help break things up. 

"Culling" find the drummer going more ballistic. It hammers in a more straight ahead fashion, though the vocals are pretty well articulated. It's not as catchy as the previous song. Seems like some very deliberate winks in the direction of Slayer riff-wise. "Tsar" is another rapid blitz, with the lyrics yelled at you wit ha caustic spit flying. They are all in on the Slayer tribute with "Precipice". But it works fairly well, as it's driven by a cool riff. There are a few places where he comes closer to singing. The title track charges at you head first with a more punk intensity. It's a bout a mass-shooting, and barrow a little from "War Ensemble". 

"Confession Obsession" might not be the most original thing I've heard but the guitar is pretty powerful and makes for one of the album's strongest moments. "Ashes" finds a hooky more melodic chorus tempering the rush of the punk thrashing that overtakes the verses balancing it out. I will give this one a 9 despite it's blatant Slayer influence as it's a great deal of fun. 

Heavy Maytal- Iron Maiden's "A Matter of Life and Death"

I now remember why I liked this album so much when it came out. Aggressive and rapid riffs but still allowing for melody. Bruce's vocal lines flow better than what we heard on 'Dance of Death". The more progressive vibes to "These Colours Don't Run" groove impressively. It has one of the album's strongest choruses to deliver a huge epic sound. Nicko's drumming is even more dialed in to give the songs the needed punch. The middle section holds the tension to set up the guitar solos. 

Bruce's voice sounds pretty youthful against the odd time, almost Tool-like pulse of "Brighter Than a Thousand Suns". Some pretty mean crunchy riffs on this do not sound dated and lack the nostalgia grab their peers tend to go for. It makes sense, as at this point, they had been playing festivals and seemed to have paid attention to where music was going. I am surprised that this album did not sell better outside of their fan base. In 2006, we were entering a phase where people began to stop buying music. They do lock into their classic gallop, but it is not looking back at the 80s for approval. 

"The Pilgrim" has more of a classic Maiden feel. The chorus is not quite as catchy as the previous songs. The verses to "The Longest Day' are darker where they have the huge anthemic chorus they are known for, which they swell into, shifting the mood. "Out of the Shadows" is a moody power ballad of sorts, and more melodic works really well; Bruce shines here. 'The Reincarnation of Benjamin Breeg" is another powerful performance from Beuce, it's a deliberate and dynamic rocker that is more effective than pouring on the speed and guitar harmonies. 

By this time in their career, it is clear they have developed a new formula that takes a power-ballad-like dynamic to open a song, before transitioning into what you more typically expect from this band. This can be heard in action on "For the Greater Good of God". Though this means being expanded in epic prog metal for this song. "Lord of Light' starts off with a darker tension, before exploding into the gallop at the minute-and-a-half mark. The last song, "The Legacy," goes from being a folkish ballad to one of the most epic post-"Fear of the Dark" moments the band has summoned, and Bruce flexes his pipes as he gets up there. This album still holds up and is the most underrated in their catalog I will give it a 10.

 

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Apostle : "A Splinter in the Infinite Noumenon"

 This Atlanta trio plays a dark, chaotic take on hard-core that at times has the desperate sound of screamo. The opening g track "Exiting the God Hologram" finds atmospheric dissonance colliding with a feral frenzy. There are bits of breathing room allowed to create tension. The sound swirls around you in a more experimental way than what you normally get from this sort of thing, as it ends with a more expansive post-rock atmosphere. "Illusion of Loss' finds the main vocal squawked in a more abrasive manner than what the music seems to be calling for at this point, though it's a murky sonic swamp of sounds that floods your ears here. 

"Swine' is a noisy, punishing barrage. The vocals begin to feel a little like a one-trick pony, though they are layered with a more typical hardcore shout. Blackened tremolo-picked guitars cut through the murk. They are almost getting lost in their own chaos here. "Distortions of Light" finds samples being woven around dreary post-rock guitar before colliding with things in a more downtrodden sludge manner. I like the dynamic juxtaposition with this one, as it is dark enough for me to forgive the vocals for sticking to the same old, same old. The noisy ambiance is one of this album's defining traits and the band's strong suit. It is almost shoegazey in places. 

"Oscillating Polarities" finds the screaming continuing as the beatings improve their morale.There is less of attempt at the guitars creating melody here, as things just sink into the blood soaked feeding frenzy with death metal growls joining in. They do return to a woozier shoegazing guitar tone, that is allowed to ring out amid the temper tantrums. The noise eventually consumes the hardore heart of this song. 'At Ease' closes the album. It is over seven minutes long but almost a minute of fat could have been trimmed off that lead in. It's not as frantic, but I  am more focused on where the meldoeis are going to come from and how is this going to hook me in. They are less certain about this part and try to just wash things away with hypnotic post-rock.I will give this an 8.5 as I appreciate the direction they are experimenting in, perhaps in time they will grow into this sound and be more song focused, Drops on Terminus Hate City June 5th. 

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Heavy Maytal - Metal Church : "Dead to Rights"

The 14th album from the legendary thrash project helmed by Kurt Vanderhoof, who is the sole original member, now features an all-new line-up, including former Flotsam & Jetsam drummer Ken Mary, who also played on Alice Cooper's "Raise Your Fist and Yell" album, along with Megadeth bassist Dave Ellefson. For what they are doing, you can't ask for a better backbone to drive these songs. The opening track is pretty impressive and delivers what you want from them. This is the 6th album that guitarist Rick Van Zandt has played alongside Kurt, so he knows the deal. 

This leaves vocalist Brian Allen from Vicious Rumors having to step into the path previously tread by some great singers like David Wayne and Mike Howe. He kind of splits the difference between the two, which on the second song causes them to sound more like Exodus, though he does give an impressive, well-rounded dynamic performance on the title track. So far, it does not feel as dark as the early years; it does feel like they move in a Megadeth direction at times, perhaps due to Ellefson's involvement. The first time this comes to mind is on "Deep Cover Shakedown".While Allen goes into his higher register on this one and it is driven by a headbanging chug, it does not feel as catchy as the previous song, and the lyrics are not the best. 

"Feet to the Fire" is a workable balance between heavy drive and melody. The vocals juggle a raspy snarl with soaring croon. The best lyrics so far are on the thrashing "The Show". It's a fitting commentary on the world today. "Heaven Knows" is on the more Megadeth side of the thrash gallops with an Accept-tinged power metal flying over it. 'No Memory' goes over onto the more power metal side of things, which is not as effective as when they lock into a more Megadeth-like groove on 'Wasted Years".  They are touching on things like Big Pharma that more bands need to be doing. "My Wrath" feels less like Metal Church and more like Exodus jamming with Megadeth, so a hybrid thrash. Wayne and Howe are dead, so this sounds as muh like Metal Church as we are going to get, so they excelled at keeping it going. I will give this album a 9.5. 

9.6

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Heavy Maytal- Iron Maiden's "Dance of Death"

 

The band's 13th album is the one Bruce album I have spent the least amount of time with. It opens with a high-energy song with a rather dumb repetitive chorus. It makes me think of Van Halen. Not a terrible song, but I expect more from them when Bruce is around. There is a similar energy to "Rainmaker," but all the moving parts are higher functioning. The chorus works much better. "No More Lies" feels like something from "Fear of the Dark", which is wehre they started writing these types of darker songs. The guitar playing here is very nuanced. The vocal production on this album is way better than anything from the Blaze albums. It does build up until the thunderous chorus. With three guitarists, the solo sections have grown. 

"Montsegur" is heavier and an unrated Maiden song, I have never paid attention to til now, which is why I enjoy digging back into these albums I never gave enough of a chance. The title track is the kind of epic galloping frolic that is what this band is known for. So they are doing what you want from them. "Gates of Tomorrow" feels a little happy for my musical taste buds, but it's well-executed and sounds like them. "New Frontier" is more of what I want from them, as it has more of a metallic attack. "Paschendale " is Adrian Smith writing what he thought would be the typical Maiden epic, and he did a pretty good job of it, as it has a heavier stomp. 

There is a darker, more majestic feel to "Face in the Sand" that works well. The guitar riff to 'Age of Innocence' has a heavier chug than what you typically expect from them, but it works for where they were in 2003. This is juxtaposed by a poppier melody on the chorus, yet it all seems to gel. The odd choice of their first acoustic song to close the album is awkward, but you can't resent them for trying new things. But after listening to it several times, it never really hel my attention that well or felt memorable. Overall, this album works and recaptures what we love about the band more often than not so I will give it a 9.5. 

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Heavy Maytal - Tailgunner- "Midnight Blitz"

 When it comes to a new traditonal metal band with the most buzz, the band that comes to mind is Tailgunner. KK Downing produced their new album, giving these kids from the UK an edge on the competition, and they have the buzz to build the momentum. But none of this means anything if they are just delivering the idea of an era rather than songs that are relevant in 2026. They open with a somewhat aggressive track, considering the genre, at times making me think of a less flashy Dragonforce. The second song is more melodic, which I appreciate, but it also flirts with hair metal a bit, which I feel is an equal influence on what they do. 

Despite KK producing their album, they do not sound like Priest. They sound more like a speed metal version of the Scorpions. This fact is highlighted on "Follow Me in Death". There are lots of guitar solos racing around, so if that is your thing, you might be into this. Three songs in, and I am under the suspicion that these kids are not going to be dark or aggressive enough for me, which is a common problem I have with power metal. By the time we get to 'Dead Til Dark', I'm positive that if a song about vampires is too happy for me, there are going to be some stylistic differences that I might not be able to reconcile with these guys, despite them being good at what they are doing. It begins to become hard for me to even think of this as metal due to how upbeat they are.

"Barrens Land and Seas of Red" finds the rapid-fire pace being maintained. The vocal approach is very similar to what this guy has been doing for the bulk of the album, where a wider range of vocal colors would feel the dynamics of the album. "War In Heaven' features Ozzy/ Sabbath Keyboardist Adam Wakeman. It's more of a power ballad. You do finally get to hear more shades of the singer's voice. He is some hat you stereotypical power metal singer, but without any falsetto yodeling, so far everything has been sung from his tenor chest register. 

The drummer earns his place at the table on "Blood Sacrifice." Their singer tries to be a little more aggressive and goes up into his blended head register on the chorus. "Night Raids' is just as over the top as the bulk of this album has been, though they back off enough on the verses so the vocals have room. No new ground is broken on this song, and the fact that everything is similar in tempo makes the songs sound the same. "Eye of the Storm" at least finds the verses creating more space and tension. When it builds up, it feels more like a tribute to modern power metal. The last song opens with more fanfare to create the mood. Then, they race off into something not far removed from what we have already heard from these guys. The fact that they stick so closely to the rule book for this genre and do not bring anything new to the table is a bit off-putting, and it's too happy for my tastes, but they have the chops for this kind of thing, and it's well-produced I will give it an 8. 

 

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Heavy Maytal - Iron Maiden's "Virtual XI"

 

1998 was an odd transition period for metal, so it was easy to imagine how another Blae Bayley album might slip between the cracks. The mix is better than the previous Blaze album, with more of a classic Maiden sound coming from the guitar. Harris falls low in the mix, but the drum sound is better. "The Angel and the Gambler" makes me think of the Who.  There is more of a rock feel to it. It is a little too upbeat and happy in the execution for me. Keyboards are also taking a much larger role in this one. There is a cool melody breakdown on this one, but it might be part of the formula for this album, like the acoustic intros were for the previous one. It almost feels like they are jsut jamming, which I can appreciate. 

"Lightning Strikes Twice" has an odd chorus refrain, but the guitar solo section is classic Maiden, though the bulk of the song is kind of clunky. I've heard Bruce sing The Clansman" before live andd then went to check out the original, so the only song from this album I am familiar with. It captures more of the classic Maiden sound as it slowly builds. It takes two minutes for the drums to come in, but it's pretty anthemic and a tough song for them to beat on this album. The middle section finds them returning to a more jammed feel. "When Two Worlds Collide" follows the formula of a more subdued atmospheric intro that they build. Here it's into a gallop that should work, but Bayley's vocals feel a little awkward to me. 

They get proggier on "the Educated Fool". It still works on the formula they seem to be using during the period. His vocals seem too dry; it feels like they should put some effects on them. It might have helped the overall vocal sound, as he is a decent singer, but he is not given much love in the studio. The guitar harmonies on this song work better than most on this album. "Don't Look in the Eyes of a Stranger' feels like it was a B-side from "Fear of the Dark." The creeping tempo helps with the shadowy tension. The breakdown into the ambient middle section is a little odd until they begin to build it up. They are back to the Blaze formula on the last song. It builds up well enough, and Blaze sounds fine; it's just not that memorable despite when they lock into their classic harmony parts. I will give this album a 9 as well, even though it's an improvement over the previous album, it feels like they were just punching the time clock in some respects. 

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