Modest Mouse : "An Eraser and a Maze"

 Isaac Brock is the sole original member of this band, who is plugging away on its 8th album. This was originally written to be for his solo project, Ugly Casanova, but he fleshed it out into his band with more name recognition. The style of quirky indie rock has not changed a great deal since "Good News For People Who Love Bad News," though the second song, "Remember Yourself," has a folky, organic introspection. This is the band's first album back on an indie label, which might seem like a step down, but it also comes with more artistic freedom and fewer suits breathing down their neck. Brock loosens his belt and lays back into a 60's flavored groove for "Life's a Dream." His voice feels warmer, as it relaxes against the flowing layers of sound dripping down from behind him. 

For me, their best album is "The Moon & Antarctica." That was a much darker affair with speculative lyrics about aliens; here, trippy elements are painting the walls, but they are playfully grooving. You would think a song called "Third Side of the Moon" would take you back to that place, and it is a marginal turn in that direction, but a glimpse at least. There is a strum of Brock's brand of quirky folk with a twang on "Dogbed in Heaven." This song is connected to "Give it a Skeleton," which is an intersting puzzle of a song lyrically, though musically it sounds like it's left over from the 90s. There are other songs like "Speak n Spell" that also feel like they have taken parts that sound like they should belong in a Modest Mouse song, but forgot how they should fit together. 

They do hit the mark solidly, taking the band's sound and marrying it with new sounds that blend well, like "I Can't Talk Right Now" and "Rotten Fruit," which is a collaboration with indie pop producer Justin Raisen, who has also worked with Charli XCX.He is not the only one bringing the modern pop touches to this album as the band willingly breaks out hooky grooves on "Absolutley Necessary Never," which works well and would have been a more interesting direction to see the band go in.  The album is also littered with instrumental interludes. Though they prove they can make the most of two minutes on "Song About Nothing," which has some punk energy. "Look How Far " is another example of how they can make the most of less than two minutes. Then they close the album with a song that is dialed in from their middle ground. I'll give this album an 8.5. I enjoyed it, but chances are slim that I will feel like listening to it again. They hit on what works for them as a band, dialing it for the fans that have kept them going all these years. It sounds great, so that is probably what you want from these guys as time marches on and so do they.

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May's Top 10 Albums

May is now two days out the door, so jsut catching up on this as I was trying to get ahead of kicking off June's Death Metal month, and life was being life, so now I am getting caught up, so let's get you abreast of new releases. This might help you, casual readers, with what you might have missed.  I am not doing little blurbs on them, just linking the reviews. This helps me organize my lists for the end of the year by listing the album's genre. This does not mean that these albums have been released this month, but it is a list of new or upcoming albums I have enjoyed the most. I have albums in my in-box that won't come out until August, so I am normally way ahead of the curve in this regard. They are ranked in order of how much I have listened to them. This month, leaned more on heavy stuff ranging from New Wave to Doom, so perhaps you will find your new favorite among them. Here are the Top 10 albums for May of 2026.

10-Metal Church- "Dead to Rights." 

Thrash

https://abysmalhymns.blogspot.com/2026/05/heavy-maytal-metal-church-dead-to-rights.html

9-Iceage-"For the Love Of Grace & the Hereafter" 

Indie Rock 

https://abysmalhymns.blogspot.com/2026/05/iceage-for-love-of-grace-hereafter.html

8-Truck Violence- "the Weathervane is my body." 

Noise Rock

https://abysmalhymns.blogspot.com/2026/05/truck-violence-weathervane-is-my-body.html

7-Venom - "Into Oblivion." 

Heavy Metal 

https://abysmalhymns.blogspot.com/2026/05/heavy-maytal-venom-into-oblivion.html

6-Dimmu Borgir - "Grand Serpent Rising." 

Symphonic Black Metal 

https://abysmalhymns.blogspot.com/2026/05/heavy-maytal-dimmu-borgir-grand-serpent.html

5-Tori Amos-"In Times of Dragons" 

Alternative

https://abysmalhymns.blogspot.com/2026/05/tori-amos-in-times-of-dragons.html

4-Astari Nite,- "Medications in Bloom." 

Goth / New Wave

https://abysmalhymns.blogspot.com/2026/05/astari-nite-medications-in-bloom.html

3-Genghis Tron-"Signal Fire" 

Prog Metal 

https://abysmalhymns.blogspot.com/2026/05/genghis-tron-signal-fire.html

 2-Frozen Soul-"No Place of Warmth." 

Death Metal 

https://abysmalhymns.blogspot.com/2026/05/frozen-soul-place-of-no-warmth.html

,1- Warning-"Rituals of Shame." 

Doom

https://abysmalhymns.blogspot.com/2026/05/heavy-maytal-warning-rituals-of-shame.html

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Death is June- Nunslaughter : "Satanic Chaos Legions"

This American band is a staple of the extreme metal scene; they are an aggressive yet dynamic blend of black metal and death metal. The vocal raps are really the only black metal element. As far as the satanic elements, they are pretty much just lyrical. I am not sensing they are darker than any other death metal band of this type, with Deicide and Archgoat being the unholy standards here. A song like "Jesus Fucking Dies" is fun, but on the thrash side of death metal. There is some tremolo-picked guitar in places that blur the lines a little here and there. They are very good at placing the vocals in the right places for maximum effect, as they are spit out as an accent to the faster guitar flowing under what they do.

"Christian Ruse" has more of a groove to its chug, though the vocals are not as memorable in their marginally lower snarl. They do throw in a cool moshy riff for a few measures, but it is not allowed to flourish long enough to get a pit going. You can hear more Slayer influence on this one. The first really blasty moment comes on "Die Your Own Death," which is balanced out by their more thrashing side. There is a more punk feel to "Rotten Messiah" that really lies in the drumming and the loose song structure.

The bass sound, being very prominent in the mix, creates a heavier sound than most bands of this kind. The deliberate nature of "Peukarist" gives the vocals more purpose and makes this one of the album's best songs so far. "In the Flames of Inferno" raced along a more predictable course. A song like "Heavenless" feels darker, which gets the message across more effectively. Though their frontman, Don of the Dead claims that they view Satan as just a philosophical symbol of rebellion, that being actually theistic Satanists, giving them more of a Laveyean stance if they are even into that much. They do branch out enough to delve into the Lucifer mythos on "Lucifer the Light' which is a pretty effective song. 

"Cathedral of Stench" hammers at you with a more Morbid Angel-like feel. Then they go full speed thrashing with the feral attack of "Listen to the Lies". They also keep things to a raging one-minute time limit on "Infernal Reign." They end the album with another minute and a half blast of speed with "Spear of Satan". I have heard grindcore bands use this time more effectively than just thrashing at you with their foot on the gas. I will give this album an 8.5; these guys stay true to who they are and do it with some songwriting sensibilities, even as rabidly furious as this album is. 

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Death Is June - Ditheist : "Cosmic DNA"

 

This band from Chicago is bringing it in a very legit fashion. They are dense and hammering with melodic bass playing and riffs that are hooky, not just beating your brains in. The technical aspects are kept in check, and what is impressive is how they pack what they do into three and four-minute songs. "Kill the Priest' does bring more of a full blasting Deicide-inspired decimation to your ears. But they leave room for the vocals. It is not as strong as the first two songs, but it still works for what it is. 

"Nyarlathotep" dabbles in the Morbid Angel mythos of Sumerian magic, while offering a thundering double bass undercurrent to the very purposeful riffing. "Apoplectic Delirium" is a denser chug that features a wildly chaotic guitar solo being wanked over it. The first song that holds any trace of a black metal influence is "Covenant of Hate,"  and that is really only in the beginning. It is a more deliberate song than jsut a blast fest. Though midway through the song, the double bass does speed things up some. But there is a hooky thrash-like riff they return to that gives you something to latch onto.

"Mouth to Hell," however, does find them racing off to give into the need for speed. The vocals croak in a way that brings Immortal to mind. It does drop down into a more convincing groove in the song's third act. "Singularity" rumbles along at your typical death metal chug that is middle of the road for death metal. I will give this album a 9, as it gets the job done more often than not when it comes to the aggressive nature of the genre, while bringing you the riffs that hook you in and vocals that have form and function rather than jsut being an afterthought.

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Converge : " the Hum of Hurt"

 

These guys have been working overtime as it's their second album of the year. From what I heard about this album going in, the buzz seemed to be it was going to be their noise rock albun, but I am not hearing that on the opening track, which might find the feral speed dialed down a bit but is pretty metallic otherwise, just more deliberate and not as chaotic.  Jacob's vocals are not as snarled on "Doom in Bloom". They pretty much pick up where they left off on the "Love is Not Enough" album with "It Only Gets Worse." Production-wise, it sounds like it was recorded in the same sessions. 

"Detonator" carries a steadier groove as the riffs flow with a more organic intention. Jacob is exclaiming the vocals in a pained spoken tone that he tenses up into his trademark bark here. There is a post-hardcore feel to some of the space and atmosphere here, rather than the type of barrage they normally hit you with."I Won't You Go" has a more Black Flag era hardcore sound to it, but there are more rabid, rapid-fire injections of blasts forced into the transitions. There is more tension built into these songs thanks to the bass being more of the backbone, but on a song like "It's Not Up to Us," this is continued to be tempered by wrathful sonic indulgence. I can appreciate the increased levels of dynamics here, and Jacob is using more vocal colors. 

At six minutes, "Dream Debris' is the longest song, but it's also the darkest and most brooding, with the rumbling bass line coming further to the forefront yet. When the vocals come in, they are low and spoken at almsot a whisper. It builds up into a sludgey roar. The two-and-a-half-minute instrumental."It Used to Matter showcases creepy guitar tones, but it seems like an intro to the more caustic title track. The opening riff is the most metal part of this album so far, and adheres closer to what you expect from the band. The last song is the album's second longest. It has a crushing, heavy riff that powers it and gives you the kind of punch you want these guys to pack as it ebbs back into weirdness. I will give this album a 10 as it might even be better than the year's previous release from them. 

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Welcome to Death is June 2026

 

Here we are bringing things to a boil as the heat of another June shifts the focus to death metal. The genre has made great gains in popularity, with a band like Amon Amarth playing arenas, and enough wars popping off around the globe to set the stage for it.' continues to leap in popularity with each passing year, with all the wars simmering around the world setting the stage for it. I 

As a fan of the genre since the 80s, the things I ask of my death metal is not unlike what I want from most music... first and foremost, darkness and moodiness to it. This means death metal that is just straightforward and heavy on the part of the snare is more than likely going to bore me. Looking for bands doing their own thing, who are not solely tributes to Morbid Angel, Incantation, or Entombed. The 90s were an important time for death metal, so leaning into that sound is ok, as long as you are doing your own thing with it. 

Going to cover death metal adjacent genres like death-core, grind-core, metalcore, and even thrash, if they are more metal than whatever core they wish to imply. One thing I am big on after hearing too many death metal musicians complain about the death toll of COVID or lamenting the death toll in Palestine, is, are these guys legit? Are they having doubts about worshipping death? Death is a sure outcome; there is no running from it. Everyone is going to die; this should be embraced and celebrated. If the band is not ready to embrace that kind of darkness, I do not want to hear them. With that said, let us enter the month of death metal for Death is June. 

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Tori Amos : "In The Times of Dragons"

 

This is a concept album in which Tori uses allegory to convey a political message. Nothing new for her, but it's done in an even more deliberate fashion. "Shush" feels likea Nine Inch Nails ballad, another not surprising element when you consider the crossover in their respective fan bases. For 62, her voice has held up really well, though her feminist coded lyrics can't be taken all that seriously, given her Botox addiction, so we are just going to focus on the music. 18 albums in, we are not getting a ton of surprises as the opener carries the 90s brooding we might want from her. 

The title track gives her voice center stage. I always preferred how she works in the context of a band, though I prefer just a bass player and drummer to accompany her, rather than a guitar player crowding her, but it works on this song. "Provincetown" finds the drums giving her more momentum, and this sense of movement makes the song more effective, though Tori is no slouch on the melodies. She has a sweet spot where her voice sits in her alto range. So dynamically speaking, the vocals are not what they once were. But between her being a total pro and the production, she makes the msot of what she still has. 

In many ways, this album reminds me of "Under the Pink," though the instrumentation is more layered. Despite her vocals all sitting in the same place, she manages to make what she is doing keep working, as heard on "St. Teresa".  Though this also sounds like it could have come from Kate Bush's "Sensual World " album. She starts to reach up higher on "Gasoline Girls' which has too much skip in its steps and is the first song that sounds like filler as it does carry the "Cornflake Girl' type skip. "Ode to Minnesota' is more introspective, despite being more obviously about external stimuli. It feels like her brand of melancholy, so it works for me. "Fanny Faudrey" carries more of a ragtime swing to it.  This works better than "Gasoline Girls." 

"Veins" is darker, so I enjoy that; it drones with its own hypnotic flow. There is an interesting shift in the chorus. "Strawberry Moon" is one of her wandering ballads that still manages to hold itself together. The somber mood of "Song of Sorrow" works really well with where her voice is at and creates a subtle dynamic shift in the composition. "Flood" meanders a bit too much in its own ambiance. Then, at the other end of the spectrum, she is much more focused on "Pyrite." The drums work really well on this. "Tempest" finds her trademark flowing piano lines doing what you want her to do.  However, I think that "Angelshark" is a more interesting song. It's moodier and works of a droning beat that finds layers of piano added to. 

"Blue Lotus " is a little more laid back, though this is generally a pretty chill album even by Tori's standards. There is a cool piano, but her vocals lurk around the same style that has dominated the album.t "Stronger Together" finds her not budging much from the breathy alot that has been the centerpiece of her vocals on this album. It song does finds it's groove, which works well. The last song is almost just a wash of ambient sound that she is singing over. I will give this album a 9.5. This is a double album and she manages to be very consistent when it comes to songwriting, leaving little filler, so the sound of Tori aging gracefully and not  fading away.

 16.6

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Iceage : "For the Love Of Grace & the Hereafter"

 

The Danish punks are back to rock n roll after 5 years. Elias's voice is not as sullen, and the more Rolling Stones direction they were heading in is more subtle on some songs than others with a rowdy jangle possessing songs like "Match Head Girl" that feels like it escaped from 90s college radio with a weird twinge of Bright Eyes to the vocal phrasing. There is almost a country twang to "the Weak' that brings the Violent Femmes to mind. It's has a carefree recklessness to it that is punk in it's own way, even if it's not the best display of their songwriting. They find a better balance on "No Fear" though the bass line keeps it from strolling away with the strum of the guitar leaving the attitude of the vocals as the most punk element. 

"Salve For Every Sore" deviates from the formula they have been using up to this point, but it also less focused. "Mother of Pearl" is carried by an angular jangling, that works similar to 'Lust For Life" era Iggy Pop. "Tender Blades" is one of the best songs so far as it carries the kind of strut and hooks that I want from them. "1835" benefits from a bass line grounding it ,as Elias' vocal style this time around is not as slurred but it also skips around the instrumentation with a similar cadence. His vocals seem more improvisational and not as deliberate. His approach works much better on " Star" . Lyrically, some morose sentiments are being expressed, but in a more hopeful manner than the post-punkish band I first got into. 

"Lifetime" is another very strong song on this album, so the changes that brought them to where they are now have not tarnished who they are as a band or what they are capable of, as they shine on this one. "Holy Water" is more recognizable when weighed against their earlier work and touches more on the post-punk side I missed. "True Blue" is a more interesting side step from the expectations, as it is somewhat of a ballad. It helps recapture who they are as a band. I will give this album a 9.5; there are some pretty great songs on this album amid this more upbeat 90s indie rock vibe, when I prefer them a little more downtrodden, but their talent still shines through.  

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Heavy Maytal-Dio's "Master of the Moon"

 

This is the 10th and final Dio solo album, and also features the return of  Craig Goldy, who is clearly Ronnie's Zakk. Jeff Pilson also returned for these sessions, which capture a very classic sound that ironically opens with "One More For the Road". The title track is a little darker and more deliberate in its doomy syncopation. "End of the World" riff-wise almost feels more like an AC/DC song, with his vocals keeping it from falling into that place."Shivers" is driven by a more metallic riff, though in 2004, it was marginally considered metal based on where music was heading by this point.

They bring more menace with "The Man Who Would Be King, " which carries a more ominous power. "Eyes" is darker and has a cool robotic effect haunting it. Its climax is very effective. I like the vocal production on "Living the Lie," it helps showcase a powerful vocal preformance that sells the song. I like the creeping palm muted riff leading into the guitar solo. 

"I am" carries the slow gallop true to the era he is embracing again, almost coming full circle in some ways. We are back to gypsy queens on "Death By Love." So you know he is back in his rocking sweet spot with wishing wells and sacred hearts thrown in for good measure.  'In Dreams' has big shoes to fill as the last song on the last Dio album, though it's not likely he knew it was his last, though he does own a few crystal balls. It is pretty deliberate and carries what you probably want from him. I'll round this up to a 10 as he feels like he grew comfortable in his own skin again right in time for the curtain call. 

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Genghis Tron : "Signal Fire"

 

Every five years is the average release rate for this band, as this marks the fourth album of their 20-year career. Their first album, "Dead Mouth Mountain," blended early metalcore sounds with electronics, and they have been slowly evolving past the more abrasive elements of this formula. Their new album puts the band closer to what someone like HEALTH does, though less industrial in their intentions. The balance of atmospheric and edge is more enthralling here, as it is full of hooks. Where the last album stepped away from harsher vocals, they are back in the mix here, but used as more of a dynamic vocal color. 

There is a more 90s alternative feel to the title track that embraces more of a grungy Smashing Pumpkins-like groove. Nick from Sumac joins them on drums as Kenny from the Armed steps in to handle bass duties. On a song like "Future Worship," these more organic instruments are not felt as strongly in the mix, as they are emulating what synths and plug-ins for a synth-wave project might do. That is, until the guitar kicks in midway through the song. "Like Fotocrom" offers a lush melodic atmosphere that drifts you out into the dusk. There is a tension that builds but never gains release. It almost feels like the intro to "Tomorrow Mirage". 

At this point in the album, "Tomorrow Mirage provides the needed shift in vocal colors. The harsher vocals trade off with the sung vocals, but not in the predictable Myspace metal manner. The album's most impressive drumming flows under this to maintain the momentum. You could call the wandering exploration of sounds they embark on prog rock if you wanted. "Nothing Blooms in the Hollow" launches into an almost Dillinger Escape Plan-like chaos before finding its groove. The intricate cascading riff further solidifies their place in the sound of prog in 2026.

"Without Form" is just a synth interlude that leads into "Born Prey". where they balance the snarl of hardcore with dreaming throbbing. This spastic tantrum is slightly a regression from where the album had been leading us. "A Love So Pure" is the album's most effective balance of their screamo past with progressive present. "New Gods" closes the album with a more electronic ambiance, guiding the hypnotic pulse of what they have been doing on this album. It's the most Nine Inch Nails-leaning moment so far. This works for me. Overall, I will give this album a 9.5. Sure, the parts comprising what they do are not as unique as how they are assembled. Fans for metal core than goes prog more often than not will appreciate this alongside their fan base, who are expecting change. 

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Heavy Maytal - W.M.D : "Against All Warnings"

 

This Canadian thrash band offers a neck jerking take on technical thrash. They are not obsessed with capturing a retro sound , but incorporate many elements from that time, most notably the vocal, which are a higher pitched squawk on the first track. They locked into some of these riffs in a more breakdown like fashion, which bands like Sacred Reich did back in the day as well. The fleet fingered focus on riffing is what keeps them from being cross over despite the speed poured into the verses, they have twin guitar harmonies to break this but. its till feels kinda rushed.

"Kleptomania" finds more of a Vio-lence feel taking over the sound. There are enough accents and break downs to make it interesting. It's back to pouring on the speed for "Post-Human Predator".  The relentless thrashing maintains it's momentum with " the Black Expanse". There are some audiences who just want fast rowdy playing and these guys deliver that so if that is your thing it is going to appeal more to you than listeners who want more hook and groove in their thrash, which makes the songs more enduring when you think about bands like well... the Big Four, who earned that title for good reason. 

"March of Death' shows they can write those kinds of riffs but it's more of a two minute interlude than a working song, but "the Thin Red Line" takes from it and builds it's own identity  full of guitar solos. "Already Dead' is another racing blur of hyper-aggressive riffing. The vocals are more of a an accent not just on this song, but as a whole on this album, There are more melodic guitar parts but they guitar has to do all the heavy lifting to keep you hooked despite the drums and bass still contributing . The clean guitar in the middle helps to create the kind of dynamics this album needs more of . "Painful Vengeance" starts off with a more deliberate riff, so they are capable of creating them not so much knowing how to write with restraint. I will give this album an 8, because it works on many levels thanks to the dazzling chops these guys have na there is an audience for this kind of thing. 

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Heavy Maytal : Dio's "Killing the Dragon"

 

Back in 2002 the dragon Dio was referring to was technology which he felt was a danger to mankind, so it's good that he is not alive to see where we are today. There is a more focus gallop on the first song than they used on the previous album.  Whitesnake guitarist Doug  Aldrich plays on this album, which also finds Bain and Wright holding it down behind him. "Along Comes a Spider" lyrically a little darker it's more of a typical Dio rocker but it works. with songs like "Scream" and "Better in the Dark" he was working off the theory that if it was never broke why fix, and trends allowed him to go back to something closer to his original style. 

For the song to be called "Rock N Roll" the verse throb more like "Kashmir" .  The chorus is a little cheese filled. "Push" is more of an anthemic rock song.  The palm muted chug on the verse is accented by a more rock riff. I'm going to blame Doug for the parts that sound like they belong in a Ratt song. There is also a very 80s feel to 'Guilty' with the vocal production being the big difference. It's a darker song than the bulk of what we have heard so far on this album so it works for me, along with it being pretty catchy. "Throw Away the Children" sounds like he was reflecting back on his time with Black Sabbath which works for me. I prefer it to the more rock n roll feel of "before the Fall" . The organ solo was unexpected but makes sense. 

The last song is pretty middle of the road, more rock than metal, but flashy enough guitar, though it feels like the same guitar riff could be applied to today's pop country. Overall, though this album works better than the previous one, and I think it was a smart move on his part to just embrace who he is. I will give this one a 9.5. 

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Heavy Maytal- Iron Slaught : "Metallic Torments"

This month has helped prove to me that old school metal has not gone anywhere it just went back to the undergrounds where it belongs. This is the second album from this French band. The first track just focuses on the galloping guitar harmonies. "Ghastly Obsession" finds them locking into a pretty effective chug. The drum are admittedly programmed, but sound pretty real. The vocals come in with a commanding snarl. 

What they are doing on "the Executioner " falls some where between classic Destruction and how Power Trip resurrected this sound. The vocals take on more of a growl for this one as well. The melodic guitar section giving them a more "Masters of Puppets" moment. They use a sung more power metal like vocal on "Soldier of Fortune" , which creates more sonic colors overall, though a brighter feel to the song. They balance it out with more feral speed metal attacks.  The sung vocals return for "Charme Funeste". Oh yeah it bears saying that these guys sing in their native tongue, so if that is a deal breaker for you then there you go.

"Primal Conquest" Finds the snarled vocals trading off with a hookier sung vocal on the chorus. The last song opens with melodic clean guitars. It goes into the predictable thrashing, with twin guitar harmonies, though sung vocals eventually  resurface. I will give this album a 9 not only did they nail a sound but they car about songwriting. It drops July 10th on Gates of Hell. 

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Mortiis : "Ghosts of Europa"

 Havard has been taking notes from Ulver in regards to the more synth wave direction he is heading in. Not what you expect from someone dressed up like a goblin. Its not like anyone is still bitter about the fact he is no longer making black metal as that ship sailed decades ago. The transition to this makes sense even with the vocoder autotuning the vocals. It was not that long ago he was making darkwave, and doing a pretty decent job of it, I felt like the goth scene was a good fit for him. So the electronic thing is not the problem , what is a marginal issue is it's not that dark, though thick on the atmosphere.

Maybe he wants to start making soundtracks for A24 movies , as that is the vibe we are getting from "Return to the Old Fields" The song takes more form in the final minutes but drifts more often than not. "The Faith That Fades Away"  has a sparse ritualistic beat , and the layers of vocals are pretty cool, it does finds things moving in a somewhat more brooding direction which I approve of but could use more of a bass line to give it a backbone. If it was not for the vocal arrangements it would fall on the side of being more focused on a sound than songwriting. 

There is more of a solid groove to "Violent Silence". The vocals are more androgynous than what you expect from this project, making me think of the Pet Shop Boys. I like the future pop leanings that flow through the song. "Transcending Morpheus" is atmospheric in almost a more Dead Can Dance direction. There is a little dynamic ebb and flow but not enough to hook you in .Not even the robotic vocals can make it more potent. Four and a half minutes in there is more of a groove, but it can't gain momentum by then    

It's odd that a song called "Tundra Heart of Hell" would sound like old Depeche Mode.  There is more of a 90s new age feel to "Tribes of Dystopia" but the vocals anchors it. The last song works well enough , it's a little darker vocally. He puts more guts into his delivery to create more dynamics. I will give this album a 9, once I warmed up to and got use to the change it grew on me. It comes out June 26th thanks to Prophecy Productions. 

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Heavy Maytal- Dio's"Magica"

 By 2000, I was pretty much jsut listening to hardcore shit like Converge or at the other spectrum the Cure, so this fell between the cracks and I have never listened to this album before. Craig Goldy returns for Dio's concept album. Jimmy Bain from Rainbow also showed up for bass duties."Lord of the Last Day" is the first actual song. It is slow and deliberate, bordering on doom, but not too anchored in nostalgia. It is interesting to hear Dio reach down and pull some lower notes out. "Fover Dreams" has more of a "Man on Silver Mountain" feel to its groove. It works for what they are doing here. 

It feels like they are jamming their way into "Turn to Stone," which would work well live. There are some soulful vocal embellishments by Dio in places on this one. Not the strongest chorus, but not opposed to this song either. Part of the concept is the robot voices, adding narrative, so maybe the theme is robots vs magic? "Feed My Head" is a little darker with great lyrics. "Eriel" has more of a "Holy Diver" gallop, but it does not feel too recycled. 

"Challis' takes modern drive and applies it to a more 80s rock sound. The riff carries echoes of "Cat Scratch Fever".  There is some interesting guitar work that opens up "As Long as it's not about Love."It starts off as more of a ballad, Dio showing off the more tender colors his voice is capable of capturing while retaining power. It never takes off but stays in a more dramatic, expressive place. There is a folkish intro to "Losing My Insanity," but with that song title, it would be too muh of a Spinal Tap moment for them not to kick into metal at some point. It's not the heaviest song on the album, but it has more of a swing to it. He has obviously become aware of folk metal by this point in time. 

"Otherworld" carries the typical not quite doomy throb that his solo work is known for, then the album takes a turn. There are two pieces called reprises before launching into the 18-minute of Dio's book on tape entitled. "Magica Story" so for the purpose of this album I am not going to include it nor was I really interested in story hour myself. I will give this one a 9 as despite it's ambitions and story telling it feels the least inspired .    But Dio is singing that elevates it over most metal albums from this period.

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Heavy Maytal- Elvenking : "Rite of Disclosure"

This Italian band blends power metal with folk to create something that remains relevant in the bigger picture of European metal. Their stage cosplay is darker than what they actually sound like, which manages to not be too happy for me to struggle to get through the first song, but hopefully, there will be less frolicking ahead, and they will dig in a little more as they are riding the line right now, but it works for what they are going for in the opening track. They already have 12 full-lengths under their belt, so they know what they are doing. 

There is almost a Bon Jovi-like candence to the singer's voice, which does not sell me on the bigger picture and makes me take it when they growl about the devil in the second song a little less seriously, though sonically it all somehow comes together. Three songs in, it's clear that this touch of cock rock is just how they are, and the choruses are going to be hit or miss with me, as some of them are too happy for my tastes. What does fall within my tastes but hits me weird is the cover of King Diamond's "The Arrival" which lacks the darkness of the original; the lower vocals work, but the falsetto finds them hitting the notes but not capturing the eerie feel. It's better just not to try to cover King Diamond in my book. 

"Children of Decadence sounds like what I expect from modern folk metal, jsut enough grit to be metal. It races along and has some shredding in the mix; it is hard to tell if it is coming for synths or fiddles, but I do not care enough to click on YouTube, as at the end of the day, it almost sounds the same. You can hear how both King Diamond and Cradle of Filth continue to be influences, with a more theatrical twist to what goes down. The ballad "Man of Iron" confirms that he can sing, but offers little else. "Salt on the Earth' closes the album. The vocals remind me more of Venom, but the song itself is not that raw. It's ok a little different than the rest, so they are not boring, though falling in the middle of the road when it comes to heaviness, if that. I wish it were darker, but if you are a teenager who likea folk metal, then this is a must. I will give it an 8.5. 

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Truck Violence; "the Weathervane is my body"

 

These Canadian hard-core kids are venturing further into noiserock in their sophomore release, which finds a more angular dissonance steering the songs. The vocals are monaded and howled, as they steer the boozy sonics with a precise ugliness to create something beautiful. Some moments might not be as overtly metal as where a band like Chatpile, who crosses over into sludge, goes, but could have a similar appeal.  It's not until the song "Completed By Christy" that they dip back into their more melodic side with the hints of folk and country music peppered in. At times, this reminds me of a band like Iceage, who gradually expanded beyond their punk roots

 They more fully commit to this kind of backwoods twang on "House Caught Fire." "New Jesus" is pretty dynamic in their approach, with a more explosive lead into what might be considered the chorus, which is not far removed from Black Flag. It ebbs and flows between the more melodic guitar riff and the dense din of guitar. There is less blending of their folky side with the more intense weight of what they are doing on this album, but it is still an interesting listen, certainly heavier than their first album. But they do switch gears by pulling out a banjo midway into "Your name, it's waiting". This blending leads to a more memorable riff that answers this shift. 

The riff rings out and hammers you in equal measure on "Stomach as a tower..." with things not breaking down to a more atmospheric introspection till midway in. "Gerard, be quiet" takes the time with a strum that contemplates rather than confronts. "Kindly Wash Yourself" opens in a more subdued folk and builds into something that brings to mind a 90s indie band like Sebadoh. The chords ring out with an effective ache. What they do on this album is a continuation that works, but I am going to give it a 9.5, as there is something about the first album that made it hit with me a little more, but this one might just need to grow on me. Out June 26th on the Flenser

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Heavy Maytal - Dio- "Angry Machines"

 

In 1996, my taste in music leaned more toward industrial music like Skinny Puppy or heavier death metal, so this one slipped under my radar when it came out. It's heavier than the previous album. The opening track has a darker, more deliberate crunch. Seven albums in, this would be the last to feature Vinny Appice on drums. It flopped commercially as things were being steered in the direction of White Zombie and Marilyn Manson, so traditonal metal was falling between the cracks. To Dio's credit, he is not layering the vocals to sound like Alice In Chains or deviating from what he does, just producing it to sound heavier. The more thrashing "Don't Tell the Kids" is not the best choice to deliver this, but it doesn't suck, as these wily vets still know what they are doing.

"Black" has a little more of a staccato bounce to its groove that reflects the 90s. Dio also carries a little more of a snarl. But it's not like he was trying to be Korn. Jeff Pilson's bass adds more bite than he used to use in Dokken, for sure. They return to a heavier doomier tone for "Stay Out of My Mind". Thanks to the production choices, Dio's vocals glide with a smooth, eerie quality over the music. Midway into the song, things take a bizarre atmospheric turn.  "Big Sister" has a more modern metal stomp. Dio's vocals are similarly handled in the studio as was done on the previous song. "Double Monday" blends the punchy grit of the riffing with more melody.

"Golden Rules" is not as focused as the previous song, as the guitar falls back into a palm-muted shuffle for the verses. The chorus does not take advantage of this approach to let it explode more. Some cool, darker moments slither in the transitions. I  like the darker mood that opens "Dying in America," and the verse riff is pretty cool.  His voice is given space in the mix. "This is Your Life" closes the album. It's a ballad that is doesn't suck but is not his most inspired song, either. Overall, this album was a pleasant surprise, and there are some cool grooving songs on here that reflect where metal was at, and  to show how Dio remained sonically relevant. I will give it a 9.5  

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Heavy Maytal -Evergray : "Architects Of A New Weave"

 

Swedish progressive power metallers Evergray have been at this for some time now. Their 2004 album "Inner Circle" was the last I gave a listen to, and it was a little too bogged down in the conventions of the genre to keep my interest, but things have changed. The guitar tone has grown denser to compete with the sound of modern metal. The singer and keyboardist are the only two members left over from those days as they now have the drummer from Shining, and Bassist from Therion in the fold, as well as the guitarist from Scar Symmetry. There is a heavier double bass attack bridging things, and the vocals might still be dramatic, but keep things in a more melodic and brooding direction.

On a song like "Heaven" you can hear the soulful nuance in his voice, but there are fewer Deep Purple vibes. When this sort of things goes wrong and do not infuse this level of balls into things, it ends up sounding more like Europe, which is a plight they have avoided this time around. The songs are also not just bookends for guitar solos, though there is no lack of them. "The Script" is more melodic, though it avoids becoming a total power ballad. It finds a big dynamic punch on the chorus to create a more anthemic feel. At times, it reminds me of Iced Earth in this regard, but not as dark or gritty, though darker than the last time I heard them. 

The pace picks up a little on "Leaving the Emptiness." It's a little more upbeat mood-wise. Almost making me think of Christian rock. In fact, I had to confer with the rob0-lords of AI to make sure this was not the case. Just because something is too happy for my tastes does not mean it is a Christian band, lesson learned. "Longing" is a more emotional outpouring of melody that finds them well adapted to today's musical landscape. With strong, almost poppy hooks. Unlike many prog-leaning bands, they have learned that restraint is your friend when it comes to songwriting, and leaving space for the vocal is crucial. Lyrically, it's a little more hopeful than what I prefer, but not everyone is a depressive maniac. 

Mikael from Dark Tranquility lends his voice to " A Burning Flame." To their credit, it's working off the epic 80s metal sound, though it feels more like middle-of-the-road mainstream metal, but it's well done, and the vocals continue to pull their weight. "Call of the Lions" falls closer to what a band like Kamelot does, but with a little less melodrama. The guitar solo to this is very melodic.  "Chains of Shame" keeps the emphasis on a modern metal groove and the melody that is locked in, though it doesn't feel all that heavy to me. The album closes with "The Prophecy," whih is both spacious and grandiose. The vocals soar around what feels like the body of the song. Overall, this is a great improve to the band who learned to become relevant I will give this a 9.

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Heavy Maytal- Dio's "Strange Highways'

One of Dio's heavier solo albums, where he carried the energy from the "Dehumanizer" sessions into this one. The staccato riff in the verse of the opening tracks reminds me a bit of "21st Century Schizoid Man," but the song rocks out pretty hard. Tracy G's playing on "Firehead' makes this feel almsot more like solo Ozzy. The opening track sets the bar pretty high for the rest of the album, but Dio proved he can still be relevant in a post-grunge world. The title track features a great vocal performance from Dio as the verse riff crunches into a doomy territory. It is darker than the previous song. Jeff Pilson's bass crunches through to bring more weight to the riffs. 

According to Tony Iommi "Hollywood Black " does, in fact, go back to the session they did with Dio, as they demo'ed it out, but did not use it, so Dio resurrected it for this album. It works well enough. At this juncture in the album, he is beginning to get back in his formula when it comes to marching metal anthems. This can also be heard on "Evolution," which has more of a 90s groove to it. "Pain" adds more urgency and passion to the verses of "Pain". There is a dark power-ballad dynamic in place for "Give Her the Gun." I also enjoy Dio's more melodic moment, as his softer vocal is more nuanced. 

"Blood From a Stone' is a more straightforward rocker. The first song that has felt like filler to me, but even then, it works for what they are doing. "Here's to You' is another fast-paced rocker, less rock n roll and more metal than something like "We Rock" that is similarly paced. The last song is less memorable for some reason, it works, but doesn't hook me in. I will give this album a 9.5, so not quite perfect, but he benefited from this reset, and this is an underated album that put him ahead of most of his peers during this time.

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Heavy Maytal- Dimmu Borgir : "Grand Serpent Rising"

 One of Norway's biggest bands, and one of my faves, they have picked up where they left off with the last album, the first actual song that is not a dramatic symphonic-tinged intro."Ascent" has just enough blast beats in the periphery to remind you they were once a black metal band, but that is far from the primary focus. The flash and finesse of the guitar solo on this solidifies their roots in classic metal. There is a similar shifting of arrangements that we heard back on "In Sorte Diaboli". What is more interesting is the darker, more melodious atmosphere to "As Seen in the Unseen." The drumming that explodes when they build it up as you expect them to continues to excel as Daray is still behind the kit. The creepy spoken vocals with heavy effects are, of course, making an appearance. 

"The Qyrptfarer" comes clsoer to bringing the type of hooks that have not been at the forefront since "Abrahadabra." That is not to say they are not bringing the big sound you want from them. It's tradmark grandiosity in peak form. I do like the creepy descending passages that sound like they are from a haunted house ride. "Ulvgjeld & Blodsodel" or 'wolf debt blood guilt' was the first single, which features a return to vocalizing in Norse again. It brings the big symphonic bombast that has become their calling card. With a very deliberate marching riff as the backbone. Choral chants and folk sounds buried deep in the mix add needed color. 

"Repository of Divine Transmutation" offers a respite from the thunderous riff churning for a minute before cranking back up into a more blackened sentiment, for a few seconds, but they wrote the book on how to make this dynamic so muh so that they took themselves out of the genre. The guitars are catchier here. Shagrath is doing nothing new, but refining what works for him. He makes declarations with a snarl more than outright screaming or growling. Majestic guitar harmonies chime in. The speed up in bursts makes it a brief stab to accent what they are doing. "Thus, An Alchemist Remembers" opens with a more traditional metal riff and shifts into the brooding symphonic metal that dominates this album. There are passages of clean guitar to give some breathing room. 

"Phantom of the Nemesis' stands out for me as it works off a different throb that is bigger and darker. The guitars feel more nuanced on this one. Ironically, Shagrath is snarling about how nothing is new under the sun, when this is another song that sounds like it could have been on "In Sorte..." but that was one of their best albums, so it is hard to argue against this. They speed along similar lines and drape "Recognizant" in similar sonic colors as what they have been on the other songs thus far. Perhaps this just needs to grow on me. "At the Precipice of Convergence" is more memorable than the previous song, though it takes its time winding around the intro. There is more of his croaking talking on this one. The more vampiric talking also shows up, which is fine by me to switch things up, but it does feel like they are very deliberately peddling their trademarks. The guitar solo is a bit chaotic, which is the most different element on this one, but it falls into place, as you want it to. 

Once you come to terms that ICS Vortex is not sweeping in to save the day with a big operatic hook, then the bar is pretty low for what they can deliver, which is creepy riffs that are catchy, and they deliver this with "Shadows of a Thousand Perceptions". They create more breathing room going into the last song, wisely opening with a very steady drum beat.I was not expecting it to be an instrumental, but at least it's a change of pace and very melodic. I woill go ahead and round this up to a 10, as it's better than the last album, and delivers what they know fans want, even if it feels a little formulaic in this regard, I think it will grow on me.

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Heavy Maytal -Dio's "Lock Up the Wolves"

It's been thought that this album is where Dio fell from his peak popularity. I remember being unsure of the line-up change spearheaded by the inclusion of 18-year-old Rown Robetson, who has a blues-rock feel to his playing rather than the more overt style. Yngwie keyboardist Jens Johansen and AC/DC drummer Simon Wright were also part of this new line-up. The main difference lies in the guitar tones, as Robertson is a great guitar player with ample chops displayed in "Born on the Sun".  It plays off many of the typical Dio tropes, but they still have gas in the tank. 

"Hey Angel" was the lead single, which leans more in the direction of where commercial metal was going, particularly with the layered vocals on the chorus and the drum sound here. But the songs is pretty good, and hold up to Dio's standard. After this, Dio would need to get his batteries recharged by reuniting with Sabbath for the heavier "De-humanizer" album, after which his solo albums would be more on track with where metal was heading, but when it comes to the transitional records going into the 90s, he fared better than many of his peers, though this is a far cry from "Painkiller". 

"Between Two Hearts" follows the Dio "power ballad' formula with the softer melodic intro, but this time a blues-based verse that modulates into a creeping palm-muted groove that snakes around the sparse almsot doomy drumming. It's his best vocal performance so far on this album, as it is very soulful. There is some interesting guitar playing going on in "Night Music." They default to the more typical dynamic ebb and flow on this one, but it still works thanks to Dio's magic pipes. I think what I sensed back when this came out in high school was that it wasn't as heavy as what he had done up to that point, though I saw him on this tour, and it worked for me live. 

While the lyrics are a little silly, the title track has to be my favorite song on this album, as it's the one I have returned to the most over the years, thanks to the vocal hook on the chorus. It is also darker and heavier than the previous songs. The bluesy swagger of " Evil on Queen Street" benefited from Rowan's playing. A song like "Walk on Water' works in this context, but it goes to show that if Dio had not done a reset and kept making albums, he would have gone to the well too many times going into the 90s. "Twisted" certainly helps to cement this as Dio's most blues-based rock n roll album.  

"Why Are They Watching Me" is more of a return to form with a great vocal performance from Dio, despite revisiting many 80s metal tropes. "My Eyes" closes the album. The verse riff is more like classic Dio before it ebbs back down, but his softer vocal performance is pretty stunning, so no omplaints about this formula. Which could apply to this album as a whole, sure it's a shift in a more rock direction, but when I was combined with Dios raw vocal talent and Rowan's enthusiasm, they made this work, so I will round it up to a 10, as the songs that come close to fillere were better than where hard rock was heading during this time. 

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Heavy Maytal- Warning : "Rituals of Shame"

 

The doom band from 40 Watt Sun's main man, Patrick Walker. The most striking thing is the haunting plea of his vocals, which glide over the depressing, lingering instrumentation. Everything feels very organic; it is mixed in a manner that gives the vocals more than enough room to do their thing. The guitars are not loaded down with an overabundance of gain like most doom bands, but they ring out with despair, while the minimal patter of drums keeps things moving. With their first album coming out in 1999, it is clear that this band was a strong influence on what Pallbearer does. 

While they are paced at a depressive tempo, I would not call this funeral doom, as it's not dark in the same way, but it does drift close to that sound. Lyrics also play a much more important role in the songs than the heavier strain of doom. He is a great lyricist, so this only plays in the song's favor. "Stations" finds more melancholy being poured into your ears. It slowly begins to build momentum while staying at a very speculative wandering tone. Lyrically, he is expressing wanting to escape from the outside world, which is certainly relatable. 

It's fitting that a song titled "Night Comes Down" would move in a darker, doomier direction."Landing Lights" finds them sinking further into the despair alluded to in the previous song. The pleading purity of his reedy tenor continues to impress. If he were singing Irish folk music, you might not blink, but here the results are more dynamically beautiful in the manner it provides contrast. The last song "Teacher" finds a similar languid, depressive feel drift over the song. The vocals continue to flow similarly to how they have been. The droning lathargy of this one does create a dynamic uncertainty by the time you get to the album of the album, but it still works. In some ways, it makes me think of Ian Anderson singing for Black Sabbath. The melody this winds around to reminds me of "Fade into You" by Mazzy Star. Which is a pleasant twist of fate. I will give this album a 10 as it's one of the best doom albums I've heard this year so far, as it is unique in its melodic sensibilities. This album drops June 19th on Relapse.

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Third Realm : "Escape Sequence"

 

This project brings a hard-hitting take on industrial's more EDM side. This does not mean they are compromising the aggression; in fact, the opening track is hitting harder sonically because it is not falling back into 90s nostalgia, but brings the kind of uncompromising attitude that industrial music used to have before too many of the artists got preoccupied with blending into safer mindsets, to not upset the fragile younger fan base merging.  This album goes back to not giving a fuck. They are not always in your face and confrontational, allowing for some ambaince and mood to a song like "Drain Me". This might appeal to the more dramatic old school dark wave fans, as it blends with future pop sensibilities. 

"Twist the Knife" takes futuristic synths and bleeds the desperation and melancholy from them to accompany the very emotional vocal preformance. The yare not so preoccupied with capturing the synth sound from a certain era that they forget about songwriting, as the vocals have a great deal of purpose in these songs. At times, they flirt with a more Depeche Mode-like feel. There is a slow build to "By My Side" that lures you out onto the dance floor. Some old-school techno melodies haunt the background here. Things get darker for "the Damage Has Been Done," which, much like the opening track, highlights what I feel sonically is the strongest side of the project, though I understand the need to have the more melodic songs to provide a dynamic contrast. 

"Leech Parade" does not employ beats that hold the same level of malice as some of the previous, more industrial-leaning, but the heavily effected vocals pick up the slack in this regard. It's another example of how the attitude of the song provides more of the punch. It might be the album's darkest song yet. There is more overt thump to "Compliance Pulls the Trigger." The vocals shift to a higher pitch, creating a different attitude and more of an early 2000s feel as it crosses over into "goth". "Rockets" shifts the mood almsot to the other end of the spectrum with a more Pet Shop Boys feel. I appreciate the dynamic range it introduces. There is still a lingering melancholy to this whih works for me. The beat keeps it's it from becoming too much of a ballad. The deeper you get into the song, the more you can hear the Depeche Mode influence returning. While I enjoy the two remixes of 'The Damage Has Been Done," I am not including them in this review for the purpose of scoring this album. 

With that said, this album surprised the hell out of me and impressed me, a feat when you consider how much dark music I review over the course of the year. There has not been anyone else who has dropped a club-ready set of bangers like this, so I am going to give it a 9.5 and see how it grows on me, if you are into 'goth" laced edm with a future pop sensibilty to the production then this album is for you and even if you don't think you are into that kind of music then you should still check it out as it has gone above and beyond, and are just good songs genres be dmaned. 

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Heavy Maytal- Dio's "Dream Evil"

Since I have already reviewed 'Sacred Heart" just last year, I am skipping ahead to this album, which I wore out when it came out. It was darker than bands like Twisted Sister and Judas Priest were doing at this time. Craig Goldy replaced Vivian Campbell on this album, which factors into a shift in sound.  The opening track is pretty heavy on guitar solos and your typical Dio uptempo opener. But lyrically brilliant as he asks questions like "do you come alive with neon kills the sun shine?" Why yes, I do. The title track is one of his all-time strongest songs. The verses are pretty typical for him, but the chorus is perfectly produced and performed. There are moments in "Sunset Superman" that remind me of his Sabbath years, though the chorus is certainly the kind of anthem Dio was known for cranking out. 

Dio's take on power ballads was different from others from this era. There was a more mystical atmosphere to them that can be felt in the languid melody that leads off "All the Fools Sailed Away".  In some ways, it is not unlike some of Ozzy's work in this regard. Though this feels more menacing when it kicks in on the verse. Lyrically, there is also more depth than Ozzy's solo work, though the subject differs greatly. I had totally forgotten about the keyboard solo leading into the guitar solo on this song. 

"Naked in the Rain" sounds like it could have been left over from the "Sacred Heart" sessions. Craig Goldy's most impressive playing is on "Overlove". "I Could Have Been a Dreamer' shows the more emotionally sentimental side to some of Dio's anthems. It is consistent with who he is, but balanced out by songs like "Faces in the Window". The last song, "When A Woman Cries" has more groove to it and despite the shredding leans towards the shadow side of Dio though the darkest song on the album. I will give this underrated album a 10 as it has held up over the years, even with the synth prescence carrying over from "Sacred Heart". 

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Heavy Maytal- Orga Mecha : "Humanity.exe"

 

This California band offers a sci-fi-themed take on power metal. The synth doubles up the guitar part to help paint this picture. Vocalist Melissa Pinion of Stygian Crown uses her head register more than expected to capture the metal yodel of old. In and of itself, this is not the most original thing I have heard, but they stir the elements in well enough for this to work. They also have all the shreddy riffs you might want from this kind of thing. When belting from her chest register, she does not have the power of her male counterparts, but perhaps that is just this song. 

The riffs are not just trying to be Judas Priest but also embrace the groove metal of the 90s. The more emotive tone her voice shifts into for " Idols and Gods" works better as it paints them less into the nostalgia corner. The chorus strikes me as a little underwhelming. There is something odd about her vocal style, like she sings behind the beat to create a bluesy feel at times. The synth accents are a juxtaposition to this. It is also a good example of how a mix can shift the entire genre of a sound, as they synth dominant mix makes it feel more prog. 

"Steel Mandible Swarm" has more of a rock feel. I think the vocals need more effects on them to blend in more with the synth sound.  At timeS like the varied influences being brought to the table gel better in some places. "Swords Held High" has a riff that carries a similar swing to "Walk."  When they lean in a darker direction, it works better than when they don't, but they are inconsistent in this regard. The second half of the song is loaded with shredding solos if you are into that kind of thing. There is more of an 80s synth sound applied to "The Persistent Age". Her vocals float over the songs rather than being punchy and locked in to create hooks, so they feel awkward in places. The vocals could have used more love in post-production. 

"Lathe of Heaven" has a more powerful chug to it. But the song loses focus some where around the guitar solo. So far, the sci-fi elements have been marginal, but they come more to the forefront on " Let This Be Your Final Battlefield." The last moves with more drive, though there is a great deal going on, but it also winks in the sci-fi direction they were trying to push this album toward. I appreciate the effort, even if the execution and production is spotty in places, mainly with the vocals, so I will give this one a 7.5. If you want weird proggy power metal and not too picky about vocals, this album is for you. 

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Heavy Maytal -Dio's "the Last in Line"

 

The 1984 sophomore album feels more aggressive than it's predcessor, with more uptempo proto thrashers balanced out with Dio's commitment to melody, but a song like "I Speed at Night" almost feels like Judas Priest, but with flashier Motley Crue-like drumming. The anthemic opener 'We Rock" finds strong vocal melodies flowing over the faster riffing, driving it. The title track is one of the most recognizable songs outside of Dio's fanbase. Despite being more dynamic and melodic than "Holy Diver", his previous hit is just too infectious to be beat, despite this being the highest charting album for him.

They reach a more deliberate middle ground with "One Night in the City." This is one of the rare lyrical moments that brough things into the more modern urban landscape, despite some of the medieval metaphors that he could not shake. The guitar gives him more room to flex his powerful pipes on this one. It's the first song that I really noticed the synths on. Vivian Campbell has established himself as a guitar hero on this trip to the studio. "Evil Eyes" is another uptempo rocker that follows what we now know of as the typical Dio formula, but it was fresh when this album came out. 

"Mystery" is a more radio-friendly anthem that sounds like it was the precursor to 'Hungry for Heaven". It's catchy enough, so it works for me.  "Eat Your Heart" is more deliberate and powerful. Lyrically mroe typical of the times in certain ways, but it was more fun in those days, so there is that. "Egypt" is a darker song, with lyrics that encapsulate what Dio does. I will give this album a 10, it's a great metal classic. 

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Heavy Maytal - Iron Savior : "Awesome Anthems Of The Galaxy"

It is no mistake that this German power metal band sounds like a more pumped-up version of the Scorpions. This album is a collection of 80s pop covers that the band is tackling. It opens with "Fame" the dramatic Irene Cara anthem, which they take in the expected direction, while being true to at least the vocal, along with the layers of backing vocals. The Mike and the Mechanics song "All I Need Is a Miracle " lends itself to their bright and over-the-top take on metal. There is a magnitude of harmony guitar layers, though the verses stick to what made the original work, by giving the vocals room to breathe. I prefer what they are doing here to the previous song.

Pat is pulling the vocals pretty well for 62, though he is getting some love in the studio. I am not sure Jermaine Jackson's "When the Rain Begins to Fall" needed to be covered, though it lends itself to this kind of treatment well. They certainly have a thing for "Flashdance," as there is also a cover of "Maniac" here. It's a better song, so of course, that results in what they are doing here working better. As a song, it's darker than the first few songs they have chosen, while working off the typical 80s writing formula. They don't get too carried away on the chorus, so it works better than what we have heard so far on this album. 

The problem with this style of metal is that it often sounds too happy and does not carry enough danger and darkness to it, making it sound less heavy than other approaches to metal. This can be heard on Aha's "Take On Me," whih has a more haunting sound than their version which finds the melody leading into the verses to become to hipper. When it gets to the chorus, you are gone, you are expecting the note to be nailed Judas Priest, and instead, the power is produced out of it. I like the original, so this is a little bit of a disappointment, but they tried with what they are working with. I do not have any emotional connection to Frankie Goes to Hollywood, so their version of "Relax." does not really leave much of an impression on me, though they are clsoer to the original than expected, and have a chunky riff thrown in for good measure. 

Jesus Christ, what is the deal with their fixation on 'Flashdance" as we also get a version of 'What a Feeling." His voice does not feel as layered in effect on this one. I never really cared about the chorus of this one, but they pull it off. Then they go into a power ballad for "Against All Odds." This finds the drums driving it more than the Phil Collins version; this tempo does not allow for the vocals to take their time and explore the nuance of the original. Instead, it comes across more like Sammy Hagar-era Van Halen. I hate Journey, so I went into their cover of ' Seperate Ways" expecting something along the lines of Dream Theater. What ends up happening is not that bad; in fact, it is one of the album's heavier moments. But now I can not unhear the Sammy Hagar element. 

The song selection begins to improve with the Pet Shop Boys 'Suburbia." Though with the wailing guitar solo and the vocals, it is hard to trace back to the original until the chorus, and even then, the more aggressive drumming and soaring vocals obscure it. "Here Comes the Rain Again" has a lurking darkness in the urgent delivery Lennox brought to the original; the drum's momentum continues to push the tempo away from it.  They make some poor song choices that can't be redeemed, then use a similar formula on them or make them worse by pushing the bpm up on things like "She's Like the Wind" and "Forever Young". 

"Since You've Been Gone" sounds more like Queen here. A little too happy for my tastes, but it's a well-done cover of a better song rather than some of the turkeys they should have left buried. Blondie's "Call Me" is heavy in it's on way for new wave, but they work off this, though it's not as dark as the original, but keep the drive more appropriate It's well done but often to upbeat and celebratory for my taste so I will give this one an 8. 

pst197