HKSPK : "“Heimkehr”

 This is the second album from the German blackened metallers. The scowl of the vocals is what you would expect from most blast metal bands, with the drumming more deliberate. This is obviously a must for me, as regular readers should know how I feel about blast beats. The first song is under two minutes and does not establish the album's mission statement in the same manner as the more powerful "White Secretions' does, though this song has a denser, more death metal-like aggression to it. The chug is pretty powerful, and the growls are more guttural. The riffs are hookier and win me over. 

"Sonnenjaeger" is more of a death metal song, with little in the way of black metal ambiance to offset the in-your-face aggression. Very song-focused riffing compensates for it not really reinventing the wheel when it comes to this brand of post-90s death metal. "Kill the Weak" has a more punk feel to how the guitars almost jangle with a more rock feel than a chugged attack. In this way, it owes more to black metal, as black metal has more solid ties to punk. The very compact style of songwriting also nods in this direction. 

Based on the song title, I assumed "Rot in Despair" was just going to be death metal. While this is true, it is also darker and more melodic than the earlier demonstrations of death metal they released on you. It has more sonic depth and a somewhat depressive quality to it. This song does venture over the three minute makr but it is time used wisely to create more dynamics. "Rain in the Face" carries a more blackened scowl, but they used plenty of restraint until it's time for them to step on the gas. But they find a balance of ferocity with steady grooves. 

The title track opens with clean guitar tones and synth melodies flowing to bring an almost neo-folk ambiance before the blast into the buzzing din of more European-feeling Black Metal. It locks into a more triumphant gallop before hammering back again. They ebb down into a more melodic guitar sound. This song does manage to break the five-minute mark, but it is time well spent. I will give this album a 9.5; they are certainly one of the best black metal-ish bands to come out of Germany in some time. If you are looking for black metal that puts songwriting at the forefront, check these guys out. 

6.8

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Brutalismus 3000 : "Harmony "

 I don't cover a great deal of electronic music; it seldom bangs like the sophomore album from this German duo who met on Tinder. In some ways, it is not far removed from the kind of hyperpop Slayyyter pumped out earlier this year, but Victoria'svocals are more rapped on songs like 'Garland", and their music is even more aggressive.  There is more of a darkness lurking in between the high hats. Even when they are bouncing with a more celebratory "A Milli," there is anger in the raw mix; her lyrics are ego-driven at times with a hip-hop bravado. 

The experimental nature of hyper -pop is in full effect with warped synths that sound like a b-bit video game bring" Mother Bug"  to life. It carries more of a techno pulse, though techno is a part of their musical DNA; Boyz Noize joins them for " I Bring My Gun to the Function". I am not sure I believe she is actually packing, but the theme brings ome fun to the occasion, much likea gun. "Kairo" is the most accessible song, though it works well in the contet of the other songs, and it carries a mainstream techno beat not out of place on the dance floor of your average club. 

Anya Taylor-Joy reads a poem about a hangover on "Morning is For the Happy," which is almost more like an interlude. There is a more Charli XCX feel to " You Were Never Here But I Miss Ya". It gains more techno mometum, though it switches up to a more trap beat."Friends at the Pigshed" features  Underworld, who does not normally collaborate with pop artists. Gore Louvre" pounds pretty hard. It finds a fist-pumping groove. Leonard Cohen" works off more of a trap thump; she also switches up her vocals phrashing on this one. There is also a darker, grittier mood to this

They end the album with "Testo" parts one and two, the first working with a more festive thump and interesting vocal production. Lingering vocal samples from the first part carry over into the second part along with a similar vocal refrain. To sell me on this sort of thing, you have to be really good at it, so I will give this album a 10 and see how it grows on me. 

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pst408

Exumer : "Death Mask Messiah"

These German thrashers hit it hard from the Exodus school of gritty thrashing. They are not slaves to speed, as there are even more deliberate moments on the opening track, though thetest will behow therestof the album holds up. It is their first album in seven years, so they clearly had a great deal of pent-up energy that needed to be vented.  "Blinding Skies' is punchy but not as hooky as the first song. The sheer velocity of what they do might be enough to overwhelm the ears of some. The locomotive-plam muted chugging and snarling vocals find a uniformity taking over. 

The riffs get catchier on "Eradication," and the vocals seem to have more purpose. If you are looking for great guitar tones, they have plenty of those on this one. The drumsand guitars lock in with heavier intent for the aggressive pound of "Ravishing Waste,"  though once it gets into the verse it becomes a speed fest that feels rushed til the more Slayer -like chorus. "Allocated Savagery" is more typical thrash as it relies heavily on the frantic drumming. The vocals are spit out in a fashion that brings Exodus to mind once again. "Serpent" is powered by a more mosh-inducing riff. 

They are always sharply playing their rapid-fire homage to thrash, but some moments are more compelling than others. The lyrics do not help in this regard as they are playing off expected tropes. Some mean riffs shine through in places. "Scorcher" has so many of these riffs that it works in their favor. When they pour on the speed, it works against them, though this could be said for most bands as it tends tomake phrashing feel rushed. They close things with a more Pantera-like groove on "Unchained Angel". The only problem is they are not Pantera. They are great at what they do, so if you want some late-stage 80s-feeling thrash, they have you covered. I will give it an 8.5,Being released on Metal Blade Records.  

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pst393

Illegal Funeral : " Scold's Bridle"

Once again, I continue to celebrate my glee for Halloween moving closer. You don't hear many death rock bands that want to be 45 Grave these days, so I am not complaining about this German band. I am curious to hear what else they can do. There is almsot more of a punk feel to the opener." In the Ashes." does not let up on this energy; in fact, they take it to a faster disco beat to add more bounce. It is not as impressive as the opening track but works for what they are going for; a whole album of this might prove tedious."Medici" takes a more Christian Death feel to the riff, but her vocals stay the same. 

"Waiting for the Cursed' is true to the Christian Death wave of death rock, almost to a fault. The chorus is the only place where it doesn't sound like "Spiritual Cramp," and I might be generous in that statement."Heirs of Bastet" is much better and carries a groove that feels more like they are doing their own thing, which is something they should lean into. It's the best song so far."In Cotard's Hell" is more on the punk side of what they do.

Things get doomier and darker for "Relic," which is another sound they should continue to dig deeper into. I had to go back and give another listen to "Vanishing From the Insidey ear the first time. A second listen finds it playing too closely to the death rock rule book and not making it their own, which they have already shown me they are capable of. The title track closes the album. The bass line carries more thump and the vocals are marginally catchier, which is all I am really asking for from these baby bats. I will give this one an 8.5; if you are looking for a nuts-and-bolts entry to death rock, this will suffice nicely. They have a great deal of potential; looking forward to hearing more from them as this album earned the ma place on my radar.

PST334

Unverkalt :"Héréditaire"

 

Only missed this one by a week, it's been on my radar, but jsut now catching up with Germany's Unverkalt. Setting the stage with a deceptive sense of melody before blasting into you. The melodic vocals are perhaps more intersting, but they work a delicate balance of playing to both sides of the band's dynamic range. Depressive more than it's blackened, the sonic weight of their songwriting impresses right from the first song, but can this band uphold the expectations set here?  

"Oath of Prometheus" finds the drums blasting in as the undercurrent trying to take control. The harsher vocals are more focused on chaos, as the sung vocals wander. I am obviously the audience these guys are looking for, but it also means I am more well versed in this sort of thing, so I can hear the influences a mile away on the second, but it still works well enough for me. The more they blast, the less impressed I am by the storm of sound, and I want to hear more melody. "Anae Lithi" finds the melodies winning out and giving this more depth than the more feral strains of black metal.

The sense of melody leans it away from black metal altogether on "A Lullabye for the Descent", but it's dark and moody enough to still win me over despite all the layers of vocals wrestling against one another. It makes me think of 90s bands like Crisis. There is a more black metal tension to "Prenumbrian Lament". One vocal color Dimitra often uses is a whisper little girl like voice. It's creepy enough to work. Often these are given a roaring death metal male counterpoint thanks to their guitarist Eli. 

With "Introjects," things begin to move in a more accessible metal direction, which carries over into "I, the Deciet," which features Sakis Tolis from Rotting Christ. "Death is Forever" finds some intersting sound layered in a more intense black metal manner, but without some of hte structure of the previous songs.  The last song works off more of an emotional atmosphere, which is more dramatic than depressive. Overall, this album is an impressive marriage of sound into well-balanced songs. I will give this a 9.5. Out on Season of Mist. 

pst91

Der Weg einer Freiheit : "Innern"

This album got a great deal of hype this year and is appearing on everyone's top 10 lists for the year, so giving it a listen to see if it holds up to the hype. The opening track does not feel like black metal to me as I am getting hit by a wall of very well-produced massive sounds of epic proportions, but not getting the vibe of darkness from it. It leans a little more in the black direction for the second song, but still feels more blackened to me than straight-up black metal, and this is coming from someone who allows for a broader definition of the genre. I do not need it to sound like the first Mayhem album. 

The deeper into the album, the more I can hear who they are being fleshed out and find them at their most effective when they are not hitting you with the massive blast of sound. "Eos" works of a more interesting version of their aggression thanks to the production that gives a trippier vibe. I appreciate the big epic melodic elements, but there is not a great deal of hook in what they do, and the bulk of this album just kind of goes by me in a massive hypnotic blur. I had to go back and give "Fragment" another listen as it did not grab me the first go around. It opens the door to where they are going on the last song of the album. The harsher, more black metal place they take this works because it was already given the melodic contrast. 

The shoegazing sound of the last song is intriguing, and I find them doing a good job at this sort of thing, even if it does have one foot on the Deafheaven bandwagon. They are good at what they do, and I have enjoyed the listens I gave this album, though not sure how many repeat listens it's going to get from me, will say they deserve recognition; I will give it a 9, which is not making the top 10 black metal albums of the year, but worth your time.

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4.8

pst606

Heretoir : "Solastalgia"

The last album I checked by these guys was  2017's "The Circle," so I only missed one full-length. They have added two guitarists since I last checked them out, so the more modern metal feel of the opening track was a little surprise. I prefer what they do on the second song. The vocals are still strong, and weave a wonderful atmosphere on "Season of Grief". The feeling of melancholy continues to drape what the German band does, even as they dial back some of the black metal sonics. There are harsher vocals in places, but they do not feel like black metal vocals. They are aggressive, not tormented.  In fact they take on more of a death metal roar when the song builds. 

They have fine-tuned their songwriting to make their sound bigger and make what they do more accessible to the wider metal audience than just being a shoegazing black metal band. This is not to say they do not indulge in sonic spectacles that swept you away, as they do, and it is what gives them the edge over their more nu-metal minded peers/. A more delicate electronic touch glazes over "Dreamgatherer". It reminds me sonically of something the Cure might do.  The belted vocals are the main difference. This ovf course builds into a harsh bellow. There is a great deal of dynamic ebb and flow in this song. So much so that fans of modern progressive metal can find a great deal to appreciate on this album. 

"The Heart of December" floats on such an ethereal wave of atmosphere that it took a second listen to fully grasp the breeze in which it rides. It is most like Alcest, whom I once thought of these guys in the same light as. "Burial" carries a contrast between the more introspective clean vocals and the build into the harsher vocals that make the music of the dynamic shift. This finds them sharing more common ground with the metalcore bands that are packing arenas these days. The title track works off a sweeping soft-to-loud dynamic, which finds the vocals taking on a more emotional introspection. This a more conventional arrangement for them.  

"The Same Hell" is more of a delicate shoegazing interlude. Then the almost folky-pop of the last song is an odd choice to close the album, but it does show the range of their songwriting. I will give this album a 9.5 it is very different than what I expected but shows their continued growth as a band while retaining their atmospheric core. 

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pst470

Helloween : "Giants & Monsters"

"Keeper of the Seven Keys pt 2" was the last Helloween album I really cared about by these guys. To their credit, they certainly inspired the entire genre of power metal, though in the '80s I felt like they were Iron Maiden wannabes more often than not. They did, however, write great songs that made up for this. Now there are multiple singers and things feel more convoluted, like they are a metal version of Styx, though the opening track is less metal and more Styx. It's a big epic and anthemic. While it is not as happy as the bands that came after, it is not as gritty as what I prefer from metal.

The challenge They are going to have is the same as any power metal band has with me. They need to not sound dated and cheesy, as well as keep things dark rather than sounding like an anime theme song. "Savior of the World' does a better job of this until it gets to the chorus, which has typically been a problem for these guys here, but things get silly fact on the chorus here. The song has enough drive to make it listenable for me. The guitar solos do not impress me that much either. It is hard to believe that this is the band's 17th album. It is also the first with the Pumpkin's United Line-up, which means nothing to me, but people who care will want it to be noted. 

"A Little is a Little Too Much" sounds just like the Scorpions, which works better for me. Keyboards are becoming more prominent on this album, though they could have been headed in this direction five years ago, and I would not know the difference; the layers of vocals sound more like Def Leppard. "We Can Be Gods" has more drive than most of the songs, but it also falls into some of the genre's more predictable tropes. Power ballads are the last thing we need, but that is what we are getting on " Into the Sun". The chorus gives into the cheesey drama that I do not like about this sort of thing, though the verses worked ok for me. All the vocal trade off does make things sound likea musical. 

"This is Tokyo" is moodier, but the double vocals feel like Velvetta to me, and it only makes the anthemic chorus trope worse. It would be a decent song without that. I am more tolerant of this sort of thing than most metal dudes who are more into heavier sub-genres, since Iron Maiden is one of my favorite bands, and perhaps if this came out in 1989, I would have been more impressed. 'Universe," even with all its excesses, is the best song so far, as it feels more like it's 1988. "Hand of God" grooves, but also feels like it is trying too hard, while being another cheesy anthem. 'Under the Moonlight' is back to being another 80s anthem, but without the speed metal energy that used to empower them; instead, it feels like rock n roll, not metal, with its celebratory tone.  

The eight-minute "Magestic" closes the album, with more of a subtle prog jam opening the song. There a plenty of racing guitar harmonies for those who are into that, as well as the soaring operatic warbling. This makes it almost sound like Christian rock; the chorus feels like something Queensryche would have done post- "Empire." They pull off what they set out to do, even though it's painted with many of the elements about the genre I do not like, but I can be objective enough to hear how effective they are at doing what they are doing, and the answer is very, so I will give this album an 8.5.I won't listen to this album again , but long tiem fans who stuck around for grandiose power metal get what they keep showing upo for.  

pst426

DÄÄCHT : "Crying Houses"

 

This German punk band is way more melodic than I expected going into this album, though this is balanced by a pretty dense wall of guitar banging at your ears in juxtaposition to the croon of the vocals The second song is more of what you would expect from late 70s, perhaps some Ramones influence to give it a more rock feel."Candle' starts in a more anticipated manner before getting into a more sonic swathe of sound. This is the band's 2nd album, and it's already clear that they have their process in the studio dialed in. 

Gang vocals serve as a punchy contrast to the more atmospheric guitar tones introduced on "Time Machine". They work off a growing, frantic energy that sets them in the middle of the road when it comes to punk intensity, though there is a great deal of nuance in the flow of the songwriting that sets them apart from the bands just banging out chords in a rushed fashion. They are not too rowdy for their own good, and this restraint pays out in the songwriting.  They do pick up the speed and intensity for 'White Ink', which punches into one of the album's heaviest moments thus far. 

"Eden' takes you back to earlier punk sounds in a convincing manner that is not just paying tribute to them, but finds these guys using their own voice to add their own identity to this. 'Ticket' is another more conventional punk song that bounces along. The drums really bang it out here to make it groove more than your average punk band. The darker mood of "Mirror" gives it a more death-rock feeling, which, of course, makes it my favorite song on the album. The last song also finds a balance of mood and aggression, not as creepy in its intentions as the previous song, but left of center when it comes to the bigger punk picture.  I will give this album a 9.5, it's one of the better punk albums I have heard in recent years that stays true to the ethos while doing it's own thing. 

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pst326

THROATCUT. : "RESILIENCE."

 Dark and hammering hardcore with an ugly metallic hearbeat that crushes with these jarringly heavy riffs that stomp your skull. Germany is not where I imagined this band coming from, but there we are. The vocals are not in the metalcore growl, but screamed with the kind of inflamed larynx torture that is convincing they are angry enough to make this kind of music. There is an atmosphere that haunts the periphery over the guitar sound. It gives enough of a sonic edge to what they are doing to make the brutal nature of it even more punishing. Though three songs in, they hit the wall of effectiveness and need to switch it up a bit. 

"creep." They do not give you much more room to breathe, though the nuance they do attach proves to be effective, and what their overall sound could benefit from. He begs you to die for him, with enough passion to make you a believer, it's not the same kind of CrossFit motivational sermons you get from most hardcore bands. Even as abrasive as they are, it still feels like hardcore is at the heart of what they are doing here, and metalcore is just a marketing label. "shattered glass" is an equal part confrontational and bludgeoning. There are no breakdowns, but an angular riff that bends time and space, in the machine-like crunch it gathers strength for. 

They keep hitting you with similar methods of punishment, which give marginally more groove for " death/ rebirth." It launches into a more feral blasting in some parts, and sometimes hits with more deliberate muscle. Their eponymous anthem finds a faster attack in place when you have been numbed out to the pounding already. "loner" has a more deliberate syncopation to its hammering attack that is laced with abimance amid the fury.  It is when they pour on the speed that things get lost in the blur. By the time we get to 'hell.high.water" they are beginning to hit me like a cross between Knocked Loose and Harms Way. This remains a fair comparison on the last two songs, though, with a rawer, more feral mood in places on "stray" They navigate through the songs with machine like precision, unpacking a great deal of twisting riffs within each song. Their last song is more jagged and emotionally desperate. I will give this album a 9, while it might not be dynamic or melodic enough for my personal tastes it is heavy as fuck and this guys know what they are doing so it is hard to deny. 

10.2

pst313

Death is June - Mouth of Madness : "Event Horizon"

 

There is an old-school vibe to this  German death metal band's debut. There is black metal influence without having to call this blackened death metal. The aggression of death metal is the primary focal energy source driving this tank into battle. They do use the buzzing tension of black metal to set the mood at times, and are a little darker than your average death metal band. But just one tremolo-picked riff does not make something black metal. The harsh rasp of the vocals at the balls to its commanding narrative rather than just being abject screams of torment. The lyrics are punched out and articulated more of than not. 

"At the Heart of the Unknown" might not have as many twists and turns as the previous song, but is still effective. "Worms" features hookier songwriting that draws influences from the intersection of the 80s, when death metal emerged from thrash, with bands like Possessed and Kreator. There is a great deal of groove on this one that makes it a more worthwhile listen than just being pounded by rapid-fire riffs. "Fireborn" emerges from the early 90s flavored death metal, with the buzz of their black metal influences circling like a halo of flies. There are touches of melody merged with this as the song draws out. "Massan" is more of a straightforward speed rager, though textured in a way that allows the song to breathe.

The last song is just an extended drone of synth ambiance. It works as an outro, but at almost five minutes seems a bit excessive. I like where these guys are going, and wish this album gave a more comprehensive listen at what they are capable of beyond, coming from this era of death metal, as there are hints at wnating to be more, so for that reason I will round this down to an 8.5, though that still sits it along side the year's better death metal releases. 

4.6 

pst293

Kavernist : "Demo"

 

We adopt all sorts of genres we identify with. This German band adopts many, but I hear a crusty death metal band. They are more metal than punk. The rock n roll that thrives in the riffage of  "Scum" is not as aggressive as the opening track that feels much more death metal. I can hear punk influence, but punk influence vs being an actual punk band are two different things. This might be a demo, but whatever they are doing here they should not change, I mean maybe fuck with the mic placement on the drum, and mix them a little, but I would not want to hear these guys get overproduced on a label like Relapse, as it would some of the charm heard here.

"trembling" is even rawer, it is not until. things drop back to a more deliberate stomp that the song really takes form, so when they speed up into more of a frantic thrashing they lose the feeling that was working for them. This is where I stop and think 'Well this is only a demo so they do have room to grow" , but this sounds better than many bands' debut albums. The last song 'Ready to Serve" falls back into death metal, but they are coming at it from a different angle as this sounds more like Obituary to me. The vocals help this, which means they are spewed with a more desperate cry. I can do without the way things speed up, here. But the vocals sound great for what this is since, if I am comparing you to John Tardy you are doing something right, as he has a more unique vocal style than most. 

If you told me these guys were from Tampa, I would not be surprised, but this is not what I expect to hear from a German band. This makes them an exception as perhaps they have romanced American death metal so much that it has taken all the regional influence out of what they do. I will give this a 9, as it holds a great deal of potential and I would like to hear where they go from here. I hope with growth they do not stray too far from where they are at present. The brought the rock n roll fun to death metal. 

pst97

Harakiri For the Sky : "Scorched Earth"

The last album from this German band was more hard-core than their atmospheric beginnings, s one leans a little more into a more anguished shade of metal.  There have been blurbs exclaiming how melancholy, bleak, and depressive this album is, that is all an exaggeration.  The bar for depression is pretty high here, so this might end up being too happy for me, though the first song feels pretty middle-of-the-road in this regard. The vocals begin leaning more in a coarse hard-core shout for the second song, which has a more sonic brightness. The guitars do build things in a more black metal direction as the song climaxes. 

They straddle the fence again between metallic hard-core in the aggression they attack "Without You I'm Just a Sad Song" with, though the keyboards, provide a layer of melody and atmosphere anchors things in a more metal direction, though I am not sure I would call it black metal as there is too much for a hopeful shimmer, yet it still works as a song. "No Graves But Sea" finds the more hard-core energy pushing the song forward with great enthusiasm, as once again empowered hopefulness runs through the sound, this is balanced out with an Opeth-like sense of nuance to the playing without crossing over into prog. But we have full-on gang vocals chiming in for anyone who doubts this is not hard-core when the drummer tries to play like he is in a black metal band. 

"With Autumn I'll Surrender" crosses over in the more progressive direction. The vocals are shouted on the verse, as things become increasingly melodic. It is the album's most accessible moment so far, but it is really well written so that balances things out. Folk melodies ring out in the background. "I Was Just Another Promise You Couldn't Keep" makes me think of the more emotional hardcore of the early 2000s mixed with European metal. This goes into a triumphant halftime groove, that is not dark in any way. Though it is catchy. There is also some dynamic ebb and flow, however nothing really groundbreaking. 

"Too Late For Goodbyes" has melodic female vocals in a bridge that break things up, but the song flows along a very similar formula to what we have already heard from these guys. They pull off a pretty good cover of Radiohead's "Street Spirit(Fade Out)". I'll give this album a 9, as it reaches an excellent compromise of the many sides of the band's sounds they have explored over the years, but serving the songs here first and foremost. It is not a black metal album, if you think it is, then please come back next month, when the entire month is dedicated to black metal, so you can learn what it is. 

7.6

pst35

Mantar : "Post Apocalyptic Depression"

 

This marks the 5th album we have reviewed from this band. Each one seems to get better. They are also all stylistically different. Ranging from noise rock to sludge to death metal. This time things are more punk. Not just more punk, it is punk, well at least the first two songs are. This makes sense given the band said the recording process for this album was quick and dirty. They wanted a raw sound and just showed up to the studio and played whatever instruments they found. The third song finds the sounds beginning to be more tweaked and produced to bring out different nuances from them, but it is a raw live-sounding album. 

"Dogma Down" finds them grinding into a more grunge side of punk that reminds me of something from "Bleach".The grunge vibes picked up from the previous song carry over into "Morbid Vocation".  This gives the brought-throated vocals more room to work within. There is a more dynamic ebb and flow to the more grunge-tinged songs.  "Halsgericht" is the lead single, and leans more in a gritty punk direction. The guitar parts have more sonic depth than your average punk band. "Pit of Guilt" finds them still kicking around in the gutters of punk. The vocals still have a purpose to them and are not just hyperactive shouting.  

"Two Choices of Eternity" reminds me of Nirvana's "Negative Creep" but with a gang vocal chorus. "Face of Torture" finds them slowing things down in the verse and then getting pumped back up for the chorus.  It's not far removed from the songwriting formula that has been established for this album. "Axe Death Scenario" is grittier and digs into a rowdier style of punk. They lock in a very White Zombie gallop for the last song "Cosmic Abortion". But despite narrowing this riff I like the song, it might be one of the album's best.  I'll give this album an 8.5, as many of the songs carry a "Negative Creep" feel, some more than others, but this creates a uniform feel to the album's second half, even so this album is a great deal of fun, and has more thought invested into that most punk.  This album drops on February 14th on Metal Blade.

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pst25

Dirkschneider- "Balls To The Wall RELOADED"

Here we are with Udo making an interesting decision to re-visit the classic Accept album, but covering it front to back with guest appearances from a heavy metal Hall of Fame. The anthemic title track finds Sabaton vocalist Joakim Broden trading verses with him. Never really listened to Sabaton, so only weighing this against the original. Udo sounds like he can still pull off his Bon Scott-like squeal at 72. Taking some of the homo-eroticism out of "London Leather Boys"  Biff Byford of Saxon fame joins to make it more about heavy metal fashion than leather culture. Byford's voice does not sound as good as it is on the last Saxon album perhaps it's just out of his range these days at  74. It's a sobering reminder that all the elder statesmen of metal are now elderly. 

Mille Petrozza of Kreator is featured on "Fight it Back. He sounds like shit, and it's not Udo's best moment either which begins to make me wonder if he should not have just left well enough alone. Nils Molin of Amaranthe fares much better by bringing his Dio-like belting to "Head Over Heels". His voice does not have the grit of Udo's which makes the song feel darker when he utters the second verse.  Michael Kiske of Helloween fame still sounds great at 56. as he helps tackle "Losing More Than You've Ever Had" this is one of the album's strong points, though Udo does not really contribute much. Swedish singer Ylva Eriksson lends her voice to "Love Child" This feels more like a duet wondering the contrast of their voices but works pretty well. Her voice does give things a more commercial Pat Benatar feel. 

Danko Jones comes aboard for "Turn Me On". His voice has enough balls to keep things heavier. This was never the best song on the album even in its original form, so it works well enough here. Dee Snider's voice blends with Udo's well on "Losers and Winners" making it one of the album's strongest moments. Ripper Owens does not go as over the top as I expected from him on "Guardian of the Night". He can serve the song after all. The last song is a duet of " Winter Dreams' with Doro Pesch who worked well enough with the song, at 60 her voice is not belted with the same power as her early work, but I will have to check out her more recent work before making a final judgment on how her voice is holding up these days. I'll give this album an 8.5, rather hear him get back with Accept, so while this re-imagining is not something on my wish list, it's well done and there are strong moments, but prefer the original versions. 

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Night Laser : "Call Me What You Want"

 Catching up on some of the genres that fall outside of my normal listening these days like cock rock, hair metal, and power metal. The lines that separate these genres have grown more blurred as this German band proves. Bands like the Scorpions, Accept and Helloween all had a legitimate hard rock history before they began cranking out arena anthems. These guys are yodeling their way straight to it. Steel Panther seems a fair frame of reference sonically, there is also Guns n Roses-like swagger in what they do. Their accent put a funny twist on this, that was more subtle for Klaus Mien. 

I at least appreciate the fact that someone is still making this kind of music since it is what I grew up on. Granted my musical diet at the time was also supplemented by lots of Ozzy, Maiden, Alice Cooper, and Kiss. The guitar solos are impressive which they have to be, though the riffing to the second song reminds me a little of "Dr. Feelgood" at times. The falsetto screams more often than not hit their mark. The guitar tone leading into "No More Changes" nails the sound they are paying homage to. It does seem like a great deal of this is coming from Germany these days.  "Don't Call Me Evil" takes a marginally darker more serious tone. Lyrically the bulk of the band pumping this sort of thing out in the day was not that great so they are in line with that. 

"Law of the Vulture" shows more of their musical prowess, and gives them room to jam a little. This crosses over more into metal. On the other side of the coin "Laser Train" plays off of the sillier points of the genre that I never liked about this kind of music, think Alice Cooper covering "Unskinny Bop". Then comes the obligatory ballad that is their "Every Rose Has Its Thorn". There is a more metal leaning to "Captain Punishment".  Halfway into the song, there is the feeling you have heard everything thing they are going to do with it. The last song takes a more folk metal direction, in its power balladry. I will give this album an 8.5, as it is a great deal of fun. 

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Marasm : "Keine Erde"

 

This German band offers an interesting late entry in 2024's releases. They open things up in a more post-rock fashion. Then blast off into a crusty take on black metal that is not unlike what Ragana does.  Their layered vocals bring out the more well-encrusted edges of their sound and give it more punk roots. Melody is retained in the process that pays off in the songwriting dept. The second song finds them angrier. It launches into a more feral blast of black metal, with the vocals arranged in more of a call-and-response fashion with hard-core punches accenting things. 

Not the best production I've heard on an album this year, but that gives it some of its charm. They get a great deal of credit for being willing to break away from the rowdy hard-core punk throwdowns to use atmosphere and nuanced guitar to create more dynamics than most bands doing this sort of thing. The subtle use of samples works well. "Drexekutive" finds them sonically touching on screamo, which is not far removed where the sounds they work with. When they are at their most explosive as a band the results are not as impressive, as they sound more like everyone else than when they think out of the box and allow things to simmer 

The band's female singer, makes her most noteworthy performance on the last song, as she sings with a more emotive intensity to her voice leading into the song, before it erupts into the screaming this album has conditioned you to expect from it.  These guys have a great deal of potential, I find the female vocalist the most interesting of the two, and the guitars are very well thought out, I will give this album an 8.5, 

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November is Doom - Aiwaz : "Darrkh… It Is!"

Here is the full-length debut from this German duo that features the vocalist from Wheel, handling vocals. Harsher vocals surface midway into this song, the bulk of the vocals up to this point have been sung with a velvety croon. With a ten and a half minute opening track, they are not shy about being indulgent. This sort of thing languishes rather than hits you with hooks, so the song floats along elegant dark waters. Then on the second song things take a turn toward a more folk-inflected ballad with "The Ghost That Once Was I". It does kick in almost like one of Metallica' power ballads though the vocals do not gather that kind of hard rock grit, they continue to flow fluidly over everything. Make no mistake they are painting the doom mood with the pace being kept, and despite this not being as dark as the first song it's not upbeat either. 

"In this Silence": finds the bleak vocal melody feeling more fragile, it's darker than the previous song which I appreciate, but almost drifts by in its own cloud. There is the chug of heavier guitar that crops up in a few passages here and there. Midway in I realize this is a nine-minute song, making me wonder where they are going from here. The answer is to lay into the chords a little harder and build things up..Not a huge dynamic shift, but the growled vocals make it heavier. "Cemetary of Hearts' is more soaring and the guitar plays a little more traditional role though the atmospheric nature of what they do does not feel like metal. 

With a title like "Garden of Despair," I am expecting this song to be heavier. It started with a more hushed vocal like we were going into a Queensryche ballad. This guy has a great voice for sure. There is also some impressive guitar work that unfolds, but not a heavy song. It is not unlike the Swallow the Sun album I just reviewed in this regard. The album closes with 'When Judas Spins the Wheel". It does find more of a chugged riff to drive it. This creates a more epic doom feel not unlike Solitude Aeturnus. The vocal melody is one of the album's strongest. I will give this one a 9.5 as it is very well done, and they put melody first with great singing to drive the point home. 

5.7

Persher : "Sleep Well"

 

This German duo is making electronic oddities that have enough drive, to be considered industrial if we consider the more experimental bounds of the genre. The album came out back in February so I am glad to catch up on it now, as it is a unique experience. The opening track feels like nothing I have heard before with distorted vocals over what sounds to be real drums playing again a barrage of synth farting in an angular groove that gathers forward momentum. "Elemental Stoppage" does not have as much form and function despite the punkish drums. The vocals are less distorted and more rasped.

 I think industrial music needs more experimentation like this though it's not in the goth spectrum of the genre. Unless you think of some of Pigface's more bizarre moments. "Medieval Soup From the Milk Bar" works with a more solid rock groove as the vocals go crazy and the synths get almost proggy with the Zappa-like accents. This should tell you something if you can reference Frank Zappa when talking about industrial music. "Sycamore" trades groove for a more abrasive weirdness that has hints of Marilyn Manson in the vocals. Though the vocals utter growls more than Manson. "Portable Aquarium' finds them dabbling in a more angular form of post-punk. The anger in this album is muted by some of the zany sonic tricks they employ.

The title track of sorts, has a more punk energy to it. This has driven many of the songs but is most pronounced here. I mean punk is in the DNA of industrial, it is what happens when punks try to play techno. The guitar if it is a guitar sounds more like a distorted bass which might be more accurate. There is a weird dancey vibe to "Celtic Froth", despite the name I did not expect it was going to sound like Celtic Frost, but get the joke. At over five minutes it is the album's longest song. It slows into a heavier section with the synths taking on more of a crunch. It drones on for a bit, but they are once again entering less charted territory. In the last song, they just grind the synths on a groove and chant over a 90s beat. I will give this a 9, they could have kept the weird to the point of even being abrasive but given a little more hook, but it was fun regardless. So little original music this goes down its own path.

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Future Palace : "Distortion"

This German band is in a similar vein of blending poppy vocal hooks with metal-core as bands like Jinger and Spiritbox. The chorus works of the formula where their singers create an anthemic hook to serve as a counterpoint to the crunching guitar groove that hammers at you on the verses. Vocalist Maria Lessing has a convincing scream that at times feels angrier than her male counterparts. The grooves sometimes across over closer to what In This Moment does sonically. "Panic Paralysis" is marginally darker even with the more pop-oriented vocal approach.  From a songwriting perspective, it's pretty effective, but if you are weighing them against a band like Code Orange, then these kids aren't as heavy. 

Charlie Rolfe from As Everything Unfolds joins them for "The Echoes of Disparity". There is a more nu-metal cadence to the percussive elements in play here. Rolfe's voice the higher chant in the background. The lead single "Dreamstate" is basically a metal-core power ballad. Some of the synth sounds in"Decarabia" feel like an anime soundtrack, so younger audiences should find plenty to like here. The vocal melodies take this in a more pop direction that is complimented by the electronic sounds. They lay it on thick when it comes to the chorus and surround it with various break-down riffs. 

"In Too Deep"  is darker, angrier, and more in your face. Though they are quick to turn it around into a pop atmosphere. The electronic pulse to this works well. "Rays of Light" switches from a brooding syncopation to more soaring passages with the vocals front and center. This album is well produced, but the vocal layering at times can feel excessive. They reach their best balance of all the elements in play with " A Fool on a Devil's Reins". Her vocals create a more erotic mood before she flips into a rap. There is a similar hip-hop influence lurking under "They Take What They Want".  This song is one of the album's angriest. "Amethyst" closes the album, and while they are not dazzling you with progressive chops like other bands doing this sort of thing, they are better songwriters which goes a long way. I will give this album a 9, as it certainly puts them shoulder to shoulder with bands like Jinger, but on their own terms. 

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