As you would expect from the darkest depths of Glasgow, Mendeed storm out of Scotland with brutal thrash, hardcore, black metal, death metal, battle metal and any other style of metal you can think of, all coming together in harmony.

A 12 track collection of beer drinking Glaswegians, having a daily fight in the city centre, creating as much havoc as possible and destroying all that should cross their path.

A very brutal CD that brings the best out of these crazy bunch of lads.

Formed in Seattle in the early eighties, Metal Church were not given the praise they deserve, with their debut self called album, The Dark and Blessing in Disguise, ripped the late eighties to bits, but then it seamed they faded away like a morning fog and think this CD should have gone withit.

This Present Wasteland I must admit isn’t the best thing they have done, there seems to be something missing but I can’t quite put my finger on it. If you are expecting song like ‘Ton of Bricks’, ‘Watch the Children Pray’ then you are going to be disappointed. It does seen as though they have struggled to replace the original front man David Wayne and with that the solid battleground of true thrash metal disappeared.

This CD sound is too clean which doesn’t release the grinding and thrash sound Metal Church were known for. The intro to ‘The Company of Sorrow’ has totally ripped off Metallica’s Blackened, which I must admit made me think this is going to be a bloody good CD, but I am sorry to say Metal Church have lost the feel for thrash metal.

It makes a welcome change to hear local bands that want to be heard in the open world. These guys are from Sheffield and have the attitude to go with it.

The Mirimar Disaster, comes across with a Voivod feel to them, it must be the distinctive rumbling of the bass, complicated guitar riffs and the same vocal content that you would expect from the Canadian metal gods.

This 5 track CD gives all hope to the metal that is coming through the UK, if 25 minutes is all it takes to make something of your self then 5 minutes of this CD will definitely give you an insight to today’s local musical talent.

Give these guys your support as they have the talent to make it big.

Another band being touted as the next big sensation in metal circles might just turn out to be another so-so screamcore act.

Well, half - three quarters of a point for Manifest make their entry sounding no less than an item of such description but one of the Killswitch Engage line, vocally speaking, sounding like you’ve got two different guys fighting over the mic always helps for interest even if you’ve - and obviously I’ve- heard it before and two tracks into the nine, I find I’m’ liking this band.

The guitars here certainly disappoint the least with an above-pacifying platter of Metallica, Testament and Anthrax in amongst many of the best in their various avenues, and some lovely solo twiddles that form the band’s main element of commercial accessibility.

Sort of glad I gave this disc at least once chance - not the biggest of groundbreakers but its still a handy moshing tool, lying at the top of the box.

Worth hearing.

‘Atlantic’ is their debut CD that contains a mixture of grind-core, thrash, and speed metal. The CD has some very good musical riffs but is then let down by the growling and screaming of the two vocalist, which is portrayed throughout the 10 tracks

Any CD that comes to me with a sleeve sporting images of a sky blue-lipped gob on the front is likely to make me sit up and stick the disc on with some value of intrigue as to what’s going on.

Intrigue sustained for a lot of the playing time of what turns out is actually this Nordic fivesome’s second full-length offering or more to the point the words, ’what‘,’the’ and ’f***’ spring to mind more.

A strange three-way tie of punk, hardcore and metal unlike many I’ve ever encountered in my decade of writing albums awaits - picture a mix of Helmet, Iron Maiden, Exploited, Cro-mags and Danzig as regarding various elements forming their sound and think along prog lines al little for the instrument rhythms.

Largely melodic noise along the span, there’s the occasional death-y moment from the vocal end but this very approachable material and some of the tunes have a relaxing groove too while Kim Tunvag’s creening range aids the overall cause.

A few industrial snips nearly spoilt the broth - come on guys, there’s only so many different things you can throw in the one pot - but they still leave the best of ten helpings of the most original sounding metal I’ve heard in about five years thankfully undamaged.

Whatever these enthusiastic young men are trying to achieve, they will do for their innovation is second to none, and I hope they are on their way to some deservedly healthy attention.

Max-imum respect is due here.

Another mysterious ship sails into the Eurpoean prog metal harbour, and Moongarden unload their wares as soon as they moor, to the gladly awaiting.

Mostly consisting of Dream theater and Saga branded packages, these Italians still have a bit of potential bit of business in in front of them, even if their three opening numbers have a collective playing time of nearly half-an-hour.

Seal-esque second number ‘It‘s You‘, -yes that sounds crazy but its true - is one of the early attention catches, as is the singer’s range which could light up torches in any kind of musical lines. Resident epic ’Solaris’ seems to go by much quicker than the nearly-quarter -hour duration on print but this must be due to the attention I lend to this multi-structural number and the various movements in association withy the basis of its lyrical content.

A larger amount of the rest of the tunes seem to fall almost with standard-length matter though of course that’s’ no excuse to focus on the verse-chorus-verse prospective of things, as you shouldn’t be doing anyway in prog circles. ‘Emontionaut’, ‘That Child’ and ‘Southampton Railroad’ are all their own machine but at the while, musically still linked by common elements and the latter-day Theater likeness is to their praise and ‘Flesh’ is a lush little number making good use of their guest string section.

‘Dreamlord’, the disc’s second longie is a more Marillion-oriented affair with great keys all along and you know there’s something brilliant coming along on the end of that quite middle eight. ‘Lighthouse Song’ is one of those infuriating tunes that is always not over when it looks like it is but its lush if long-winded arrangement makes it one of the album’s best and the soulful vocals plus that cheery solo at the end make it more fun to play again.

Swimming in seas of depth and ingenuity, this disc’s style does borrow from a fair few major names but only enough to keep them well afloat and on their way to their own voyage of discovery. Another of those bands that just came out of nowhere, Moongarden, we hope don’t disappear back there again too soon as they are lined up to be an immense contribution to the scene.

RECOMMMENDED IF YOU LIKE:
Dream Theater, Enchant, Spock’s Beard, Threshold

A great band in the vein of Poison and Skid Row with big bulging fat guitar sound and one hell of a wailer of a vocalist – not to mention the crucial b.v’s as well. Like going back to about 1988 all over again but this is 19 years on – not that you’d realise from this ‘ere CD.

A 7 tracker of a 5” plus its female orgasmic groaning intro titled ‘Extreme Osculation’ – haha – whatever lads – so who’s the chick behind the mike then. Like this bunch a lot, especially when they kick out a bluesy in ya face ditty like ‘Looking In From The Outside’.

Ok, it’s in a serious mode but the number ‘I don’t think I love you’ completely rocks before it all comes to a crumble with the closer Time’ – wonder if these guys will ever make it to see us in ole blighty.

Worth search this CD out.

The ex-Angra & ex-Shaman Guitarist goes it alone – I guess it’s his ‘Time To Be Free’. Great high ended vocalist (think Jon Anderson of Yes) who delivers 11 power metal epics of an orchestral grounding.

Highlights include ‘Letting Go’; the magnificent ‘Remember Why’; ‘Looking Back’ with its acoustic guitar sections; the beautiful piano led ballad ‘Reason’ and the gorgeous orchestral closer ‘Endeavour’.

Andre proves that there’s more him than meets the eye and hopefully he will do well as a solo artist. He truly deserves to.

They certainly do that – kill all quietness positively dead in its footsteps. Heavy, brutal female fronted metal band who’ve toured with the likes of WASP and Velvet Revolver and there’s little wonder sounding like this.

Highlights on here include the hardened party-filled ‘Running Out Of Things To Say’; the pop funked-up rockin’ ‘Numb’; the revvin’ up of ‘The Line Went Dead’’ the honesty of ‘Not For Sale’ and the closer ‘(I Don’t Know How to) Break It To You’.

This band has got selling and staying power for you.

Just as the title says, these are cuts that never made their albums, so John McCoy has now many them available to us for the very first time – good lad.

As can be expected, a lot of it is demo quality but we don’t care about that fact as this material is fat, beefy, full and it rocks like you’d expect from these guys.

Highlights include ‘Let Me Out!’; ‘Dark Storm’; a live version of ‘Fatman’ introduced by the late legendary ‘Tommy Vance’; and ‘Long Time Coming’.

A great album especially for fans of this long, rockin’ trio metal trio.

Latest album from a founder Pretty Boy Floyd member sees him hit hard at real life out in LA (and anywhere else for that matter) with cuts as honest as ‘Wasted In America’; ‘Sex Drugs ‘N’ Rock Roll or ‘Kids On Dope’; ‘Greed’; ‘A-OK’ and ‘Only the good die young’ among many others.

It’s fresh, rockin and kinda sleazy in a way but not to the point of too much make-up and cowbells – this is Kristy for the now and beyond and it’s pretty obvious that he aims to look at what’s around by using his own eyes, while many other bands topics are stuck in the titty bars still like they are forever in the 80’s and sunset strip is exactly the same as it ever was. The young kids who buy records now will appreciate this album and not just us old time glimmers.

He’s hitting our UK shores early in the New Year so look out for him coming to a venue near you.

Michelle Meldrum’s band No frills, heavy almost nu-metal at times barrage of sounds right the way through the platter with ‘Purge’ and ‘Scar’ being perfect examples.

‘Hang ‘Em’ is one hell of a great number with its sexy riffing as is the bulleting riffery of ‘Miss Mee When I’m Gone’ that features Lemmy also vocals – a nice inclusion to the album for defo – more of that yes please. ‘Another Kind’ is a killer of a number and ‘Exploited’ is kinda like Black Label Society with a female on vocals instead of the blonde-bearded hellraiser.

Good to hear a ballad from these ladies too in ‘Get Me Outta Here’ but off course its back to the heaviness with closer ‘Bite The Pillow’.

The 30th Anniversary Show live from Hammersmith Apollo on June 16th, 2005 – seems strange that it only came out this year as the set list has changed a bit since then plus another studio album has reared its ugly ‘motor’ head since this gig.

If you are a fan of Lemmy’s men, then you know the score as there’s plenty of metal to get excited about here such as the oldie but goldie ‘Love Me Like Reptile’; newer songs at the time like ‘In The Name of Tragedy’ and the acoustic number ‘Whorehouse Blues’ with Lemmy also on harmonica. Like the fact one of my lesser played faves is in the set tonight – this being ‘Love For Sale’.

There’s one guest star on here – this being Michelle Meldrum who joins in on vocals during ‘Killed By Death’ as opposed to being a good handful like on the 25th Anniversary gig. Elsewhere it’s the obvious crowd pleasers such as ‘Sacrifice’ with Mikkey Dee’s obligatory supreme drum solo and classics like ‘Iron Fist’; ‘Ace Of Spades’ and ‘Overkill’ – oh and ‘Bomber’ as well.

Good set but nothing out of the ordinary really to report on here.

‘Degeneration’ seldom puts a foot wrong, all nine numbers are beautifully crafted goth-edged metal tunes that Michel Isberg’s Hetfield-meets-Holmes moulded rant fits in giving it it’s harder side. Absorbing all the way with the odd moment of lull, Machinery keep their cogs well oiled as testified by the end product.

I won’t spoil it any more for you - listen to this interesting band yourself, but your opinion after one spin of what is of course their debut album should also be a good one

It’s always a big event when a new album from Sir Paul comes out – this one being no exception. Kicking off with the happy ‘Dance Tonight’ that got plenty of airplay – I love the moderate toe tapping beat and that mandolin playing matey.

Other highlights on here include ‘Only Mama Knows’ that kind of reminds me of ‘Band on The Run’ with its intro and outro that goes into one hell of a cooking number – there’s some orchestration there too. ‘You Tell Me’ looks back on his yesteryears while ‘Mr. Bellamy’ has some brass band backing on there – a song that’s all about a guy who wants to commit suicide by jumping off a building (not the bearded conservationist as you’d have thought Paul to write about – lol).

‘Vintage Clothes’ has some multi-tracked vocals happening that is sinister but likeable. ‘That Was Me’ is a humourous number that again looks at yesteryear and what Paul has achieved in his life. ‘The End Of The End’ is a happy but at the same time sad song about what Paul wants to have taking place at his funeral and closer ‘Nod Your Head’ is a nice simple happy ditty that is very Post Beatles/Early Wings.

Overall this a splendid album from one of Liverpool’s finest which sees Paul trying out newer mysterious arrangements than you’d normally expect of him – it’s a real grower of an album.

A six tracker of pop punk that the kids’ll love no doubt. It lights up from the start with ‘City Burns Alive’ and goes right through rocking ya all the way. That’s a killer hooky chorus in ‘Devotion’ – nice vocals there as well.

I reckon this band like early Iron Maiden judging by the riffery in ‘First Love Denial’ that has a fresh edge to it with the ending ‘Sinner Vs Sinned’ having you pinning for more.

When you get sent one-track samplers it quite frequently determines the panning out of things for opinion with only one piece of music to introduce themselves on, and everything rests on the feedback.

Brit fivesome Midas may remove the brown trousers as this tune is probably the pop-punk anthem of the year, prized not only on its bouncy-as-f*** chorus-line but a litle bit also on some quite Weller-esque verse guitar rhythms.

Still in their teens, as made clear by their lyrical content, ‘Don’t Dance’ is probably a title I am going to have to disobey if this one gets onto a club dancefloor anywhere I am in attendance.

I have to apply a bit of an off-track description even though it is not mentioned in any other form of promotion I have seen to their unusually two-dimensional material, as what I am hearing right now could only be described as prog-core. These nine magnificently epic numbers, which is strange for an HC act, at times make the disc a treat for fans of Earth Crisis and bands of similar style but also consist of a middle eight that changes them all of a sudden into something not unlike another new York act I might mention, that being prog metal goliaths Dream Theater.

A highly unusual album that fixes it focus more on depth than din even though there’s fair share of the latter, and shows that this type of metal is certainly not about just getting behind a microphone and gargling out your internal workings for all they’re worth - they guys have worked H-A-R-D here.

For those yet to hear, or hear of them (whichever appropriate), it’s well worth the time, especially for the open minded of you.

‘Princess Alice…’ picks up more or less exactly where ‘Brand New Morning’ left off by the three year gap hasn’t stopped any wheels turning. Their fourteenth album continues their current revitalised form which for the uninitiated is a fusion of the style they explored on the ‘Hard Rain’ stuff together with the two albums up to Magnum’s split in 1995.

The opening two tracks spread the wings further however, with the intro to the former quite reminiscent of ‘Only A Memory’, the epic ballad from ‘Goodnight LA’. Classic Magnum both, echoes of Catley’s solo material are also audible. Quite inevitably the form continues for four further numbers although the songs are starting to starting to dissolve into one another a little by that stage, as I begin to get a sense of waiting for something that never comes, and this is about the only time that the album comes anywhere near to stumbling - like Magnum would.

‘Be Strong’ is something I manage to do as this groover in the vain of H.R.’s ‘Another Nice Mess’ lifts things away from the ground once more, but the best song has to be ‘Thank You For The Day’ in which Mark Stanway contributes some Bruce Hornsby-esque piano lines. A fag lighter-in-the-air favourite for years to come though watch out if you’re doing this at a gig that falls after the 1st of July.

I have already enjoyed ‘Your Lies’ on a recent ‘Powerplay’ mag sampler and was impressed by this upper-octane rocker which wouldn’t look out of place on the second album by Pulse, (Catley solo guitarist Vince o’Regan’s short lived AOR outfit which sadly broke up two years ago.). So Mr Clarkin, it seems, has been learning from the younger generation.

The final two tunes, especially ‘You’ll Never Sleep’ are again these lads as we like to hear them today, helping another fine Magnum disc ensure that, and that’s indeed what ‘P.A.A.T.B.A.’ is. With the as-usual flawless displays from the three main men, plus of course Al Barrow and new drummer Jimmy Copley - this is his first studio outing with them – plus a welcome recreation of the ‘Vigilante’ sleeve band pic inside, fans young and old are in for a treat.

Mag–nificent work once again.

The bassist of many a band shows us what he’s been part of since 1969 to the most recent recordings in 2006 and goes from a late 60’s band called Welcome right through to GMT.

You get to realise just how busy this big bassman has been since he first picked up his instrument – interestingly enough he was in a band with the now famous comedian Charley Chuck who encouraged him to pick up that bass in a band entitled ‘Mamas Little Children’ – but sadly no tapes exist of this band at all.

He’s played Jazz, Funk, Soul, Rock and Metal and god-holy knows what else as well as producing albums for bands like The UK Subs which kept him in cash throughout a lot of his career. It’s impossible to place examples of his works on just 1 cd, therefore this is a 2CD set where you will find some of John’s fave cuts from the already mentioned Welcome to others that include Gillan, Atomic Rooster, Samson, McCOY, Mammoth and many other rare bits n pieces in between like Quadrant, NEO and VHF.

Highlights (of which there are actually many include an alternate version of Samson’s ‘Tommorow Or Yesterday’ that’s got plenty of echo on it; a live version of the blues classic ‘Big Boss Man’ from McCoy; a crackin’ alt. version of Gillan’s ‘No Easy Way’; a rare number in ‘Calling Out Your Name’ by The Coolies that sounds like ‘Blister on The Moon’ by Taste (Rory Gallagher); the humourous ‘Fatman’ by Mammoth (whoah - I got that on 12” single – awesome !); the excellent Sun Red Sun’s ‘I know a place’ with the late great Ray Gillen on lead vocals – he’s sadly missed he is too, as is Paul Samson who is included in solo mode with ‘Mean Woman Blues’.

You must check out Mr. McCoy’s latest project too GMT that features Bernie Tormie and Robin Guy – the song ‘Cannonball’ is aired here that I previously saw on the Bernie Torme DVD ‘Stratocaster Gypsy’. Then last but by no means least, a funny song that John wrote but does not play on called ‘Shaving Cream’ by The Split Knee Loons – hearing is believing !!

An Anthology well worth buying especially for the fact that it ain’t the usual greatest hits package but a far more interesting collection of material. Be sure to catch GMT at a venue near you.

A band you can rely on bring plenty of hard old school metal to the forefront – think Judas Priest, Helloween and nowadays Saxon – a ton of double-bass bashery, mid to high ended vocalising and miles of guitar riffage.

This is full on fist-raising, leather jackets and studs stuff let em tell ya with songs like ‘Where the falcons cry’; the title track ‘Dragonheart’; ‘Nocturnal’ and the epical orchestral closer ‘The Ivory Gates’.

Keep it comin’ lads.

METALLICA - Master Of Puppets
(Vertigo - 1986)

A belated 20th anniversary celebration for one of the most monolithic thrash releases of all time is by way better than not bothering at all. When four sprightly young lads by the name of James, Lars, Kirk and Cliff got together in a studio and struck these chords for the first time in 1985, could they have in any possibility predicted the impact that ‘Puppets’ was to strike planet metal’s surface with in the two decades that followed.

OK, so when ‘Battery’ begins, that acoustic intro leads you to think you were about to listen to some ‘Fight Fire With Fire’ rehash but although the two are pretty similarly structured in parts, it’s this album’s opener that has always been superior but I am not slating either. A live regular since, it is however the album’s title song that has been a watertight Metallica gig cornerstone since its creation.

Very sadly, it is only on CD that you can get to hear the full eight minutes plus, apart from the various tribute acts that ride into town, as the Tallica boys have a miserable habit of often playing their half-length version - after the ‘Master, master-r-r-r, master-r-r-r….’ bit fades, there’s no more to come. A well constructed number, it’s mixture of tempos, varying from quintessential speed metal of its day to a menacing stomp that backs James Hetfield as he chants “Master, master, where’s the dreams that I’ve been after” plus mental soloing from Mr Hammett, it is a devastating dancefloor selection today.

The heaviest song I think a I’ve ever heard from a Bay Area outfit is doubtlessly ‘The Thing That Should Not Be’. Its stop-start structure is checquered amongst repeats of a riff that you can just feel yourself repeatedly swing a claw hammer down on the bonnet of your car, along to. Hetfield’s stretchy inflections on the chorus lyrics sounded a bit misfitted with the style and brutality of the number when I first heard it, but you can’t have everything heavy so the best advice one could follow is to listen to that riff throughout and let nothing distract you.

‘Welcome Home (Sanitarium)’is another long standing institution for the band who fit that description fifty-fold themselves. Coming in on a structure and opening solo line similar to that of ‘Fade To Black’ the chorus is much more instant and bludgeons as Lars Ulrich rolls in with the rhythm and the back half of the song just speeds away, Hammet in particular. “Leave me al-o-o-one” comes the immortal yell from James. Advice probably worth following at this stage, lads.

‘Disposable Heroes’ shows that one epic per album ain’t enough any more by this stage, this almighty juggernaut of a tune boasting a similar structure to ‘M.O.P.’ itself but more chuggy in its rhythm lines, and in a fitting pairing with its lyrical war one of Hetfield’s guitar lines does distinctively reminisce a Uzi merrily relieving itself of a few hundred rounds. The chorus’s closing words ‘you coward, you servant, you blind man’ are things you will still be called – by me - if you back off from this one today .

‘Leper Messiah’ was a major departure at this stage for Metallica, not only because it isn’t performed at speeds of 1-200 mph but its own chanting stomp verse line which had more in common with scene rivals Anthrax and was also replicated on their subsequent albums, ‘…Justice…’ and ‘Metallica’ in particular. Rarely performed live since 1987 apart from for the ‘Some Kind Of Monster’ EP, it is a quality metal tune that has stood the test of time and remains as well respected by the fans as th other seven on the album. Tune number seven, ‘Orion’ is that of all regular obligations on a Metallica album of the 80’s, another instrumental and the third eight-minuter on the platter. The best of all the ones they did, it is very melodic and multi-staged, allowing for various tempos but again, criminally ignored live, apart from a bit of it showing up on Kirk’s solo spot during the live shows in 1989 and again in late 1992.

Closing as fast as the album began, ‘Damage Inc’ is what thrash was all about during the eighties, relentless high speed heavy metal aggression that runs on attitude, and over anything in its path. Very sadly, it was to be the final song we would hear Cliff Burton play on, apart from later contributions on ‘To Live Is To Die’, in a year that had also robbed us of Lizzy legend Phil Lynott as well but his legacy remains carved into the walls with his performances on this, ‘Ride the Lightning’ and ‘Kill ‘em All’ (which celebrates its 25th birthday next year) and in still shifting copies of these three important albums by the lorry load now, today’s younger generation of Metallica fans are reminded of one of the most important musicians in metal who ever lived.

‘Master Of Puppets’ should be seen not only as a goodbye present from Mr Burton however but as a record it self which shaped the Bay Area and the entire metal scene itself forever, and with many of these tunes a regular on metal club dance-floors worldwide, its immortally iconic stature alongside the Black Album will stand solidly unforgotten.

Metallica got me into listening to Thrash Metal as well as all other kinds of Metal. I would conclude that this is the last great release by them. The Metallica of the 90's and present day are nothing like I knew of them during the 80's. I would conclude that this is one of their hardest releases. Everything mixed well and the guitar is sooooooo heavy but of course there are clean parts during the song "One" as well as an acoustical piece done in memory of Cliff Burton which is on "To Live Is To Die".

The guitars are ultra-heavy for the most part and the riffs are memorable not only on "Blackened" but the whole album is simply amazing. It seemed to me that they were flawless with this release. The only downside is that it is hard to hear the bass guitar during the songs. Metallica on this release played uncompromising Thrash Metal that landed them millions of dollars.They even did a video for the song "One".

Metallica used to be against making videos but nowadays they really compromised their style and seem to just be aiming to please listeners. I'd have to conclude that if Cliff was still around Metallica would be still reigning in the Thrash Metal department. But oh well, "And Justice For All" kicks serious ass. The whole entire album seemed to be flawless to me.

If you haven't heard this release yet then first check out "Blackened", "Dyers Eve", and "The Shortest Straw". I'd conclude that all songs even ones I didn't mention kicked serious ass. I think this was a platinum release. If you're into Thrash Metal then this album is definitely for you!

Credits:

James Hetfield - Rhythm Guitar/Vocals
Lars Ulrich - Drums
Kirk Hammett - Lead Guitar
Jason Newsted - Bass

Track listing:

1. Blackened (Hetfield, Newsted, Ulrich)
2. ...And Justice for All (Hammett, Hetfield, Ulrich)
3. Eye Of The Beholder (Hammett, Hetfield, Ulrich)
4. One (Hetfield, Ulrich)
5. The Shortest Straw (Hetfield, Ulrich)
6. Harvester Of Sorrow (Hetfield, Ulrich)
7. The Frayed Ends Of Sanity (Hammett, Hetfield, Ulrich)
8. To Live Is To Die (Burton, Hetfield, Ulrich)
9. Dyers Eve (Hammett, Hetfield, Ulrich)

Having survived the nigh-on-unlistenable opening number, vocal arrangements almost purely of the spew-a-bit then sing-a-bit format, the more tuneful parts winning the whack but the Robb Flynn-influenced guitar lines throughout give them a commendable supply of cred along with it.

Quite largely a contemporary exercise for the uninitiated, there is still the fair share of sounds echoing from classic metal acts of San Francisco ringing audible.

Try.

Hooks are included but Mahavatar’s produce allows for much further exploration and the fact that most numbers last at least a good five minutes, gives you the time you need to help this interesting band’s music to absorb.

Another continental crop that’s come up good, I only wish we could get a few packets of these seeds as well but at least Mahavatar’s appear to have been well watered from the start.

Their predictable vocals fro this style are played out by an evident multi-speed rhythm capability. To their credit, they do dive in at most opportune moments but only to apply it in a rather ‘anything-will-do-as-long-as-it-sounds-different-to-others’ sort of way. Though not quite bad enough to file under ‘unlistenable’ the album is still rather messy and sounds glued together in many a spot.

Only those into Madball and Earth Crisis - in a reasonably big way –will probably consider this compulsory.

Very impressive new album from German Metalheads, Mob Rules this is !! The 1st 6 songs being the title track concept itself. Excellent Orchestral structured project that is highly political with standout cuts bein’ ‘Ashes to Ashes’ and ‘The Last Farewell’.

The rest of the album is of an equally high standard too – melodic metal brilliance that need to heard like ‘Ain’t the one’ and the closer ‘Better Morning’ that was a collaboration with ex-member of Rage, Chris Wolff – a soaring balladeering near fantasy like epic.

A CD that is well worth owning.

American Motherf*cks, who simply don’t give one to be honest – patriotic – you must be jokin’. Pure politically incorrect songs galore with elements of rock n roll & punk all the way through the album.

Take your pick from ‘F*ck You’; ‘Roy’ (about a gay guy); ‘White Trash’; or best of all, ‘Everybody’s f*cked her’.

Non serious shock-filled gourmet – coming to an elevator near you.

Great powered glam meets stoner rock that’s very addictive and likable – a bit like a slutty dancer in a club that’s showing she’s available for the night and beyond. Well ‘That’s what rock ‘n’ roll can do’ for definite or at least it ought to.

Can imagine this single making them a good few fans.

I have to admit that I thought the title was a bit unoriginal and corny when I first heard what the new ‘head album was to be called but as soon as I heard the contents I soon ate my words. It’s well recorded, the songs are at their best and so is Lemmy’s voice – you can make out every single word that’s spat out of his whiskey soaked, Marlboro smoke filled mouth that makes a pleasant change. Mikkey and Phil sound spot on in the mix too.

This album has the strength of the last album ‘Inferno’ but betters that offering due to the songs being a lot more varied in musical style – a bit like what ‘Hammered’ had – making it easy the best Motorhead album in years – even though many gave ‘Inferno’ this accreditation last year – this release blinds it by far – even Lemmy says that and I have to completely agree.

Out of the 12 songs found here there’s some great rock ‘n’ roll to be found in ‘One Night Stand’, ‘Christine’ that I am looking to seeing Phil ‘Dancing Trainers’ Campbell bopping and boogying on down to when we get to see them again in November – especially ‘Christine’ (with it’s mention of the ‘Ace of Spades’). ‘Be My Baby’ is of a similar calibre too but it’s verses are more hoggish and aggressive to be classed as pure rock n roll – well that’s until we reach the crackin’ chorus section.

Easily by far the best song on the album is the acoustic and electric ‘God was never on your side’ that’s bound to fire up a few persons out there – so was he on yours, I’ll let you deter your own answer to that – think they ought to make this a single – what a video it would be – in my opinion it’s a triumphant song that I and no doubt many others would like to witness in concert and beyond.

Bearing little in similarity to any band fronted by persons called Ozzy or Ian Gillan, though they are occasional traces, this Chicago chappie has put almost every type of music including, Jazz, funk, blues and pop in some place or other in here and this should make for interesting listening but unfortunately for the wrong reasons.

Impressed by his musical integrity I sure am but nigh on the opposite by the hook factor and though this doesn’t do much damage to all experimental offerings, this one suffers and I am struggling by the end, the novelty of the exercise long worn off by then. Stating that it’s split over two discs when I find just the one inside doesn’t help me either as I was worried one hadn’t been sent, not that I would have missed much.

One for the curious only.

A neat album project from a guy called Matt Filippini that is pure classic rock and I’m talking the sounds of Free (a colossal cover of ‘Fire and Water’), Deep Purple & early Whitesnake. Yes there’s a lot of bluesy influenced material on here, not to mention a bit of funk rock as well and it’s all excellent to be completely honest.

How can it not be a ‘cream of the crop’ album when you have vocalists like Glenn Hughes, James Christian (House of Lords), Eric Bloom (Blue Oyster Cult), Graham Bonnet and Paul Shortino – the list goes on….

Highlights apart from it all include the Hughes sung ‘Where do you hide the blues you got’; the openin’ slide guitar redneck rock like ‘Slave of Time’ with Kelly Keeling on vocals; the southern like AOR funk of ‘On the Way to Moonstone’ ; the funky ‘City of Lites’ with Steve Walsh on vocals and all the rest of the album.

Here’s an album that every Deep Purple fan should have – even Ian Paice is featured on drums on ‘Rose in Hell’ and another famous tom beater includes Carmine Appice on the DP sounding ‘Pictures of my lonely days’ with Paul Shortino on throatal duties.

I could go on and on about this album but I can simply sum it up – if you liked exceptional classic rock, just buy this and don’t even question your actions.

In the four years they have been around, Brit metal bruisers Mendeed can’t complain about the success they’ve encountered. Having a sound that leans in three different directions that being thrash death and Black metal, all at more or less the same time means they have won huge crossover appeal in the extreme metal market and managed to earn quite equal balance of cred through the not undiverse range of metal acts they have so far supported.

Not saying that they have tried any style change to fit the demands of their fellow heavyweights, this is very much the previous offering again, fast, noisy, and unrelenting, coming across like a less commercial In Flames to some. Naming tracks is pointless as they are quite obviously so alike but listening a couple of times assures you of getting some good practice in for that moshpit.

Nice…in a nasty way.

Fronted by a chap called Woz who’s voice comes straight across as a kind of Stayley/Cobain hybrid, they in fact ride the Seattle sound all round plus a few notable nods to Brit grunge kings Bush. Lined with lovely melodies and quite a few commendable hooks too – including titles in a couple of cases, this trio actually make music that sounds like they’re happy instead of trying to drill into us what a bunch of depressed so-and-sos they are.

Happiness does sell records in places, boys.

Accompanying tunes ‘End Of Man’ and ‘Divided We Fall’ are slightly back up the slope but not riding the top of their roster either which leaves the enclosed promo vid for ‘Beneath….’ as the chief highlight of the package.

Fans may probably disagree so if you fit such category yourself, give it a listen by all means - the review, as always - comes by way of scribe’s personal thoughts – but I still prefer their previous one.

A slight case of foot coming of pedal for Mendeed, one thinks.

Formed in ’92, this cock rock bunch made up of Alan Rogers (Vocals); Rob Howl (Guitar); Gregg Gill (Bass) and Rick Ward (Drums). It’s of brilliant production quality and recorded at Spyder Studio in Houston, Texas.

I guess you can say they are kinda Poison meets AOR – decent clean accessible vocals as oppsed to the trademark screech squawks with plenty on offer to get excited about just like the girl does in the song ‘Dirty Rhythm’. Take a listen to the fast paced ‘Alive’; ‘Tonight’ with its ‘Shoot to Thrill’ guitar section; the cool intro to the album entitled and the one with the kids on it named ‘SMD’ (Suck my d*ck) – lol.

Excellent artists who deserve plenty of radio airplay.

Moonlight Agony is a six-piece modern progressive metal band and it seems to show as there are continually multiple layers of sound from the two guitars, bass, drums and synths that are all combined well with some great timing. The vocals of Chitral Somapala carry most of the melody throughout the tracks and are strong and well suited to the music.

The dynamic opener to this album ‘Into Darkness’ shows great promise with some good melodies, guitar riffs and changes. This good work is continued into the second track ‘Icy Plains’ which is also a real audio treat that seems to get pulled by various music paths in the first 15 seconds alone and incorporates female vocals.

The title track and other tracks were a little disappointing because I thought they became a little muddled without using a strong melody to tie it all together like in the first two tracks. ‘Equilibrium’, ‘Vanished’ and ‘Ghost’ show a little return to form with some impressive technical guitar work in the latter.

Moonlight Agony shows talent but lack consistency generating a catchy track for me, instead forming well-woven medley of ideas.

Thaking themselves very serious – they are a metal band with a singer who sounds like a cross between Billy Idol and Roger Chapman and Family. Musically its like Iced Earth and Iron Maiden and borders on new metal.

A conceptual album that’s placed together very well but rather too serious at times.

Released to commemorate 30 years in the biz, the legendary ’79 album comes flying at us with an extra CD of outtakes, the ‘Golden Years’ E.P. and the other odd track too to make up the time and keep the interest of the listen who already owns the original vinyl copy.

The album itself is a milestone in metal that needs no introduction – BOM-BAR (sic) – as its commonly known amongst the Motorheadbangers – the song that often comes in the live set at times before ‘Overkill’. It has other songs many of you will know such as the classic ‘Stone Deaf Forever’; ‘Poison’; ‘All the Aces’ and ‘Dead men tell no tales’ plus the Eddie Clarke on vocals number that is ‘Step Down’ – a bluesy thang that works with the rest of the numbers as a refreshing break from their usual hitting ya hard and fast style.

On the bonus CD, it’s good to hear live versions of ‘Dead men tell no tales’, an alternate version from the studio of ‘Bomber’ there ya go, I spelt it right that time and its b-side ‘Over the top’ plus a live version of ‘Stone Dead Forever’.

Wahey – metal don’t get better than this.

Multi Purpose Chemical have relied on some pretty vicious chemicals to create their substance. Most of these substances come from New York by the sound of things, judging by the four bolts of bruising industro-tinted rage-core this disc delivers.

Several familiar names shoot up in the sound from the offset, but it’s good to hear a pedigree of this particular arrangement. If you can get hold of this one, do, and witness another worthy British contribution to this ever-expanding scene, in the making.

Balancing black, death, goth and thrash metals pays for some more than others and the idea of getting all four together is a more frequent exploit, these days, so the Brit newcomers have played their cards right where influences count.

No idiots on guitar either, their combinations of technique make fro a more listenable end product than churned out by other bands who have been functioning for about five times as long as they have.

About time this scene Mendeed its ways, don’t you think?

I lie, there is a notable quantity of experimentation sprinkled in nooks and crannies so not everything is dangerously over- predictable as cynics might expect. First impressions are just business as usual but the streamlined industrial stylings of their sound do eventually show through their typical deathly dredgings and their overall formula, whilst not necessarily likely to have every Frontline Assembly fan wetting their bottoms, can be proudly called their own.

I am surprise to find that they’d actually been goings as far back as 1989, a time when Meshuggah’s particular sound was little thought of. Unless they sounded drastically different then, in an Anthrax/Nuclear Assault sort of way.

I can’t, in all honesty, find a nearly exact description for what this foursome are trying to pull off on this offering. Quite interesting as it comes across in most places, they have a formula that blends most of the contemporary commercial noise and threatens to leave most sitting on a fence as to what to describe them as.

At worst, it sounds annoyingly akin to the Wildhearts industrial sound on that album of theirs in 1997, combined with Clam abuse, Ginger’s even more ill received side-project. On the positive end, picture Pearl Jam (circa ‘Ten’/’Vs’) churned in with some filthy out-and-out garage rock n’roll suss and more than a sprinkle of nu-breed groove and it magically turns most of these eleven tunes into almost instantly accessible fare.

A pretty catchy collection of songs but with a fair few shaky spots and it will take more than one full spin to fully understand where they’re intent on going. However, Millionaire may just about manage to become that themselves if the current directions of style in the scene stay as they have been lately.

Italy’s My Sixth Sense are… or were, an undiscovered jewel until this which I believe is not their first release. The European sextet play a staggeringly unique take on melodic metal that flushes just about every factor of cynical ridicule down the loo. Not trying to scare off any Royal Hunt or Artension fan reading, seen as skeletal elements here are similar but you’d do best to couple what lies here of that common formula with the latterday Dream Theatre sound, drown it deep in pure goth fluids and add some unusually pop-edged hooks, to get a match with the description of M.S.S. ‘s sound.

13 songs gives a generous amount of material to enjoy and time to do so in and virtually as many belters to choose from but with the sharp riffs and drilling vocals, quite Belladona-like too, nothing here should fail to switch you on first run. As thoroughly absorbing and hooky as it is original and deep, these six lads clearly have six senses each rather than between them …. And that’s just musically.

A masterpiece of ’05.

Getting this carried away with such loud nasty music at this tender young age surely can’t be good for you. Can’t it, my arse. Here we have five lads who look barely older than 18 venting their rage but bravely attempting feats of diversity that show their education in metal circles is not unsubstantial.

Switching back and forth between something approaching black metal and throwaway shout-core noise, and filled in on top by some rather pristine stabs at Devin Townsend’s own unmistakable shrieks which themselves pull away to let in some more melodic moments.

See, done properly, bands begun this early by people, in their natural life do still get places pretty quick if they’ve done their homework. Mendeed should.