Tyrant at myspace

Welcome to the early 1980’s as Tyrant (not to be confused with the band who would eventually evolve into The Legion) take us on a magical mystery tour through the best that Black/Thrash has to offer. Taking influence from Bathory, Venom, Motorhead, Darkthrone and Celtic Frost, “Reclaim the Flame” has a melodic groove; not melodic in a Gothenburg way, but melodic in a drunken singalong to “Ace of Spades” or “Black Metal” sort of way. The riffs and melodies get stuck in your head with minimal effort and you can’t help but sing along to mid paced thumpers like “Uprise”.

Like a lot of Black Metal inspired releases, the production isn’t pristine which is a godsend as this album wouldn’t be half as entertaining if it had the same productions as say the new Satyricon album. The grimy and deep guitar tone gives Tyrant the sort of guitar sound that Venom or Hellhammer would have killed for 25 years ago. This is a pretty big claim to make on the strength of a debut album, but I feel Tyrant may proves themselves over their discography in years to come to be the band that Darkthrone now want to be but seemingly aren’t able to be. Not the Darkthrone of lore, but the Darkthrone of “The Cult of Alive” and the following albums. Whereas “The Cult of Alive” was tedious after several listens, “Reclaim the Flame” is a captivating piece of singalong thrash/black metal. Hopefully Tyrant can keep this quality going for the rest of their careers, as “Reclaim the Flame” is a stellar debut.

Villains play mid 80’s esque death metal with plenty of influence from the first wave of black metal that sounds like it came straight from a teenager’s basement in 1980’s. I can almost picture it now, the poodle haircuts, the homemade Venom T shirts and the disused ALF merchandise in a corner and that Villains can summon up that vibe as a modern day band is pretty impressive indeed. Yes this hits the spot just right, very primitive nasty stuff; so primitive it would be rejected by the inhabitants of the Stone Age for being too backwards and basic.

This of course is a good thing as with all the technicality and modernity around extreme metal at the moment it’s could to have some bands all about blasting back to the past. At 28 minutes it’s just the right length and if you want a record to knock back the brews to, then well there’s fewer better candidates than “Drenched in the Poisons”.

Gnaw Their Tongues at Myspace

“An Epiphanic Vomiting of Blood” is a horrific album but in the best possible way. Mixing Doom Drone, Black Metal, Industrial, Noise and Ambient influences to make what is a very good contender for most disturbing album of the year. This Dutch one man project is often classed as Black Metal and whilst that is definitely an influence , especially with the sporadic vocals that description is definitely too limited to explain the deal with Gnaw Their Tongues.

Taking Sunn 0))) or Earth’s most depressing and primitive moments as a blueprints, Gnaw Their tongues add in harsh and aurally disfigured white noise, the aforementioned black metal vocals, an echoing malevolent string section, additional creepy keyboards, haunting slowly precise but organic drums and samples from various televised court cases, real crime TV shows and horror films to create what could be described as Jason Vorhee’s favourite chillout record.

Not that you could ever relax to this record with its claustrophobic oppressive ambience aided by the menacing strings that swirl in and out of aural focus like glimpses of something in the corner of your eye which seems to be always present but you can never quite focus on. The chilling verbal sample of a lawyer grilling a gentlemen who took it upon himself to tie up and murder a family one by one in “Teeth That Leer Like Open Graves” which what is presumably an extract from an American televised court case would creepy enough by itself but under a barrage of hypnotic low pitched guitar lines and some threatening electronic babbling its absolutely terrifying.

Along the way the album adds what appears to be a choir of witches, samples from a number station and what I think may be (it was a bit low in the mix to definitively ID) extracts from the “Wearside Jack” tape. This is the sound of human misery and depravity entwined in a sordid trawl through the dark side of popular culture. This is some fucked up shit my friends and although you won’t listen to it all the time, its worth it for the few times you do.

Toxic Holocaust at Myspace

Long time underground darlings Toxic Holocaust were the first significant American Thrash revival band and “An Overdose of Death” their third full length and their debut for Relapse Records is definitely an album that lives up the hype. Toxic Holocaust have the most original sound of any thrash revival band and instead of taking the usual influence from the big four, crossover thrash and the bay area the sounds of 80’s UK Hardcore Punk (Discharge, G.B.H), 80’s First wave Black Metal (Venom, Bathory, Sarcofago) and Canadian Speed metal (Razor, Exciter) are most prevalent.

“An Overdose of Death” displays a style that is punky without falling into the usual D.R.I/Crumbsuckers clichés that say Cross Examination have, and the Blackened edge is exquisite as it is primeval and raw whilst taking the concept of blackened thrash further than the typical nostalgic Luddite concepts that plague the genre. With the Punk elements Toxic Holocaust are more reminiscent of Abigail/Barbatos genius Yasuyuki Suzuki (who Toxic Holocaust mainman Joel Grind collaborated with on the Tiger Junkies side project) than say Destroyer 666 or Nifelheim. The Speed Metal elements differentiate Toxic Holocaust from Suzuki’s approach with their meaty leads and classic metal-esque yet lightning quick solo’s making “An Overdose of Death” a very different beast from say Barbatos’s “Rocking Metal Motherfucker”.

Like all good thrash revival records this is a record that would have sounded as fresh as in 1985 as it does now. Listen to the riff at 0:40 of “Feedback, Blood, and Distortion” and tell you don’t feel the urge to hurl yourself at the nearest object of a similar mass to yourself whether it’s a water cooler or your grandma. If you don’t, then you should probably listen to Fairyland or whatever kind of lame metal most paintywaist’s like to listen to as this is one for real thrashers.

The Meads of Asphodel at Myspace

The Meads of Asphodel are one of the most unique metal bands I’ve come across. They mix traditional black metal, punk, Middle Eastern music, and electronica in their brand of music, and they do it well. Damascus Steel is their most recent full-length, released in 2005 (two EPs have been released since). The band’s line-up is ever-changing, with vocalist Metatron being the only constant member, and they do not perform live.

Damascus Steel is as varied as any of their previous albums. It’s full of synthesizers, traditional black metal riffs and screamed vocals, and spoken word sections which are pulled off quite well. Most of the band’s lyrics concern war and religion, and they are considerably more thoughtful than most other bands who tackle these topics. Highlights include the opening instrumental Psalm 666, which is littered with samples; the hilarious cover of Louis Armstrong’s “Wonderful World,” with deliciously tasteless rewritten lyrics and Metatron doing a great impression of Armstrong’s gravelly voice, and “The Gods Who Mock Us,” which features a sweet organ solo as well as insanely brutal vocals.

Don’t stay away from this band just because it’s “black metal”- I dislike most bands in that genre, and the Meads are so much more than another black metal band. I highly recommend this release, as well as all their others (except for the 2007 EP “Life is Shit,” which is three fairly straight-up punk covers).