English Metal

90s Metal Weirdness: Fight – War Of Words

90s Metal Weirdness: Fight – War Of Words

Cast your minds back to a time when metal music was not cool. Nay, indeed, a time when metal was anathema to all that was considered to be “chic” and “in.” A time when your favorite bands were actually encouraged by the music industry to play slower, cut their hair, and write sensitive lyrics about their childhoods. Yes, this unfortunately really happened.

Our new semi-irregular feature “90s Metal Weirdness” focuses on albums released between 1992 and 2001 and which we all probably would rather forget. But in the service of publicly shaming the musicians involved, we have pushed forward. — AMG

Paradise Lost – Tragic Idol Review

Paradise Lost – Tragic Idol Review

Well, well, well, if it isn’t Paradise Lost. This band is a reviewer’s wet dream, simply by virtue of all the weird shit they’ve pulled over the years. Starting out as one of the pioneers of death/doom metal in 1990, the band mutated into a sort of gothic hard rock/metal, before suddenly turning into Depeche Mode towards the end of that decade.

Napalm Death – Utilitarian Review

Napalm Death – Utilitarian Review

Napalm Death’s latest album, Utilitarian, certainly gets off to an interesting start. The opening track, “Circumspect,” is a delicate acoustic number about the inhumane treatment of stray puppies and kittens. The next few tracks follow suit, with gently strummed guitars and the surprisingly beautiful crooning of vocalist Mark “Barney” Greenway.

Landforge – Servitude to Earth

Landforge – Servitude to Earth

Here’s an obscure but intriguing new release that’s been getting a great deal of playtime on the Steel Druhm turntables of late. Landforge is the musical project of one Stephan Carter. As the sole member and performer, he’s created a strange experimental journey, which he refers to as “post-rock/post-metal, with doom influences.” While I don’t quite know what “post-metal” means, Servitude to Earth is an interesting merger of black metal, doom and minimalist post-rock, borrowing elements from bands like Black Sun Aeon, Agalloch and Altar of Plagues.

Orange Goblin – A Eulogy for the Damned Review

Orange Goblin – A Eulogy for the Damned Review

We all have those bands we’re aware of for years but never make an effort to hear. I’m not even talking about bands you’re pretty sure you’ll hate (i.e. Korn). I’m talking about the bands you hear about, make a mental note to check out, only to be distracted by something shiny. The U.K.’s Orange Goblin is one of those bands for yours truly. I’ve heard of ’em forever, heard mostly good things, but just never got up the gumption to track down their stuff.

Things You Might Have Missed 2011: Forefather – Last of the Line

Things You Might Have Missed 2011: Forefather – Last of the Line

This little gem fell from Odin’s mighty beard in the waning days of December and since that time of year is so hectic, this may have eluded the attention of many metal-minded folk. Steel Druhm simply cannot abide such a ruinous oversight. Why? Because the U.K.’s Forefather plays such a highly endearing mix of black, viking and folk metal with some power and NWOBHM tossed into the Anglo-Saxon stew. Over the course of five albums, they’ve honed that mix into an insanely catchy, guitar-driven style of epic-infused music. With Last of the Line (Seven Kingdoms Records), that honing continues unabated and this is one sharp ass piece of jagged iron. Though Forefather consists entirely of two brothers (both appear in Folkearth as well), they know exactly how to blend genres and craft tunes that alternate between catchy and heavy, epic and black and most of this material is designed to stick deep in your brainpan. Stylistically touching on Falconer (or Mithotyn to be more exact), Running Wild, Tyr, Crom, Ensiferum and Amon Amarth, they manage to carve out their own identity and I’m betting after hearing some of this stuff, you’ll join me in wondering why Forefather isn’t more of a household name in metal… houses.