A new Black Sabbath record!? That’s pretty epic. And it calls for an epic response. So here we present for you the first ever triple review here at Angry Metal Guy. First up: Angry Metal Guy; then Steel Druhm; and Mr. Fisting Himself weighs in with a third opinion. You’ll laugh, you’ll cry, you’ll probably find a reason to complain or a spelling error. Break out the flamethrowers, it’s reviewing time!
“Evile has always occupied a strange space in the re-thrash movement. They seem to be one of the big wigs in the scene, yet I hear far less buzz about them than many other retro acts. They are also one of the few bands to eschew the common Slayer, Exodus and Testament mimicking in favor of a much more traditional Metallica influence. Their sound generally exists in the phantom zone between the Master of Puppets and And Justice for All eras and the later works of long overlooked Wargasm.” That combo sounds like a can’t miss, right? When you’re talking about skull tank music, you can never be too sure, so you better find out where Steel Druhm stands on the Skull.
“Everything about this record is perfect. From the wacky, bright, colorful and sharp-looking album artwork to the catchy operatic singing, Los Angeles band White Wizzard makes sure that every detail not only pays homage to traditional heavy metal, but is also (more importantly) given a modern touch as well. The musical similarities to earlier heavy metal bands (especially Judas Priest and Iron Maiden) can definitely be heard [O RLY? – AMG]. But the music sounds a little too modern to be considered ‘traditional heavy metal.'” Whenever the word ‘perfect’ starts getting tossed around the AMG office, the staff gets mighty nervous. Happy Metal Guy always gives us trouble, but now the psychotic horse is fully out of the burning stable and White Wizzard is to blame. Oh, the huge manatee!!
The Black Dahlia Murder were on a downward slope, succumbing to Angry Metal Guy’s Law of Diminishing Recordings™ with every step when Deflorate was released. The album was bordering on “nothing special,” and a record that probably didn’t make many End o’ Year Lists from that year or rank anywhere near Unhallowed or Nocturnal on lists of what TBDM’s best record was. So, as fans of this blog know, Ritual’s release was a gigantic step for The Black Dahlia Murder. It was an album that truly revolutionized the band’s sound, gave them a fresh start and blew my fucking mind. It should not be understated the seriously epic shift in feel and writing between Deflorate and Ritual, and the result is maybe one of the biggest swings for me in terms of excitement about a band’s forthcoming work that I can think of. A new TBDM record was becoming routine; Ritual proved that it was anything but.
“Swiss grindcore legion Mumakil take their name from the gigantic, elephant-like creatures that appear in the Lord of the Rings novels. Also known as Oliphaunts (as the Hobbits of middle-earth refer to them) these 6-tusked monstrosities come from the jungles of Far Harad and are often ridden into battle, covered in armour and even more spikes, by the Haradrim. They are just as magical, and just as terrible, as dragons. It is from these beasts that Mumakil draw their name, and from their lineage hope to extract a sense of heaviness, ferocity, and steer trampling power. Their third full-length, Flies Will Starve, certainly plays like a stampede. At just over thirty-five minutes, this record is composed of twenty-four tracks that do their absolutely best to crush and grind the listener underfoot.” AMG has never been accussed of reviewing too much grindcore, so here’s Natalie with some grindcore, from Switzerland no less!
“I know we at AMG have had our issues with Dave Mustaine in the past and God knows we’ve certainly had our problems with a good portion of his band’s recorded output in recent years, but I still root for the guy on some level. After all the drama, drugs, depression and divahood, the man still helped invent thrash and put Metallica on the map before going on to release some seriously awesome albums on his own. That being said, it really seems as if he’s given up on releasing quality music since 2009s Endgame.” Can Dave right the ship and return to his thrash glory days, or is it time to foreclose on his dream of Megadeth remaining relevant?
“As the only blackened thrash band willing to sing about fishing and fish generally, Kalmah always had a special place in my outdoorsy heart. I mean, who else can make simple tales of man vs. fish seem so epic and life threatening? I was impressed by their first four outings (with Swampsong being my favorite), but I felt really let down by their For the Revolution opus, which felt quite tedious. While things kicked back up for the enjoyable and energetic 12 Gauge, it still felt like a band entering the “spinning the wheels” period of their career. Thankfully, Seventh Swamphony sees these psychotic fishermen make a triumphant return to the off-the-rails, blackened thrash of old which straddles the line between the melodic tomfoolery of Children of Bodom and more extreme, cvlt black/death acts.” Do you like blackended catfish metal like Steel Druhm does? If so, you best don the hip waders and read all about the return of the swamp lords.
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
‘For Angry Metal regulars, Norway’s Jorn Lande needs NO introduction! This leaves me in a quandary… I need an opening paragraph so you get a repeat of what you already know. As Lord Steel Druhm has already mentioned in his review of Bring Heavy Rock To The Land, Lande has a massive career spanning across solo, group and collaborative projects Ark, Masterplan, Beyond Twilight, Avantasia and Allen/Lande that easily makes him one of the most recognized voices in the industry. Well surprise, surprise, hot on the heels of Symphonic, Lande adds another notch to his well-worn belt with the much anticipated all original release of Traveller.” Well, it looks like the days of Madam X’s unabashed Jorn worship have finally reached a middle. Does that mean you must bring your own heavy rock to the land (BYOHRTL)? Read and find out!
“Neither rain, nor snow nor soccer riots can keep the Rogga Johansson express from it’s appointed rounds through the Swedish death metal landscape. This is the fourth album I’ve reviewed in 2013 that had his bloody prints all over it (Megascavenger, Just Before Dawn, Paganizer) and he’s in countless other projects as well (Demiurg, Ribspreader, etc. etc. to infinity and beyond). As I study the endless tide of Rogga works, I’m left to marvel at both his inhuman productivity and the overall quality of the material he creates. Johansson & Speckmann is his new collaboration with the legendary Paul Speckmann of long running, seminal death act Master. With such a titanic union, one obviously expects great stuff (and shitty, DIY album art) and since between them they cover the spectrum from Swedish to American death, the possibilities seem limitless (well, except by the parameters of death metal).” Have you felt like it’s been too long since a new Rogga release cropped up? Me too!
