“The first time I heard Lordi was when everyone else did. It was 2006, they had just won Eurovision (never seen it; don’t care) and their third full-length, The Arockalypse, had hit the streets. I was driving down the 101 in Phoenix, having just purchased it on CD. It was early April, already hot as hell, and I didn’t have AC in my forest-green Geo Tracker. For my horrible mood, my sweat-soaked Yanks cap, and the t-shirt glued to the seat, I was, surprisingly, having a good time.” Lordi, Lordi.
“No joke: the day I found out Death Alley’s new record was coming out, I was jamming hard to Captain Beyond and Blue Öyster Cult. It was as if my craving for some old-school rock reached across the ocean to the Netherlands. Not only did Death Alley hear my call, they answered it—with Superbia. Don’t get me wrong, I ain’t much for religious interventions or anything but, my god, I almost picked up the Bible after that.” It’s bible good!
“Every year, something special takes place in my hometown of Tilburg, The Netherlands: the festival of Roadburn. Roadburn isn’t like your average festival. There’s no marquees, no fields of green devolving into mud, and no crowds the size of small towns worshiping the biggest bands. Instead, thousands of people dressed in black gather from every corner of the continent, and some from other continents, to see over 100 doom, stoner and other kinds of acts whose success lies almost entirely in the underground.” Welcome to the dope show.
“Supersonic Rock’n Roll is a hard hitting redneck rampage through the dusty deserts of the Australian outback. If you’ve never been, Zombie Motors is about to take you on a tour, like it or not.” Undead outback tours? That could be a money maker!
“Despite trying to sound like Death SS via their humble beginnings as a tribute to those guys, Deathless Legacy comes across more as a soporific Halloween-themed Nightwish, but with worse vocals. There are plenty of keyboards, and the tempos don’t generally get too lively. Sadly, ‘Monster Mash’ may actually make for an apt comparison.” So much for the Transylvanian Twist.
“It seems I’m not quite over my hankering for cheese. In simple terms, that means you get to sit through a review of Resurrection, the aptly titled rebirth of Italian band Death SS and their brand of ‘horror music’. Death SS have quite a history, going back to their inception in 1977 with the only constant of the band (outside of the Evil Metal EP) being the odd vocal styling’s of Steve Sylvester. The list of former members is pretty astonishing (upwards of 30 member changes) which probably accounts for why Death SS have done a complete about-turn when comparing Resurrection against its predecessors.” First Powerwolf and now this? Madam X is off the reservation and wandering through Cheese Land and she may never be the same. Ever see KISS Meets the Phantom of the Park? This could be KISS Meets the Madam.
In our new monthly feature, which will show up here on the 15th of every month and run over the next few days, I (Angry Metal Guy) will select 5 bands at random (usually those who have followed my directions and have bandcamp accounts) to get blurbed by every member of the AMG staff. The idea is to do at least a bit of our part to point out that the metal underground is still an important part of the world of metal. While we simply don’t have the manpower to produce regular reviews of unsigned bands, this is my attempt at a minor mea culpa if nothing else. So enjoy Angry Metal Guy’s Unsigned Band Rodeo and our second entry for April 2013: Boudain!
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.
Morbid Angel is elite death metal and has been the standard for as long as I can remember. They have defined death metal for listeners of the genre for decades, influenced all of the great bands to come out of the genre after them, and have been away for 8 long years. 2003’s Heretic was not the best record they’d ever produced, this is most certainly true. But there was no reason not to believe after hearing “Nevermore,” the single that was released ahead of time, that the return of David Vincent would usher in the kind of catastrophic reaction that has ensued. I make it my business to never read reviews of any record before I write my own review, hell, I haven’t even read Steel Druhm’s (which is below this one) of this record. But it was hard to miss the fury, anger and disappointment that has been floating around the ether. I had to ask myself “could it really possibly be this bad?” You see, I’m a stalwart defender of some pretty hated records (most notably Iron Maiden’s The X Factor and Mayhem’s Grand Declaration of War), and I try to listen to every record with a clean slate. And I attempted to do so with this record, as well.
