“Sometimes an album hits you just right and the only words that really seem to fit are “convincing, authentic and WOW.” That’s exactly what happened to me upon spinning Darkest Era’s latest opus Severance. Though this Irish epic metal act was hitherto unknown to me, their cunning mixture of Primordial, doom and black metal instantly knocked me for a loop and now I’m a loyal convert to the cause (read as fanboy). ” Looks like the normally cranky Steel Druhm is over the Gaelic moon for this one.
“At the crossroads of retro/occult metal, doom and throwback vest metal, sits Castle like some sort of big…castle. These San Francisco rockers exploded onto the doom scene with their punchy In Witch Order début and immediately carved a niche for themselves among contemporaries like Jex Thoth and Occultation. Blacklands took things to the next level by incorporating strains of epic metal and black metal riffery and the result was quite heady, unpredictable and fun. Now we get Under Siege, which once again rejiggers the Castle sound as the band evolves and matures with grace and dignity.” Have you heard these guys yet? If not, Steel Druhm thinks less of you.
“For the uninitiated, San Francisco’s Slough Feg has been producing high quality old-school rock since the dark ages known as the mid-1990’s. Their signature sound combines elements of early metal and Celtic-inspired hard rock topped off by the bizarre lyrics and unique vocals of Mike Scalzi. Think Thin Lizzy with Professor X on vocals, and you’re in the ballpark. Digital Resistance is the band’s 9th album, and according to their bio, it’s a semi-concept record about “the digital age not only in terms of music, but how technology affects life itself.” Old school metal bands doing concept albums about the horrors of technology? That makes me feel cranky and old.
“Being the jaded old fuck that I am, there are very few musicians that I go into straight-up fanboy mode for these days. One of those individuals is guitarist John Cobbett. Who, you ask? Cobbett is a member of prog sextet Hammers of Misfortune, and has done time in both Slough Feg and Ludicra, which puts him at the center of San Francisco’s present-day metal scene. When Ludicra abruptly folded after touring for 2010’s brilliant prog-black-metal opus The Tenant, I was genuinely bummed out. Lucky for me, Cobbett quickly assembled a new outlet for his heavier material, dubbed Vhöl.” Are you worried you might have missed some precious metal this year? We worry too, so we’ll start bombarding you with our selections of quality albums we didn’t get to review, but would hate to see you miss. Here, Mr. Fisting brings you the new project from the ever interesting John Cobbett. You’re welcome!
Manilla Road is an institution in the metal world and deserve many accolades. However, their last album bummed Steel Druhm out bigtime. Now, Hellwell, the Manilla-fueled side project of Mark Shelton is here to right the wrongs and kill with songs. Steel Druhm is happy again and back in the Cthulhu cult where he belongs. Join him…
Chris Black has this little act called Dawnbringer….they kinda rule.
Few obscure, under-ground bands find the level of respect and reverence that San Francisco’s Hammers of Misfortune has. These avaunt-garde weirdos have been doing things their way since 2001 and slowly building appreciation and acclaim along the way. Deftly defying genre tags and easy (lazy) categorization by reviewers like myself, they’ve churned out a uniquely progressive amalgam of NWOBHM, folk, doom and ’70s rock. So unusual is their sound, the only truly comparable band is sister/brother act Slough Feg, with which they’ve swapped influences and members over the years. It’s a pretty safe bet if you like the Feg, you’ll dig what the Hammers are cooking too. Of the two, the Hammers were and are the weirder, more experimental outfit and under the leadership of guitarist/vocalist John Cobbett (ex-Slough Feg, ex-Ludicra), they’ve traveled some strange roads but always packed truckloads of melody and quirky charm. After an overly long wait since 2008’s Fields/Church of Broken Glass, we’re finally treated to their fifth album 17th Street and its a reassuring blast of sonic strangeness, musical eccentricity and refreshing innovation. Although not crushingly heavy or shockingly aggressive, its plenty metal, hugely melodic, catchy and most importantly, original! If that doesn’t sound good to you, go read my diatribe about black metal.
Manilla Road, thy name is cult! These aged metallers from Kansas have been keeping it “true” since before the 80’s. Over their long existence they released no less than fourteen albums of old school, vintage metal to the acclaim of a small but loyal niche following. Led by guitarist/singer Mark “The Shark” Shelton, they’ve plumbed the depths of 70’s and early 80’s metal, some albums sounding like old Cirith Ungol, some moving closer to Manowar, Doomsword and Slough Feg. They’ve always lived in that realm between classic metal and doom and their discography has its great moments (and a few missteps as well). In some circles these guys have attained legendary status and while they clearly deserve it for dedication, I never thought their material was all that consistent. However, I always find myself rooting for them to succeed. I did so again with their fifteenth album Playground of the Damned, but I’m not too thrilled with the end product. Like some prior albums, there are great moments but some cringy ones as well. Definitely an acquired taste and not for everyone, this is one of those bands you really have to hear for yourself. However, I will endeavor to do my humble best to describe what lies within as only the Lord High Protector Steel Druhm can.
Pharaoh, for those not in the know, are one of the best of the new retro wave of traditional heavy metal (NRWOTHM™) bands out there. Over the course of three releases these Philly phenoms have consistently blended the 80’s style of Iron Maiden and Saxon with modern American metal like Jag Panzer, Iced Earth while adding a smattering of Slough Feg. The results have been catchy, classy, surprisingly heavy and far more modern sounding than what people normally expect from a “retro” act. Their last opus, 2008’s Be Gone was a great album loaded with excellent yet tasteful guitar wankery and memorable vocal hooks and it left me wanting more. While the interminable wait continues for their next full length, Pharaoh has graced the good people with a six song EP entitled Ten Years. Featuring four tracks left over from the Be Gone sessions and two covers, its clearly a stopgap release but its a solid and entertaining one that continues the Pharaoh quality streak.
C’mon, more old school 80s metal? When is enough enough? For folks like Angry Metal Guy, enough came six minutes after the first 80s retro album appeared [It was at least 12 or 14 minutes – AMG]. But Steel Druhm says as long as it’s good, keep it coming and add the cheese! That brings us to the Virginia crew Twisted Tower Dire. These stalwart gents have been plying their vintage early 80’s style since 1995 and Make It Dark is their fifth old school crusade. Taking their main cues from Iron Maiden and merging it with old Judas Priest, Thin Lizzy and Diamond Head, Twisted Tower’s sound has evolved over the years into something akin to Slough Feg or Pharaoh. Working in their favor over their career was a determination to continually hone and refine their sound and songwriting chops. Make It Dark keeps that evolution headed in the right direction and this is their strongest effort to date. Loaded with vibrant, energetic, guitar driven metal with the true spirit of the 80s present in every note, this is a helluva lot of fun to play and play loud!
