'Of Ghouls and Men' - Album Review

Formed in 2010 by Liv Decay and Oly 'Sinnister' Sinn, Raizing Hell (whose line-up is completed by Mr. Zombie on guitar and Demented Vlash on bass) are finally ready to unleash their first full-length album to the world. Titled 'Of Ghouls and Men', it is a worthy addition to the new wave of horror punk, and something very different.

The album goes for the jugular right from the off. There are no lengthy guitar solos or moments of deep introspection here. This is straight-up, pounding shock'n'roll, with the spirit of old-school punk and a vocalist who could almost be described as an evil Dolly Parton!

'We Are Raizing Hell' opens the album, and is a great self-referential tune in the style of Motorhead's 'We Are Motorhead'. Kicking off with some seriously frantic drumming, the song explodes with Mr. Zombie's razor-sharp riffage and the thundering bass of Demented Vlash in a way that the 'Head would most certainly be proud of. Liv Decay rasps through the song like she's channelling Lemmy Kilmister himself, although her trademark hollar is present and correct.

'(Do It) All The Way' is next, a vicious edge to the riffs here that is reminiscent of the Murderdolls. Liv too, manages here to sound like a female Wednesday 13, although she switches to the softer melodies with ease, lending the tune a welcome depth. This is another instant of the band taking their influences, and bending them to suit their own style, instead of just copying and imitating.

'Love To Hate' is a schizophrenic combination of bluesy beats and insane speed. The juxtaposition emphasises the heavier moments as well as the softer, more haunting parts of the song, threading the elements together rather beautifully.

It is at this point that I started to consider the bands' name – 'Raizing Hell'. 'Of Ghouls and Men' is just one huge party, and the band really do live up to their name. 'Thing For Murder' is a case-in point. A modern pop-punk guitar riff and Decay's country-and-western style singing make impossible NOT to dance, especially during the chorus!

'Shining' – a special song for the band – is altogether heavier, almost metal, to begin with. Demented Vlash's shark-attack bass intro leads into some serious axe-work (look at the song title-pun intended!), before progressing into a haunting, yet catchy, tune that could easily have appeared on the Misfits' 'Famous Monsters' album! 'Shining' yet again shows the band bending their influences, shaping them around their own music, and the beautiful chorus and lyrics are an absolute must for all the horror fanatics out there! A stand-out track!

'One Way Road' is a proper highway punk anthem something to blast out when your speeding off into the sunset (or dreaming about speeding off into the sunset), while 'Terror Television's' cry of “Kill or be killed!” is a call-to arms to maniacs everywhere.

'Invasion of the Infrasluts' switches from horror to cheesy sci-fi – a foul-mouthed tyraid of lunacy with an uber-fast chorus, and terrifically old-school guitar riffs. Think the Misfits' 'Teenagers From Mars', but a hell of a lot more insane, and you're halfway there.

Call it dark-pop, anti-pop, or whatever, but 'Cemetary Bash' is a weird mix of creepy lyrics and a beautifully sung chorus that is almost Shania Twain in it's essence (not a bad thing)! Liv Decay isn't afraid to show off every facet of her amazing voice, and Oly, Mr. Zombie, and Vlash all rise to the occasion with murderous ease.

And speaking of murderous ease, just when you think the band have exhausted their potential for any more epic horror punk anthems, they give us 'Rock'n'roll For The Dead'. Essentially a country-and-western-meets-hard-rock riot, this stand-out track transcends genres in a way that horror punk has never really dared to before, and will likely have the fans in the audience jiving and grooving more than just headbanging! An absolute corker of a song!

'Of Ghouls and Men', like all parties, has to end sometime, and this album closes with flair. Not, as expected, a homage to 'Dawn of The Dead', 'Zombie Nation' is actually an attack on the mindless sheep of society, glued to reality television and following the crowd. It's about the need to be individual, to make your own way in life, and with the intense riffage, rumbling bass, rolling drums, and a big, singalong chorus, 'Zombie Nation' summarises the whole of 'Of Ghouls and Men' in three and a half minutes, and leaves you craving more!

'Of Ghouls and Men' is one hell of a debut album! Each musician approaches their instrument with confidence and skill, and Liv Decay stands apart from all the other female vocalists out there by daring to be different. Raizing Hell have a fantastic core sound, and yet they aren't afraid to experiment, and think outside the box.

'Of Ghouls and Men' wasn't made to be analysed and dissected. It was made to blow your balls off. Buy it, turn it up to 11, and have the best horror party this side of Halloween. If you like horror punk, you will LOVE this!

RAIZING HELL ARE:

Liv Decay – Vocals

Mr. Zombie – Guitar, backing vocals

Demented Vlash – Bass, backing vocals

Oly 'Sinnister' Sinn – Drums

'Of Ghouls and Men' Stand-Out Tracks:

• Thing For Murder
• Shining
• Rock'n'roll For the Dead
• Zombie Nation

Also check out:

• Thirteen Shots – Tales That Start With A Whisper
• The Misfits – The Devil's Rain

For more information, visit Raizing Hell's Official Facebook Page: Raizing Hell

Cory Eadson, 2013

'Tales That Start With A Whisper' - A Review

A brilliant show called Metal Evolution did an interview with Dave Mustaine, asking the Megadeth guitarist and vocalist if he still considered his band to be a 'thrash metal' band. Mustaine's reply was in the affirmative. Megadeth are a thrash metal band, he said, but we're also so much more.

The Thirteen Shots are a horror punk band. But they are so much more. Rising from the darkness to give the ancient genre of horror punk a kick up the skeletal backside, their début album, Vaudeville, gained rave reviews from all corners of the alternative music scene, including the legend that is Michale Graves (and if you don't know who he is, leave the hall. Now!).

A year later, The Thirteen Shots have released their follow-up to the 8-track attack that was Vaudeville, beautifully titled Tales That Start With a Whisper. It's a brilliant album. It's a horror punk album. And it's so much more...

The opening track, 'Death Jam 2000', kicks off with hoards of cheering fans and a grand announcement, before the music kicks off. It's a seriously catchy song, combining horror punk with 1960's rock and roll, and dare I say it, the tiniest hint of heavy metal. A fast-paced rocker that is short in length and directly acknowledges the band itself – We could be talking 'Death Jam 2000' or 'We Are Motorhead' here. Izzy's guitar really powers this tune, with a delicious driving riff. The Thirteen Shots grab you by the balls from track 1, and they don't let go!

'Zombies From The USSR' is a bonkers tune, the catchy garage-rock music backed up with some splendidly silly lyrics. It was a good choice as the album's big single, and the music video that accompanies it is brilliant too. Let's face it, we all love zombies, don't we?

'Bewitched' is a straight-up horror punk song, with a heavy bass sound courtesy of 'GMT', and frantic drumming from the ever-brilliant Chelsea. The riff, the chorus, and Johnny Rose's howling vocals invoke classic Blitzkid, with a nice Thirteen Shots twist, and a haunting dose of Gothic. 'Bewitched' is definitely a stand-out song for me, and belongs in any essential horror punk play-list.

'Psycho Jukebox' kicks things up a notch, returning to the cheeky, tongue-in-cheek swinging grooves of some of the Thirteen Shots' earlier work, combing swinging garage-rock, rock and roll, and even a dose of indie! This song should be played in every horror-punk and Goth club, at every Halloween party and event, so catchy and upbeat is it. This is the sound of a band who are having a blast, and you're invited along to their insane shenanigans! A song to dance to, and maybe kill to, as well!

'Get In My Crypt' has a heavy main riff that instantly brings to mine Graves-era Misfits...and then it all goes crazy. Just when you think you have a handle on the record, it throws you in a totally different direction. Heavier than 'Psycho Jukebox', but less melancholy than 'Bewitched', 'Get In My Crypt' is an ode to living it up on the dark side. Paying tribute to Zombina, Dracula, Zombies and all things that go bump in the night, this is a battle-cry for Horror Punks everywhere. The song also has a KILLER guitar solo, and delightful backing-vocals, and it's a wonder how any band could pack so much into two minutes and thirty-four seconds. But they pull it off admirably. Another stand-out track, another one for that 'Essential Horror Punk Play-List' I was talking about earlier.

'Nekro-Sexual' is groovy, groovy song. The lyrics are hilarious, and Johnny Rose is once again on fire here. Riffs, solos, pounding drums, and bone-shaking bass, 'Nekro-Sexual's cry of “Stomp on my balls!” will lodge itself into your head, and you will humming the tune for weeks. This album really does lay it on heavy, all killer, no filler. Fast songs, slower songs, heavy songs, softer songs, but the variety really brings it to life. Or un-life. Or [INSERT UN-DEAD PUN HERE]. You know what I mean.

I have been reviewing this album in track-list order. The final studio track of the album, 'Tales That Start With A Whisper', is more than just a beautiful title. The catchy riff (this album is chock-full of them), the Wednesday 13-esque tongue-in-cheek lyrics, the fist-pumping chorus...As you listen to the album, you choose a favourite song. And then you hear another, and you change your mind. And then you reach the end of the record and hear the title track, and you realise that the awesomeness never ends. A glorious song about the state of Vampires today, a serious issue for us proper horror fans, 'Tales That Start With A Whisper' is simply incredible. As mentioned earlier, Johnny Rose is letting out his inner Wednesday 13 where the lyrics are concerned (“They're horny old men searching for a fuck!”), but although the Thirteen Shots' influences are clear, they have their own identity, an identity that has evolved through the course of two brilliant albums and endless touring. 'Tales That Start With A Whisper', the song and the album, is a clear statement of who the Thirteen Shots are. Talented, original, and full of surprises, and more than capable of creating a record that never disappoints.

'Tales The Start With A Whisper' is a must-buy for any serious horror-punk fan, any metalhead with a love for horror, anyone really who is looking for a good time. Lyrically fantastic, musically flawless, and vocally deranged, this is one record you will want to take with you to the grave. In an age where horror punk has become rather stale and predictable, the Thirteen Shots have injected new life into this Frankenstein Monster of a genre.

The Thirteen Shots are a horror punk band. But my God, they are so much more!

STANDOUT TRACKS:

- Death Jam 2000

- Bewitched

- Get In My Crypt

- Nekro-Sexual

-Tales That Start With A Whisper

THE BAND:

Johnny Rose – Vocals

Izzy – Guitar/Backing Vocals

GMT – Bass

Chelsea - Drums

FOR FANS OF:
Raizing Hell, The Misfits, Wednesday 13, Astrovamps, Blitzkid, The Creepshow

For more from the Thirteen Shots:
www.thirteenshots.co.uk
http://horror-punks.com/profile/ThirteenShots
www.twitter.com/thirteenshotsuk

LORDI - The Riff

So, Lordi's latest album, 'To Beast or Not To Beast', hit the shelves last week, and now we have a fantastic new video from them, for their first single, 'The Riff'.

The video bears absolutely no relation to the song lyrics at all, centering around a half-naked woman shopping for toilet roll, in a supermarket crawling with zombies. Lordi themselves are performing in the supermarket in a ring of bog roll, while behind the scenes a bizarre chef man-handles bloody body parts.

It's a great video because it shows just how little Lordi care about the general opinion of their band. They aren't afraid to do a video that is so silly it's bordering on self-parody, whilst at the same time featuring much more blood than ever before in a Lordi music video.

It also has the heroine of the piece decapitating a zombie with a shopping basket, containing - yes, you guessed it - a roll of toilet paper.

As much as I enjoyed their feature-length 'Dark Floors' movie, I can't help but wonder if Lordi's film would have been much more fun with this level of randomness!

Enjoy....

 

 

 

 

Heavy Metal Review: Korotory - 'Chapter III: The Conquering'

 

 



1995 was a funny old year for metal. Slipknot formed, Accept disbanded (temporarily), and a new wave of heavy music was on the horizon. As the final embers of grunge died away, industrial and nu metal would both rise up from the ashes, taking the genre into new and exciting areas.

The mid-to-late 90's was also a time when some of these new ventures into metal would push the more traditional heavy bands onto the back-seat. A great many groups that dominated the world during the 1980's went back to the underground, while stupid rappers with silly red hats took their place singing about 'rolling'.

It wasn't all bad news, of course. Pantera, formerly a glam metal band, brought a heavy fist down on the radio-friendly sub-metal tripe that was infecting the airwaves and gained a great deal of respect for that. But they weren't the only ones....

 

1995 was also the year of Korotory. A band who, in their own words, were and are “the alternative to the alternative”. Much like Pantera, the emerged with a fresh sound inspired by the legends of old, but more extreme, and completely un-fazed by certain new movements within the genre.

For 6 years, Korotory would defend the faith and play gigs with bands as diverse as Hammerfall and Death, and releasing their debut album, 'Process of Elimination', before calling it a day in 2001. It wouldn't last. You can't keep a good band down, and in 2006, they returned from the grave, with a new bassist and a new, passionate fire raging within. Two more albums, 'Age of Rebellion' and 'God Less America' followed, along with more relentless touring and defending of the faith.

And that brings us nicely to Korotory's third studio album: 'Chapter III: The Conquering'. In this new age of metal, is it still acceptable to be the 'alternative to alternative'? Can a band that was born during a time when metal was almost lost to rap-rock still have something to offer? Any metal band can make big, sweeping statements about how they couldn't care less about the mainstream, and how they are true, pure metallers. But without the music to back these statements up, the band simply doesn't work.

Luckily, Korotory have the music. And it's heavier than a ton of titanium bricks. This is 'Chapter III: The Conquering'.

Chapter III: The Conquering

'Chapter III: The Conquering' lures you in with a suitably epic instrumental ditty titled 'Hell's Gate', with buzzing bass and classical piano chords, before the guitars come crashing in in unison, taking this short intro theme to its' peak before kicking straight in with 'Spineless'.

All of a sudden, the almost-power metal style melody of the opening track is bludgeoned to death by aggressive, thrashing riffage courtesy of guitar gods Chris Clemente & Matt Scriva. There's no let-up throughout as Ray Truhn screams like a man possessed, and Darren Markoff beats the shit out of his drum kit. Held together nicely by Brett Weatherston's sludgy bass playing, which holds its' own against the furious guitar soloing, 'Spineless' tells you everything you need to know about Korotory in one song. That they're fucking metal, fucking angry, and here to fucking stay. And slay.

The pace slows slightly for track 3, 'Conquering the Swine', thrash giving way to a slightly more death metal approach to begin with. The infectious riff hooks you from the off, complemented by some seriously pissed off lyrics roared out by Truhn: “You wanted a war, well you got a war!”. Once again, there is some lavish guitar soloing as the pace quickens mid-way through, as the band quickly flip from sludgy-death, to thrash, to NWOBHM in the space of just 3 minutes and 19 seconds. Not many would dare to carry off such a feat, but it pays off beautifully. This is a band that understand that melody and heaviness can exist together, which is where so many other extreme bands go wrong. I would say that 'Conquering the Swine' is a stand-out track on this record, simply because of the subtle diversity within.

'Absolute Zero' is another thrasher, Markoff's drumming powering the piece like the engine of a steam-train heading straight for Hell. There's also a strong Pantera influence presence here mid-way through, that goes nicely with the death-metal-esque solos and more raging anger from Truhn (listen to his roar 47 seconds in!). Once you think you get a handle on a Korotory song, they take it in a totally different direction without losing the essence of the track.

There is some let-up with 'Probing the Nether', a 94-second instrumental led by an incredible guitar solo and some nice bass noodling. It can be so easy to gloss over instrumental tracks, to disregard them. But it's these little slices of music that emphasize the talent Korotory has, the musicians free to let themselves go without restraint, before reigning in the more overtly-melodic tendencies for the 'proper' (for want of a better word) songs where heaviness is key. In short, 'Probing the Nether' is fucking beautiful.

'Ophidia' starts off with a wonderful sound-bite from a serial killer, a common and much-loved theme within metal. And then the song starts proper, and once again a host of different styles are present, from a bouncy thrashy main drive, to a nice black metal rhythm in the background, and another amazing guitar solo that kicks off at 1:12. Lyrically, the song is sound, dealing with insanity, murder, hatred, and schizophrenia, believably rasped by Truhn, between incredible bass and guitar solos that spring out of nowhere and texture the track with melody and awesomeness. The song fades out a bit too quickly at the end, I think due to the content of the tune it would have been better to linger a bit more on that final scream, but this little niggle aside – perfection! Another contender for favourite track, easily!

'Dehumanization' is one of the heaviest tracks on the album. Truhn not only rasps and roars, but also goes full-on death metal for some ugly as Hell cookie monster growling. The chainsaw guitars cut dangerously through the song, the melodic solos replaced with darker noodles, undercutting and complementing the razor-sharp riffs, whilst Markoff's infectious drum beat carries things through. Certain to be a favourite among death metal fans!

'Sanctified' goes back to the Pantera-esque groove with occasional blast beats that wouldn't be out of place on an Immortal album. Lyrically, this song is a call to arms - “I AM UNSTOPPABLE!”, an inspiring and empowering anthem of the sort that metalheads love so much. With a wicked chorus and killer drive, the only thing that perhaps lets this song down is the fact that it's so short. Another guitar solo in the middle would have given it a bit of something extra, maybe, but despite this, another tune to add to your list of metal anthems, alongside 'United' by Judas Priest, 'Motorbreath' by Metallica, and anything by Manowar!

And so finally we reach the end of the album, with closing track 'Rise' – a song I proudly blasted out on Heavier Than Time recently. Like 'Sanctified', 'Rise' is something of an anthem, a song about revolution and standing as one. Despite being the only radio-friendly tune on the album, it's still a heavy song. Catchy, yes, but relentless. The drums pound, the guitars crush, the bass rumbles, and the vocals soar. Korotory know this is the end of the album. And they want it to end with a bang so big you won't forget it in a hurry. And trust me, you won't.

In short, Korotory's latest record is an absolutely essential piece of listening. This is a band that take every single one of their influences, and utilise them without ruining the final effect. Every musician brings something unique to the table, with some of the best guitar solos I have ever heard, an unstoppable drummer, and a bassist so good it took me a few moments to realise that certain solos in the songs were actually bass solos! Truhn is an incredible vocalist, and the lyrics are full of anger, rage, and even hope.

Death, thrash, groove, NWOBHM, extreme, sludge, black metal – if you enjoy any of these musical genres, then Korotory will have something for you.

'Chapter III: The Conquering' is an apt title. Because with an album as good as this, Korotory will conquer. This is their moment!

STAND-OUT TRACKS:

• Conquering the Swine
• Probing the Nether
• Ophidia

Korotory is:

Ray Truhn – Vocals

Chris Clemente – Lead & Rhythm Guitar

Matt Scriva – Rhythm & Lead Guitar

Brett Weatherston – Bass Guitar & Backing Vocals

Darren Markoff – Drums

Chapter III: The Conquering

1. Hell's Gate

2. Spineless

3. Conquering The Swine

4. Absolute Zero

5. Gemini

6. Ophidia

7. Dehumanization

8. Sanctified

9. Rise

For more information on Korotory:

www.facebook.com/korotoryofficial

www.reverbnation.com/korotory (free downloads)

www.twitter.com/korotorymetal

www.youtube.com/officialkorotory

Join Heavier Than Time:

http://www.facebook.com/#!/pages/Heavier-Than-Time-Heavy-Metal-Music/423564411008899

Acacia Radio:

www.acaciaradio1.weebly.com/

A Tribute To The Brigadier

Last February, the day after I learned of the sad passing of Doctor Who verteran Nicholas Courtney, I decided to make a tribute video dedicated to the great man. I only have Windows Movie Maker, so the video (like all my others) is terribly rough around the edges. However, it is from the heart, and is now over a year old!

I used the Sabaton song 'The Saboteur', because although explicitly about WWII, the lyrics describe great courage and bravery in the face of danger - a song about a true hero. Just like the Brigadier! The shot near the end of the video, where the Brigadier and Sarah Jane hug, is ever-more poignant since Elisabeth Sladen, too, is sadly no longer with us.

May they both rest in peace.

LISTEN TO THIS

 

Alice Cooper. The original monster of rock, who brought the music he made to life on stage. Make-up, blood, murders, straight-jackets, guillotines....he did it all first! Indeed, the guillotine remains the most infamous part of his show, as he's decapitated before his dismembered head is tossed around the stage like a ball.

My favourite part of the Cooper show, though, has always been the straight-jacket. Strapped into it, Alice sings 'The Ballad of Dwight Fry', rocking backwards and forwards in his restraining outfit. During the Theatre of Death tour, he was also hung in the straight-jacket! Now THAT must have been tricky to put together.

Anyhow, here are two videos of Alice (one from his alcoholic days, where he was unpredictable and dangerous on stage, and one from one of his more recent shows) performing '...Dwight Fry' in all its' insane glory. 

Alice Cooper: 'Welcome 2 My Nightmare' - A Review

I was lucky enough, last year, to get the special fan-pack edition of this album, complete with album, magazine, mask, make-up, and a poster with MY name on it (due to pre-order special). And do you know what? It's brilliant. Here's why....

'Welcome 2 My Nightmare' is an excercise in nostalgia, and yet, despite being a sequel and homage to the classic 'Welcome To My Nightmare' album, it feels completely fresh, exciting, and different.

Opening with the chilling ballad 'I Am Made Of You', the album draws the listener in through atmosphere and suspense rather than an in-your-face explosion. It's very subtle, lyrically almost like a goodnight prayer, before the real nightmare begins...

The hard rock truly kicks in with track 2, 'Caffeine', co-written with Buckcherry guitarist Keith Nelson. A hyperactive song about Alice being too afraid to sleep, 'Caffeine' is full of twisting riffs and blistering solos. It's catchy as Hell, and rather funny too...

Original Alice Cooper band members Neal Smith, Dennis Dunway and Michael Bruce have also contributed to a few songs on this album, the first example being the track 'Runaway Train'. The lyrics deal with Alice entering this train and riding deeper into this nightmarish world he so fears, before the train crashes! Perhaps due to the fact that the original band members feature on this song, 'Runaway Train' is very straight-up hard rock. All riffs and solos, with a simple, driving beat. Great stuff!

One of the many things this album does so well is provide variety. Amongst the hard'n' heavy tracks like 'The Congregation', which features a nice cameo from Rob Zombie, or 'When Hell Comes Home', which is doomy and heavy as Hell, is 'Last Man On Earth'. In the song, Alice thinks he's literally the last man on earth, and he is loving every second of it! What makes the track so unique is the music - very New Orleans Jazz. No guitars or drums here! It's a very unusual sound for Alice, and it's all the better for it. Catchy and brilliantly snarled through by Alice, this stands out as a personal favourite.

'I'll Bite Your Face Off' is the obvious hit single of the album, again featuring Dunway, Neal and Bruce on the instruments. Catchy riffage, pounding drums, and a beautiful piano interlude, not to mention a truly vicious chorus, this is a masterclass in classic rock, and sounds both fresh and old-school simultaneously.

'Disco Bloodbath Boogie Fever' is my favourite song off the album, and also boasts the best title! Essentially about Alice carrying out his revenge on disco music, this tune is ironically a heavy metal disco song! Former Marilyn Manson and current Rob Zombie guitarist John 5 unleashes a blistering guitar solo towards the end of the song, guaranteed to get heads banging everywhere!

And from disco metal to surfer metal! 'Ghoul's Gone Wild' is heavy beach rock with a ghoulish twist - a song about zombified dead girls! This is a great, upbeat tune about dead girls falling apart (!), and Alice falling in love with one of them, and leads nicely into this album's main ballad, 'Something to Remember Me By'. A haunting love song that Alice is singing to a piece of leftover dead girl, it was actually written in 1973, but dug out for this album because it fitted the concept.

'What Baby Wants' is the most perverse track on 'Nightmare 2...'. Alice doing a duet with sexy young cool thing Ke$ha, and singing into a vocoder, is just wrong on every level. And that is why it works so much. It's so Alice Cooper because it shouldn't work, and yet it does. Ke$ha clearly relishes playing the Devil on this song, too. Very enjoyable!

The final track proper of the album (aside the bonus tracks and 'The Underture' - a glorious instrumental medley of songs from both 'Nightmare...' albums), 'I Gotta Get Outta Here', essentially draws everything to a close. Every previous song is referenced, and it's a superb summary of the album as a whole. The final bombshell, the last big revaltion about the whole nightmare, is both hilarious and terrifying at the same time.

Bonus Track 'Under The Bed' is a straight-up spooky rock song, with chilling lyrics and heavy guitars bringing the nightmares to life. 'Poison Live At Download 2011' is a nice slice of Alice Cooper live, offering a brief insight into his live shows.

'Welcome 2 My Nightmare' is a massively varied, hugely enjoyable album that will appeal to rockers and metalheads of all ages. Alice, his bandmembers and special guests all put in top-notch performances in their respective fields, and they all prove there's still life in the old ghoul yet. A modern classic!

  Track Listing:

1. I Am Made of You

2. Caffeine

3. The Nightmare Returns

4. A Runaway Train

5. Last Man on Earth

6. The Congregation

7. I’ll Bite Your Face Off

8. Disco Bloodbath Boogie Fever

9. Ghouls Gone Wild

10. Something To Remember

11. When Hell Comes Home

12. What Baby Wants

13. I Gotta Get Outta Here

14. The Underture

LISTEN TO THIS

Megadeth. Created and formed by Dave Mustaine solely as a force to out-shred, out-speed, and out-do Metallica in every way. Did they succeed? I'm not the one to say. Both bands are great, although Megadeth never lost their metal edge. 

Indeed, in 1990, Megadeth dropped the epic 'Rust In Peace' album on us, an LP so fast and layered, it quickly cemented its' reputation as a modern classic. A year later, Metallica released 'The Black Album', also rightly seen as a legendary album. However, the key difference between the two is that Metallica moved away from their thrashy sound to give us more commercial, catchy tunes. Enter Sandman, Of Wolf and Man, and Sad But True are all brilliant songs, but not as adventurous or as technical as those on earlier releases. 'The Black Album' also has the song Nothing Else Matters - an overlong, boring ballad. Yes, I did just say that.

'Rust In Peace', on the other hand, is a complex, speeding, raging assault that utilises all of Megadeth's strengths and takes them to the next level. The standout song for me on 'Rust In Peace' is the immortal Tornado of Souls. The track, about breaking up with a lover, has all the raw power a thrash tune needs, but with a tight and focussed sound that quite simply kicks ass. But amid the frenzied riffage, screaming vocals of Mr. Mustaine, and the pounding drums, is the Marty Friedman guitar solo. The only way I can describe it is 'orgasmic'. It even knocked Mustaine for six when he first heard it.

So here it is, a live version of a classic track. If you don't like this song, you have to ask yourself, do you really like heavy metal?

LISTEN TO THIS

Today, I'm bringing to your attention a frankly epic slice of old-school metal. A riff-roaring, multi-guitar-solo-ing beast of a track, 'Chainsaw Charlie' is easily the best thing on W.A.S.P. 's superb 'The Crimson Idol' album (1992). Lyrically, the song is about a greedy record-company owner, luring a wannabe rockstar into a life of excess and sin. It's brought to life beautifully, and is a genuine piece of incredible, powerful music. Just ignore this rather bland video, and focus on the music.

Oh, and W.A.S.P. are touring again this year. What are you waiting for?

A Tribute To Paul Baloff (April 25, 1960 – February 2, 2002)

                                     

I could write a million words about Exodus' original lead singer, who died 10 years ago. I never met him, never had the pleasure of seeing him live when he was with the band, but his spirit always shines through, whether watching his shows on Youtube, or hearing his music, or what others have to say about him. All I'm going to say is this: Paul Baloff - Heavier Than Time. Enjoy the videos. Don't forget to headbang.

                                       

Alice Cooper's Top 5 Horror Movies

Alice Cooper, the legendary shock rocker, picks five of his favourite horror movies. All I can say is, the man has taste! Just another reason to worship him...