Monday, December 24, 2012
WEEK 69 (December 24th, 2012)
Haiduk - Spellbook (Band Request 2012) - This is a melodic death metal album like no other. It's intricately crafted and is more about creating an atmosphere than bashing you over the head. The one man powerhouse known as Haiduk (Luka Milojica) sent me this disc in the mail, and I immediately opened it up and checked out the booklet, which wasn't actually a booklet of lyrics. Sure, the songs were named and there were certainly words below each song heading; but I believe that the musician might be taking the name of this album, "Spellbook" quite literally. Of course, myself being an avid studier of the occult; I was certainly interested, but wanted to make sure that it wasn't some sort of hokum. Upon flickering through each incantation, the book outlined how one would create an undead, call upon a storm, a wind of plague, a self-protected force-field, (although I believe I have a certain friend who claims that he can make one that acts like a sort of metaphysical black hole, of course) the process of wielding fire and several other things that I'm not so sure as to their application in society.
The occult is a wonderful thing, but to paraphrase one of the members of Enslaved, "It can open up the mysteries of the universe, or it can be the first step towards hell." Of course, he wasn't talking about a sort of hell in the fact of devils and demons, but rather a hell in which one never leaves their surroundings, to get lost in dusty old tomes; just as some men have done ages ago. But regardless of the nature of the album, it is an experimental beast of a record, brimming with potential and some absolutely amazing riff structures. The drums on the album are programmed, but they seem to work well enough with the disc and Luka's vocals are scattered throughout the album in various growls that work to the advantage of the disc.
Now, I must tell you once again that "Spellbook" is not your ordinary death metal release. It relies heavily on guitar atmospheres and does a hell of a job with each and every one of them. Each song carries a different tone, but stays well within the lines of melodic death metal. Being a vocalist, I could certainly see where lyrics could be added in places, but he definitely wanted to showcase the instrumentations that sometimes get covered up with thick vocal lines. The majority of the disc is instrumental, but I don't find myself upset with that factor. It also helps to read the album's booklet while you're listening to each track, to get a feel of the incantation behind each instrumentation. For instance, while listening to "Hex", it may help to read the book's definition of Hex, and give you a sort of background for the music that you're hearing. A unique concept, but not everyone will buy it, of course.
There will certainly be those people who think that this album seems a little unfinished. Some of the songs only feature a line or two of vocals, and there are those of you who will still require that "extra element." However, if the music wasn't even as half as good as it is on this album, I would've also jumped in that boat. But there's just something about the catchy, hypnotic sense of the riff intricacies on this album that appeal to my ears and they certainly should appeal to yours. This guy is by no means a shredder of sorts, and I'm glad that a guitar-shred album is not what makes up this Spellbook. This album is all about making good leads and melodies, and showcasing your skill to others.
It also provides a worthy atmosphere to gaming. Perhaps this guy should look into composing game soundtracks, as these instrumental pieces are much better than some of the simplistic metal tracks that I've heard on a great deal of first-person shooters.
Whatever the case, I certainly would recommend that you give your full attention to this magickal work; and let yourself be swept up in the melodies of this powerful effort.
(10 Tracks, 47:00)
Hate Pain Gore Death Productions
Reviewing an album that's as seemingly untouchable as this one might prove to be very tricky, because either I'll come off as snake-oil salesman or some sort of metal fanboy, and those points of view are not ones that you want. But rest assured that there's a definite gem to be uncovered here, and not one that you'll soon forget. The band plays a melodic and sullen style of progressive death metal that certainly has an influence in black/doomers like PRIMORDIAL and Viking melo-deathers like AMON AMARTH. I also noticed a few tracks that remind me a bit of AGALLOCH, which is most certainly a good thing. From the very the opener of the disc, "Terra Soar" all of the way to it's closer, "A Drinking Song" which is anything but merry, these gentlemen prove that their music is certainly timeless and worth giving a shit about. The production quality is a little raw, but it certainly reminds me of early PRIMORDIAL. The drumming on this record plays around with tribal rhythms, frantic blasts and everything in between, the guitars showcase earfuls of amazing melodies; and the vocal approach from their frontman matches every musical effort with an element of unbridled, animalistic rage. This sophomore effort is more than just a worthy one, it's a disc that shows incredible musical structure, perfect chemistry, and an aura of forlorn darkness that only some of the best musicians can capture. In my professional opinion, these guys have the ability to catapult their way into underground cult status very quickly, so definitely check out this bleak and beautiful masterpiece of a record as soon as possible.
Despite noticing the wonderfully tongue-and-cheek album title in combination with the desolate cover, Love is an odd sort of disaster that also comes off as highly intriguing. Originally shelved for years, the band (who features in particular Lord K. Phillipson from THE PROJECT HATE) finally decided to bring this album to light in 2012 possibly fearing that the Mayans were right, (or perhaps just hoping that they were) and allowing Dan Swano to master it under Leukemia (the band's old name - they changed to Lame in 1994.) Whatever the case, 2012 was the right moment to bring out such a grand and chaotic beast of an album. It features everything that the genre of metal needs right about now, but certainly does a great job of reminding me of pre-Gossow Era ARCH ENEMY albeit with ten times more experimentation. Melodies ebb and flow throughout the disc and bring about some truly memorable guitar solos and overall riff structures in addition to the prog "Emotionally Dead", electronics, "Sad 2:59" and sorrowful doom-laden moments "Roses." This album really has an "anything goes" aura to it, as songs like "Hvrt" with it's odd beginning and down tuned nu-metal meets death feel, leave me extremely perplexed but wanting more. Despite the oddity of this disc, there are many surprisingly wonderful guitar passages that rival even some of Lord K's work in THE PROJECT HATE, where he is more well known. I certainly would recommend this one to fans of experimental metal, early ARCH ENEMY and definitely THE PROJECT HATE. Somebody needs to bend these gentlemen over and beat them, for they've been hiding a gem like this away in a vault for too long in my opinion. Certainly not a disc to pass up on this year, as you're doubtful to hear anything even remotely like it.
THE ADVENT EQUATION
Limitless Life Reflections
If you haven't heard of these Mexican extreme prog-metallers yet, you soon will. Though the album was rather late in coming out and didn't make any of the best album lists for 2012, it will hopefully make waves in the metal scene upon the album's official release. Being a definite fan of prog metal, I was completely enthralled by the disc and my eardrums were screaming for more. The melodies are absolutely mind-blowing, some of the best I've heard since OPETH's prime era, and the solos are remarkable. But this is due to the fact that the band sports not just one, but two impressive guitarists; Daniel Cordoba (who also does the band's clean and harsh vocals) and Luis Gomez. These guys seem to be able to snake their way through each and every track on the record, keeping up the pace with Roberto's (Roberto Charles) technical drumming and Esau Garcia's incredible use of keyboards. And when I mean incredible, I'm talking about soundscapes that remind me easily of SPOCK'S BEARD, DREAM THEATER, KING CRIMSON, AYREON, STAR ONE and several others in that vein. Not only that, but there is some rather impressive piano playing on the disc as well as some Latin percussions and flamenco that are dazzling, to say the very least. There are also beautiful sections of female vocal work and even some clean duets with the extremely talented bass player/vocalist, Margil H. Vallejo; but you'll also get some definite heavy portions on the record (albeit laden with piano) where Daniel belts out those trademark growls that you all would expect for the progressive death metal realms that this album mostly encompasses. The mastering on the disc was handled by Jens Borgen, and he's done an amazing job with this one - I can discern each and every instrument, as well as every effect used on the disc. In all honesty, the music that these guys create is truly nothing less than art, and every section of this masterpiece is executed beautifully. I would most certainly say that this work is on par with that of OPETH and would not be blaspheming in that regard, because it is really that good. When I hear some of the wonders that are being done here, I am beside myself with amazement. It's an absolutely fantastic disc from beginning to end.
Swallowed By The Ocean's Tide
These guys came out of nowhere with a Lovecraftian themed death metal album of monumental proportions. It begins with some heavy atmosphere and vocal chants to Cthulhu, and is then followed with a supersonic blast of pummeling death metal prowess that reminds me easily of SEPTIC FLESH and BEHEMOTH, two bands that I've always felt held the forefront of what one could refer to as epic death metal. Though you haven't gotten the privilege to hear this one yet, I can tell you with the utmost certainly that this album will be a sucker punch for next year that no one saw coming. M's vocals are completely chaotic, T's riffs are full of the blackened fire of DISSECTION's Reinkaos Era (an untouchable album in my opinion) and D's drumming is immense. This is how you want music that heralds in the arrival of his Cthonic majesty to sound and they've captured every spectre of that experience beautifully. This is the soundtrack to the end of all mankind at the hand of great and terrible gods and won't be soon forgotten or easily cast aside. In my years of experience with death metal, there have always been those rare albums that don't require words to explain. This is just one of those such albums and it's a mind-blowing debut from these German death metal titans. Go ahead and pre-order it now, because you'll wind up doing it anyway. H. P. Lovecraft has never sounded better.
ANGER AS ART
Old School Metal Records
Not familiar with this band one shred before now, I can certainly say that I've become a fan. Not only is the style of thrash that these guys play a little unique and differing on tones and presentation, but the band's frontman Steve Gaines has a vocal style that literally reminds me of the legend Bruce Dickinson (IRON MAIDEN/BRUCE DICKINSON/ EX-SAMSON.) And while I've heard Bruce wail on a few thrashers before, this is about as close as you'll get to hearing that vocal style on music that's this extreme. There's definite nods to death metal on this album, as well as slight bits of acoustic, groove and even female vocal scowls when Betsy Bitch (a woman who proves that females can do thrash) leaves her mark on a few of the tracks. There's also the track "Speed Kills" which was originally written in 1984 for Abattoir and is performed by all of the original members of that band, making it one of the last times you'll ever hear a new Abattoir song. Track after track on this album displays thrash in it's truest, most refined form and is recorded with a decidedly old-school production that doesn't hinder the quality by any means. Quite simply a blast from the past that should resonate with most thrash circles and most certainly a good chunk of metalheads worldwide. Don't miss out on this one. Thrash till death!
Magic Chaos Psychedelia
Greek black metallers ENSHADOWED haven't released an album in nine years, and that's because something like this really took time. Magic Chaos Psychedlia is an album that oozes with sludge - toxic, black and melodic hatred that spills out from every orifice of the disc. Very comparable to the masterworks of SECRETS OF THE MOON and DARK FORTRESS, this is black metal that's just as "hateful and nihilistic" as it claims to be. While I've listened to a great deal of black metal bands, there are few that I will actually go back and listen to a few times over and this is definitely one of those albums. The drums blast with a vengeance while the riffs drip with venom. But the vocal approach tops it all off, because it's not your standardized scowl and has more vocal depth, like it's coming from the very cesspool of human resentment. There is a certain fire in these words and those who can understand will feel this fire as well, this dissatisfaction with humanity and it's common ideals and an embellishment of all that is occult. The album was mixed by Fotis Bernado (Septic Flesh) and he is also featured on the album's title track, a ritualistic closer that flows from black metal into a session of occult worship, complete with chants and heavy atmospheres. This album truly resonates as modern black metal in the sense of what we should expect in this age, as compared to over-blown orchestral theatrics and art rock semblances. Definitely worth the wait.
Nepente - Suffering Is The Seed (PR2012) - I didn't know what kind of death metal to expect with this one, but I was glad to see that Nepente can do a lot more than just gravel and blasts. Of course, you might not be able to tell that at the very beginning, but let's keep in mind that most of the tracks on this album start out as groove-death and eventually become brutal death with a share of gravel and a demonic scream. It's very comparable to Kataklysm's In Shadows And Dust - which I don't know why I keep going back to that one, maybe it's because that disc is one of the only ones where I've heard the same kind of animalistic scream and blast the fuck out of the kit combo. Take "Hell Is The Name Of This Land 4:35" for example. I'm still wondering why the band even chose to incorporate deep growls at all. Obviously the scream/blast approach works myriads better and the gravel just comes in and kind of bores me. But vocals aside, the structure of this band is really brings them out to me. These guys know to do more than just straightforward riffs and even incorporate some melody into these tracks that only adds to the power of them. As I said, there's some definite groove mixed in amongst the blasts and those blasts might be accompanied by a memorable melody, not just some standard riffs.
But the fact that every song really has it's own feel really sets this apart from some releases that I've heard this year. Yes, there is A LOT of the scream/blast combo here, but I'd certainly say that these guys are picking off the best pieces of Kataklysm and other bands who do the same style that I have yet to encounter. Regardless of all this, the band embodies a certain kind of ferocity that you will just have to hear to ascertain. This album is anything but simplistic and features a variety of carefully calculated layers. While the drummer isn't blasting, he's also making some memorable hits that match the riffs and vocals perfectly. While it is unfortunate that I didn't catch any solos, there are plenty of well-rounded melodies that stop this disc from becoming just another death metal album. Oddly enough, I get the vibe of melodic black metal from this album at times which certainly can't hurt the band's nature any - it's wonderful to see a band that goes above and beyond trying to do something different, and it's often that I praise an act for doing so. One thing is assured, and that is the simple fact that there are probably more death metal bands out there than there are strands on my carpet, and hearing refreshing material like this is always welcomed here at the tower. Most certainly worth checking out.
(8 Tracks, 41:00)
Ion Vein - 2.0 (PR2012) - Ion Vein's latest effort has been a bit odd, to say the least. Mortal Music apparently decided to do a somewhat cloudy concept of taking what they call a "snapshot" of an album that will eventually released in a full physical form later on. But my only dilemma with this is that I'm not really hearing something that could succeed as a series of separate parts. This isn't some kind of grand progressive metal scheme, or great experiment - it's straightforward power/thrash with elements of prog metal. But in all honesty, I'm reminded quite a bit of Brainstorm. Which is good, because I love and have always loved Brainstorm's music, especially Ambiguity, Metus Mortis, and Soul Temptation. These three albums are power/thrash classics, and must be checked out immediately, if you haven't done so before. Ion Vein however, successfully attempts the emulation with "Seemless 3:22" and "This Is Me 4:29" which screams "BRAINSTORM!" and it's certainly just as catchy. Ion Vein do everything right, but I feel that I've been down this road before. Nevertheless, I would rather wait until the full release of the album and then check it out as a whole. I really don't think that singles or "snapshots" are applicable when reviewing an album and it seems as if I'm the one that's being tempted with a piece of food at a time, or perhaps fifteen minutes of foreplay every night. Eventually I'm either going to want the full measure of both of these things, which would equal either a satisfiably full stomach, or a pleasurable sexual release. My professional opinion would be to wait for the disc and to grab it at the end of the cycle. Though these songs were decent, I haven't heard anything that's begging me to tell you to grab this snapshot of an album that is more than likely finished and fully mastered.
Highlights: Seemless, This Is Me (3 Tracks, 11:00)
Agony Lords - A Tomb For The Haunted (PR2012) - Well, these guys have had quite a musical journey. They first started out as the band Ripping Flesh and released two tapes and a vinyl that received good reviews in the underground and are now considered collector's items. They then changed their name to the moniker you see here, back in 1992. These were "Unions", "Sun Of The Cursed" (which is considered to be their magnum opus) and "Nihilist Passion." These records were released on a slew of different record labels throughout the years and in 99, these guys split up. In 2008, they re-released a remastered version of "The Sun Of The Cursed" (Which this reviewer wants to get his hands on!) and now there's this - the band's fourth album.
"A Tomb For The Haunted" is certainly a good enough record, the melodies are strong and it's got fine structure. It just doesn't really feel like "death metal." But you can hear many different influences on the disc, from rock to prog to atmospheric influence and of course there's some of that modern metal/nu-metal sound that might not bode well with some individuals. But it's all there, and I might as well tell you now, so you're not bitching about it later. Personally, I think it's a rather bombastic work, quite layered and not shy on technicality, if that's your thing.
The album isn't a face-melter by any means, but it is an interesting disc with some interesting ideas and a band that sounds like they've still got it. Of course, Lord Brave's vocals aren't as gravelly as you might like and almost sound like he's trying to save his throat. I guess I can't blame him there. But if I'll mention any merits towards this band, those merits would be in Mauricio Barami and Jorge Inukai who both share guitar duties and meld together exceptionally well. It is this package that shines on each and every track of the record, despite the fact that you're not getting a machine gun drum approach and the songs seem to be more groove oriented than anything else.
I'll also mention that the band took the extra length to add that 11 minute track, and this one appears at the closer and shares the album's title, "A Tomb For The Haunted 11:09." Again, some of you might not like Baron's vocals that much, but despite what he's rattling on about over there; the guitars still manage to save the day and help this album from sinking too far behind the pack. While I don't think it will be heavily recognized, I definitely would be an ignoramus to deny some of the great musical passages that I've heard on this one; regardless of the fact that it feels more like gothic groove/thrash and less like death metal.
However, I can agree that the band does have it's moments of Venom, King Diamond, Sentenced and Death. This is not overblown PR market speak - I'm certainly hearing these influences in the music, so fans of those bands might want to go ahead and give this a spin. But with the Venom influence, think later Venom, not the earlier stuff - with Death, the latter (technical) era. There are also King Diamond like theatrics at play here, and it does also manage to capture some moments of deathier Sentenced. If you're in the mood for dark gothic thrash with experimentation in the realms of death metal, funeral doom and technicality; then check out this disc. Just don't expect unrelenting brutality, because it's not here.
(10 Tracks, 54:00)
Maveth - Coils Of The Black Earth (PR2012) - Maveth's official debut offers the relentless beating that you've been asking for this year. While it's certainly one of the many metal beatings that you can still experience in 2012, it's an onslaught nonetheless. The most vile form of evil breathes through this release, complete with furious drums, dreadful riffs and a true gravel approach to vocals. This is the very textbook definition of death metal that could sit comfortably next to your new Nominon and Incantation discs that you've more than likely already purchased this year. Even though mags seems to say otherwise, this year has also been great for death metal.
The disc features some lengthy songs, but they will certainly keep your attention with the dreadful atmosphere that they invoke. This is an album drenched in the blackest of arts, covered in the blood of sacrifice and full of hatred towards every false religion that's ever been shoved on to mankind. But with a frontman who goes by the moniker of ChristButcher, you should know well what to expect. Though the work is certainly solid, I don't think that this dark ritual was quite as good as others that I've heard this year. It's certainly better than mediocre, but seems to follow one path and never veer from that path. If anything can be said, for this band, it's in ChristButcher's vocal approach which truly makes this grim atmosphere what it is.
Quite simply, Maveth's debut is grim death metal that's about as grim as this fucking tower; but it's certainly not going to be everyone's cup of tea, especially since many discs like it have come out in recent months and have succeeded in areas where it has not. I'd certainly recommend it to fans of only the most brutal and extreme death metal. Because that's what it is.... pure fucking evil.
(10 Tracks, 58:00)
Sticky Boys - This Is Rock N' Roll (PR2012) - This three-piece of classic rockers might work for some of you, but if you've had your fill of ACDC and KISS clones like I have, then you'll understand exactly what I'm talking about. Not that the music is bad mind you; it's just that I've heard it before - the riffs, the drumming, the vocals (even though they're a bit dirtier than I'd like) and the overall package. This could be more or less just a bunch of guys that wanted to emulate their idols, and that's completely understandable. Maybe they're just trying to bring the traditional sound of Rock n' Roll back to the masses, but I really don't think there's anyone out there who doesn't know what that is, unless they're still teething perhaps... and even then, there's some rockin' toddlers.
Song after song plods along on the disc in the most unmemorable way possible, but it's done justice and the production quality warrants the classic sound of ACDC. So fans of ACDC might really jump up on this. The solos are pretty good too, but the fact that the riff structures on this album are more or less carbon copies of riffs that ACDC has already done at one point in time, make the disc just forgettable. For a guy that played more than his share of Back In Black, I'm not really hearing anything here that's knocking me off my feet. It's Rock n' Roll alright, but I don't feel that it's bringing anything different to the table. I could play this in front of some guys well versed in classic rock and they'd tell me immediately, "Why are we listening to some ACDC knockoff?" As much as I want to respect the band's hard work, there's not much to be said in plowing through restructures of ACDC cover songs with new lyrics.
Rock n' Roll ain't noise pollution, but this disc certainly might be closer to another "p" word, which I will not mention. But upon listening to the disc, you can certainly tell what that is. Still, I guess you could just call these guys a tribute band and escape all the red paint.
(11 Tracks, 40:00)
Stone Magnum - Stone Magnum (PR2012) - This is what traditional doom metal sounds like when it's made by six older dudes who like traditional doom metal. In particular, I'm hearing a great deal of Black Sabbath, especially on opener "Fallen Priest 7:33" where Ozzy vocal emulation is rampant. I almost question myself and wonder if I'd rather just be listening to old Black Sabbath discs. But then I continue listening to the disc and find that it does have some great moments.
First off, you'll hear some great riff structures and melodies on the album that certainly make it sound a little more than mediocre and that's a good thing. The solos on the disc also kill and that's one more good thing. I'll also need to mention that the Ozzy emulation on that first song doesn't really seem to appear on the other tracks, but catchy numbers like "Locksmith Of Misery 8:04" add a grimier vocal approach that just seems to work and introduce what almost seems like another band. This continues with "Savior In Black 5:15" and "Pictures Of Your Life 4:47" which lets loose with some thrashier territory, and that's always welcome. "Grave Of Cryptic Sorrows 5:51" brings back slower territory, and with it a powerful chorus. "Rolling Storm 5:31" brings the Ozzy vocal emulation back, but also further reminds us that these guys are musically versatile and able to create some memorable instrumental portions. The last one is "Am I Really Insane? 5:12" which features some great end melodies, but struggles in the buildup.
All in all, Stone Magnum isn't the best doom metal act that I've ever heard. I'm still getting into the genre of traditional doom, as I've not heard much of it - but with time I should become more versed in the genre as it's got the very birth of heavy metal within it's roots. Stone Magnum do offer some great instrumental atmospheres, and some worthwhile playing. They're worth checking out, but I do feel that I've heard better acts in the past few months.
Highlights: Fallen Priest, Locksmith Of Misery, Savior In Black, Grave Of Cryptic Sorrows (7 Tracks, 42:00)
Chapel Of Disease - Summoning Black Gods (PR2012) - This is Chapel's debut album, after just one "real" demo tape. Though the band has been together since 2008, the demo tape didn't release until 2011; so it's unclear what the band was up to before that time. But at any rate, the band plays along the lines of classic death metal with a doom-laden approach (and I don't mean funeral doom, I'm referring to the bluesy Sabbath style of doom) that should appeal to most, if not damn near all fans of metal. I know that you people might think that I've just been too busy to care about score or ratings, but that's not the case. I've given a lot of 9's and 10's recently, because I've literally heard material like this album, that resonated with me personally. You may feel that some of the discs that I've enjoyed heavily are not to your liking, but I am entitled to my opinion and have been told that it's a worthy enough one. I won't claim to be the be-all, end-all when it comes to metal, but I've never lied about albums that I didn't care for.
This is one of those discs that I would certainly consider to be among one of the better releases. Though some of you have more than likely heard this style of death metal done before, I've certainly liked everything that I've heard from it. There's a great deal of structure, the ghastly vocals sound "fucking brilliant" and the riffs and solos are everything that I would personally expect for a death metal album. There are some great classic solos on this record, showing that these guys truly know what they're doing even if you've probably heard music like this before. The production on the disc is also one of it's high points, because it doesn't feature a lot of gloss, which would destroy the classic feel that the band was going for. This is classic death metal in every sense of the word, and even IF you've fucking heard it before; I'd be an idiot to tell you just to pass it by. I know for a fact that there are some of you old heads looking for stuff in the vein of early Death, Obituary, Entombed and probably a slew of other bands tha play the style of death metal that you enjoyed in the early 90's.
So if you're sick of "core", "djent", "technicality", "clean vocals" and everything else that composes metal these days, perhaps Chapel Of Disease has the cure for your illness. But it's like they say - sometimes you need another virus to cure what's already making you sick. And with some fantastic tracks like "Dead Spheres 4:26" and the awesome closer "The Loved Dead 8:33" this is one disease that you'll want to have.
(8 Tracks, 43:00)
Deceptor - Chains Of Delusion (PR2012) - I wish I had more information about this one, but I don't. All I can tell you, is that it's a three piece power metal act with some extreme metal influence. The frontman certainly takes influence from Rob Halford and the rest of the band seems to carry that same torch. The album cover seems reminiscent of Judas Priest, and even song titles like "Heatseeker 4:18" seem to be signposts that point in the direction of NWOBHM. Of course, you will also hear a couple of prog influenced sections, but it's really nothing unlike what I've heard from Iron Maiden. One might even hesitate to call them prog, perhaps we would be better calling them slight bits of tech or riff structure changes. At any rate, the band is able to craft listenable atmospheres that follow the frontman's Priestly approach, which sometimes gets a little deeper and reaches into death metal. But to call this power/death would be misleading.
Just keep in mind that the band does like to experiment and comes across as an experimental NWOBHM at their purest. The quality of the disc is low and I would've liked to hear it better; but this is just an EP that is less than 20 minutes offering a good enough atmosphere to either make you a fan or foe in it's playing time. I'd personally like to hear more of this, seeing how this mix of Priest, Maiden, Death, and Halloween might evolve in the future. All four of these tracks are good, but I'd recommend that you give it a listen first.
(6 Tracks, 19:00)