Baphomet- The Dead Shall Inherit (Test Pressing) ALBUM REVIEW

Release date: March 22nd, 1991
Type: Full-length
Label: Mayking Record
Country: United States
Genre: Death Metal

-written by dismember_marcin of metal-archives.com

DM MASTERPIECE, SADLY SO FORGOTTEN AND UNRELEASED

This feels really weird to have a chance to listen to completely different version of an album that you already have been familiar with for over 15 years. It’s like you’ve been cooking a food with specific recipe for some years and all of a sudden someone decided to put an extra ingredient to it… It’s still the same shit, but at the same time it may taste totally different. This press-testing of fabulous “Dead Shall Inherit” was done in 1991, made in 50 copies only and in many aspects it can be seen as just different album from Baphomet. Why? Well, four of these songs appear on both versions of the album, but most of them (six all together!!!) don’t – that’s already a good reason for finding this recording, isn’t it? And that’s quite a mystery to me – how many songs did Baphomet record in the studio during this one session in 1991 then? Sixteen – ten of them are on this version and ten, including six new ones, on the proper release??!! If so, why did they decide to leave so many songs behind and put six new tracks into the “real” “Dead Shall Inherit”? It's really confusing, so maybe someone can give me some answers here, cause I’d fuckin' like to know!? Of course, 50 copies that were pressed 20 years ago is not many, so if you want to listen to this test-pressing nowadays you can have only two options – and it’s either getting mp3 or tape trading… Or buying a bootleg LP, which I actually bought and I must say it’s really well released, with cool artwork, etc, maybe it only lacks a bit of information, but the sound quality is very good.

But the tracklisting of this test pressing is one thing, another reason for getting this version is simply because it sounds totally different than the “normal” “Dead Shall Inherit” LP. The sound difference is really big and as someone who knows shit about studio works, I’m pretty surprised that changing mastering and mixing can have such an effect on the music. Obviously the classic “Dead Shall Inherit” LP sounds totally more brutal, heavier, more “meaty” and professionally. This test-pressing from the other hand has a wonderful raw edge, which makes it so powerful that I just love it! To be honest with you, the production of “Dead Shall Inherit” is not my favourite one; it’s fine and good, but maybe a bit too polished, so here – with that raw, uncompromising sound - these songs got an extra flavour and energy. It's more or less like a demo, but with really merciless production. And the songs sound killer, in some cases maybe better that the actual album - and that's despite the more primitive feeling this recording has!!!

The blasting opener “Animation of the Dead”, followed by two of the highlights, “Infection of Death” and “Torn Soul” present a band that was by then fully matured and which had I think by that time their own style. Sure, it might resemble such acts like Cancer and even Cannibal Corpse or Suffocation, as all these groups perform brutal, but groovy death metal. But Baphomet has something unique in their sound that I think is just their own trademark. It could be easily recognised just by the characteristic vocals of Tom Frost, who growls like no one else! And also the riffs – they're total headbangers; they’re brutal and classic, often violently fast, sometimes massively slow, but many of them are so catchy and energetic that you won’t have other choice but just bang your skull without mercy and destroy everything that’s around you. Also the ever-present and active bass gives an additional feeling, as its barbaric tone is just amazing! In the end, I have to be honest with you – in my opinion this test-pressing of “Dead Shall Inherit” is maybe even better than the real album; it’s more fierce, more powerful and I like the sound better (mind that I still think that the real album version of “Dead…” is great anyway!). This is severe, damn intense album – just listen to “Broken Krypt” – it might be one of the fastest death metal tracks from that time! So, I can only feel saddened that so many great songs were left unreleased. I don’t know if they’ll ever be released again, but it would be damn cool to have a well released LP of it, not just a bootleg.

90/100

Banished- Banished ALBUM REVIEW

Release date: 1993
Type: Single
Label: Olympic Recordings
Country: United States
Genre: Death Metal

-written by dismember_marcin of metal-archives.com

KILLER EP

This is the first recording of Banished I've actually ever heard, and because I used to know Baphomet well for so many years, I was really intrigued if - as Banished - these Buffalo guys will still be able to rip the guts out in similar vein. I mean sometimes the change of the moniker can also bring the change of musical direction - whether it's wanted by the fans or not, or even necessary. Luckily Banished is basically the same band as Baphomet, in every aspect - the line up is the same, the sound and so is the musical style they perform on this fantastic EP. And trust me; if you liked the horror atmosphere of the brutal death metal monster "Dead Shall Inherit", then you will also love "Banished" EP.

Banished simply crushes with these two wonderful tracks – “Altered Minds” and “Cast Out the Flesh”. The first one is just very much in the style of such cult songs like “Torn Soul” or “Infection of Death”. “Cast Out the Flesh” has slightly different riffing, mostly little groovy, but in the end it all ends up in the brutal US death metal box – with its massive sound, downtuned guitars and fantastically pounding bass guitar. Tom Frost’s vocals are again top class, maybe not so deep anymore, but this guy did damn great job here. But here all Banished members did great job – whether it’s the drummer, bassist (COOL!!!) or guitarist. Everything’s so perfect that I really wonder why Banished never got as much attention as Suffocation or say Cannibal Corpse did. Well, that the past now, all what matters is that this EP is just fuckin’ great and it’s a lovely introduction to “Deliver Unto Pain” LP.


90/100

Anvil- Speed of Sound ALBUM REVIEW

Release date: February 1st, 1999
Type: Full-length
Label: Massacre Records
Country: Canada
Genre: Heavy/Power Metal

-written by autothrall of metal-archives.com

SOUND BARRIER'S GOT NOTHING TO WORRY ABOUT HERE

Indifference and respect. Two words that, combined, defined my reaction and relationship to the 'mid period' of Canada's enduring metalsmiths Anvil. Loved that the band were continuing to craft their music with the same love and loyalty that they originated in their first decade of output, and loved that they were trampling on down the road and proudly shucking off whatever trends were flown into their faces, without ever seeming 'dated'. Just didn't love the actual songs they were writing. Speed of Sound is, unsurprisingly, a pretty direct extension of the sounds wrought from the two previous records, and yet, if set in the square circle against its Absolutely No Alternative, I believe this album would come out on top, forcing its predecessor to tap out in the third round.

That doesn't mean Speed of Sound is great, or even really good, but there are a few tunes here which even my jaded arse would have to admit to being catchy enough that I'd listen to them more often than anything from Absolutely... or Worth the Weight. The first is the title track, a chunky and pissed off track that represents their first return to the aerial theater since their classic "Winged Assassins". Granted, the "Speed of Sound" chorus is predictable, but I love the overt use of the wind and explosion samples, the solo sequences in the bridge and the way the guitars just dig into a moderate, mid-paced chugging power metal style. Robb Reiner lays the listener out flat, and even if there aren't any particular 'money riffs' it's a job well enough done that it breeds heightened anticipation for the rest of the rock. Another highlight was the cheesy but entertaining "No Evil" in which the band utilizes creepier riffs, atmospheric keys, bells and even some tremolo death metal riffing to exit their comfort zone for a 'haunted house' effect.

For the rest of the tracks, the label 'okay' would be the height of praise I could reward. You've got your signature sex anthems like the "Man Over Broad" (haw haw haw) and the "Mattress Mambo", but neither is much good musically apart from the clever use of the guitar in the outro of the latter to simulate the some creaking cot of coital ecstasy. Anvil continues to reel in the topical material with the child violence anthem "Blood in the Playground" and "Deadbeat Dad", but again, these are quite average arrangements of grooving power/thrash. Then there are a few here which are flat out dumb, like "Bullshit", "Secret Agent" and the domestic terrorist themed "Park That Truck", all of which might have about one and a half decent guitar riffs between them. Speed of Sound is mildly dirtier than it's predecessor, with a sodden, churning guitar tone. Lips is still centered on his lower range vocals circa Lemmy Kilminster, but he exhibits a wider range throughout the album, with a few glorious howls channeled straight from the 80s. Otherwise, this is admittedly interchangeable with either Absolutely No Alternative or Plugged in Permanent: competent, marginally entertaining, but never the band at its best.

67/100
Buy here: http://www.amazon.com/gp/product/B00000IB80?ie=UTF8&tag=encymetatheme-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=B00000IB80

Anvil- Absolutely No Alternative ALBUM REVIEW

Release date: 1997
Type: Full-length
Label: Massacre Records
Country: Canada
Genre: Heavy/Power Metal

-written by autothrall of metal-archives.com

IN TRUTH, THERE WERE FAR BETTER ALTERNATIVES

Absolutely No Alternative is just another one of those 90s era Anvil records which, while doing nothing particularly wrong, failed to further the band's influence and audience. Don't get me wrong, I do appreciate the band's overt, titular stance on the dregs of that decade which crippled metal music to begin with, but there is ultimately so little to distinguish this effort from its neighbours, nor does a single song from its selection belong on a career highlight reel. At the very least, this proved a cement lining for the Canadians' relationship with Massacre Records, which began with its predecessor and endured 'til Back to Basics in 2004. It was good for Anvil to have a home, but I'm not sure they ever capitalized on that security.

This was more or less Plugged in Permanent part II, the only differences being that the band dialed down the energy and enthusiasm a small fraction, and Lips stuck almost exclusively to his lower vocal range, leaving the impression that Anvil were going for a Canadian Motörhead vibe with a more complex (but less bad ass) palette for guitar composition. A handful of tracks here are engaging and fun musically, namely the chunk in the middle of the playlist that includes "Hair Pie" and "Rubber Neck", but nothing really leaves a lasting impact. There are a great deal of strutting, grooving guitars performed at fairly explosive speeds, with an enormous influence from the boogie of 70s hard rock and its evolution into the NWOBHM sound, but you'll also hear a consistent undercurrent of primal, thrashing patterns that the band had always manifested, even in their formative early 80s material. That said, so few of them are arranged into unique or memorable patterns that when something DOES, like the bright, atonal chords woven into the song "Green Jesus", they really make me pine for an Anvil that would stretch itself further...

Not all THAT much further, but whenever this band waxes creatively, it shines through their tendency towards drab, light-hearted predictability. I also found the lyrics throughout the album to be a strange, subdued contradiction. It's not that the Canadians haven't always flaunted their silly sex themes alongside the more serious contemporary issues, but it just seems so bizarre to have social themes like "Hero by Death" and "Black or White" pressed up against more lovingly exploitative titles like "Show Me Your Tits" or "Red Light". I mean, I like breasts and vaginas as much as the next guy, if not more, and Kudlow and the gang are obviously not attempting to flaunt misogyny, but I guess I just never noticed how much of a contrast it creates within the space of an album. That aside, this is stock Anvil for the period. Great drums, goofy lyrics, competent leads, decent bass lines, a handful of riffs that will whip the listener into a headbanging frenzy: all too easily forgotten within an hour or so of the experience.

65/100

Buy here: http://www.amazon.com/gp/product/B00000C30C?ie=UTF8&tag=encymetatheme-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=B00000C30C

Pantommind- Shade of Fate ALBUM REVIEW

Release date: December 22nd, 2005
Type: Full-length
Label: Sensory
Country: Bulgaria
Genre: Progressive Metal

-written by kluseba of metal-archives.com

A PROGRESSIVE MASTERPIECE THAT TOUCHES YOUR SOUL

Pantommind are a very calm, chilling and talented progressive rock or metal band from Bulgaria and I stumbled over their two albums by pure coincidence. The band sounds a little bit like early Dream Theaterand also reminds a little bit of Yes or Pendragon. The band focuses on the melodies and instruments and sometimes the songs could have made it on a movie score without the glimpse of a doubt. The mood of the record is a dreamy melancholy but everything sounds so light and positive that this record will still put a smile on your face.

The sound is dominated by very warm keyboard sounds that create a magic atmosphere in connection with the melodic and soft vocals, the beautiful guitar harmonies, a smooth but present bass guitar and a laid back drumming. Shade Of Fate is the perfect soundtrack to escape from reality, dream and fall asleep in peace. This is a refreshing alternative to all those technically perfect but emotionally dumb fast paced progressive metal bands. As highlights, I might point out the two epic tracks "The Final Line" that could have been on Dream Theater's legendary Images And Words as well as the catchy and "Why" that has a very atmospheric space middle part reminding me of Ayreon and a completely crazy metal guitar solo. The Bulgarian band even beats its own idols as every song on this record is interesting and follows a clear structure and musical mood. This is the kind of record you have to listen to as a whole and where it's hard to pick out any songs.

In the end, metal maniacs may have some problems to approach this calm and atmospheric record but they should invest some time and patience as this album is definitely a grower. Fans of Dream Theater don't have the choice to hail this record. Progressive rock fans may even like this release more and should be satisfied that this kind of magic music still exists nowadays. This record is definitely one of my luckiest choices in the last months and has gained a very special place in my collection. I'm deeply impressed by this profound record and even if it presents nothing really new after all it is simply perfectly executed and touches my soul like almost no other album. This was love at first sight for me and proves me that there are still many outstanding bands to be discovered in the world of rock and metal music after so many years.


98/100

Buy here: http://www.amazon.com/gp/product/B0007ZEOU0?ie=UTF8&tag=encymetatheme-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=B0007ZEOU0

Anvil- Anthology of Anvil ALBUM REVIEW

Release date: November 21st, 2000
Type: Compilation
Label: Metal Blade Records
Country: Canada
Genre: Heavy/Power Metal

-written by autothrall of metal-archives.com

DON'T EVEN LOOK TWICE AT IT

It had to happen sooner or later, and I'm surprised it took as long as it did, but at last, the very first official Anvil compilation arrived through Metal Blade, their former imprint through the later 80s. I mean, we all know just how much anticipation the band's audience had built up to hear songs that they already owned, right? Oh wait, no, because the only fans that would snap up such a release as this would be those interested in rarities, unheard live cuts and previously unreleased recordings that actually justify its existence. Curiously enough, Anthology of Anvil provides none of these. What it does is grant the purchaser nearly 80 minutes of sloppy seconds, or rather, tracks that are best experienced in their native album environs.

Face it, this was nearly a decade before their documentary flick thrust them briefly into the spotlight they had only glimpsed at in the earlier 80s, and the Canadians were in no way a hot commodity. The diehard following was divided between a group of devoted old schoolers who already own the Anvil albums, and perhaps a small handful of newcomers who were ahead of the curve in that 80s heavy metal nostalgia which has since exploded. There was absolutely no reason to release a collection of redundancies like this one apart from scraping a few bucks. I'll give Metal Blade credit that they've managed to include cuts from each of the band's 9 studio full-lengths to its day, and even one selection from the live record. Perhaps some snappy licensing maneuvers were involved there, but in the end the result is the same: repackaged content with no clear incentive for a purchase.

Yeah, they include a lot of the band's best songs: "Metal on Metal", "Blood on the Ice", "School Love", "Forged in Fire (live)", "Mothra", "Winged Assassins" and "March of the Crabs" all deserve their slots on this roster. For the newer stuff, not so much. "Speed of Sound" and "Smokin' Green" I can see fitting here, but then there are a few others like "Bushpig" and "Doctor Kevorkian" that don't really belong (even if the latter had a video). You're looking at an average of about 2 tracks per album, so it might even come off as a decent sampler: if it were free or at some heavily discounted price (like a dollar). At the full price of a record? Fuck no. An absolute, el Gigante fuck no. With the advent of the internet, I'm sure you can stream just about every song on this disc somewhere...you even could in 2000. There's your sampler. For anyone who actually cares about this band, buy their albums on tour. Or some merch. Give them something of value to them, and get something in return. Track down the old 80s vinyls. I have a few of them, and they're sweet. Anthology of Anvil is just another coin-spinning emblem of commercial emptiness, a void to avoid.

0/100

Buy here: http://www.blackscaped.de/product_info.php?ref=7&products_id=7757&affiliate_banner_id=1

Ancient Dome- Perception of this World ALBUM REVIEW

Release date: September 2010
Type: Full-length
Label: Punishment 18 Records
Country: Italy
Genre: Thrash Metal

-written by hells_unicorn of metal-archives.com

A BIT BLEAKER, AND A BIT BETTER

Many nations have offered impressive bands up to the welcoming arms of metal thrashing mad crowds, but to my own recollection few have come from the Italian peninsula (a place better known for its power and black metal scenes). Nevertheless, exceptions are always possible, and Ancient Dome proves to be a fairly impressive one. While largely coinciding with a renewed interest in the retro-thrash style, they've carved out their own niche that is a bit different from the typical revivalist outfit. A smattering of sci-fi alongside a bleak view of the future lyrically (the latter of these two approaches a fairly common thing in the later 80s when thrash metal became "environmentally conscious") and a middle of the road mid 80s, head cutting speed/thrash approach meets a slightly progressive, melodic later 80s hybrid is what makes this band tick, and they appear to be getting better at keeping the second hand of the metallic clock moving.

"Perception Of This World" ups the ante from its predecessor one year prior "The Human Key" by taking a slightly leaner and meaner approach. This becomes all but immediately apparent as a brief introduction that sounds almost like a fragment of a song that could have been on "Eternal Nightmare" leads into a thick, heavy monster of a thrasher in "Liar". While this band has had a number of particularly good songs both on this album and the previous one, this particular number channels just about every positive element of the Bay Area scene and builds up around a principle riff that is somewhat along the lines of an early Iced Earth song. Similarly hard hitting crushers emerge in "When Day Dies..." and "Confused Certainty", though dressed up with some more consonant lead guitar elements that somewhat remind a slight bit of the latter progressive era of Death (particularly "Symbolic").

The area where this album does a little bit better than its predecessor is in the songwriting and production department. While there was a good collection of straight up thrashers to this band’s approach on “Human Key”, they tended to be a little bit hampered when trying to slow things up and develop a more melodic approach that conforms to recent trends in the style. The strongest example is the somewhat ballad oriented and epically bent title song, which definitely draws some elements from the progressive side of the style that has been developing since the early 90s. It starts out with a drawn out and dreary intro that eventually builds up to a furious ride of speeding riffs and even an occasional death metal bark chime in to accompany Paolo’s shrill, gritty shout. Put on top of this a more spacey atmosphere to the lead guitar sound, which is actually quite reminiscent of Chuck Schuldiner’s work on later Death albums, and a multifaceted approach becomes not only a good addition, but equally as strong as the standard meat and potatoes.

There is a good amount to be heard on here, a lot of it heard before, but not quite in this peculiar variation. The production factor comes off as fairly textbook, other than the lead guitar sound which definitely paints a cosmic foreground over what is otherwise a plain, steel bound slate. The songwriting is solid, mixing things up a little bit, but not forgetting that barring the occasional token epic, things need to be digestible for the target audience. This is music that you can wreck your neck to, but also contemplate a possible future to. It doesn’t fully break out to the point of upstaging the large array of thrash metal bands pouring into the scene of late, but Ancient Dome definitely could use some love, and they’ll be getting more from me as their sound develops, metal willing.


80/100