November 11, 2019

Agnostic Front - Cause For Alarm (1985) ☠

Country: U.S.A
Genre: Hardcore
Label Number: 66001-2 KF 010
☠: Selected by Buccaneer
© 1985-1999 KINGfisher/Century Media
AllMusic Review by Eduardo Rivadavia
The lines between punk rock and heavy metal have become significantly blurred, but back in the '80s these two musical tribes were engaged in constant warfare for popular music's outer-fringe supremacy. Indeed, for all of their respective style's shared aggression and mutual sense of social ostracism, punks and metalheads were, by all counts, mortal enemies, water and vinegar, and intermingling between the two was almost unheard of. That is until 1985, when bands like C.O.C. and D.R.I. came along and fused the two genres with groundbreaking LPs, Animosity and Dealing With It, respectively. Not far behind were New York's fast-rising Agnostic Front, whose 1986 effort Cause for Alarm is still regarded by many as the definitive crossover album. A sonic "peace-pipe" of sorts, it exposed many metal fans to punk rock for the first time, and vice versa, with songs like "Time Will Come," "Toxic Shock," and "Public Assistance" combining metal's tightly wound precision with punk's raw energy surge. Opening track "The Eliminator," on the other hand, is pretty much straight-up speed metal, and, as if to assert their new direction, the band also re-recorded first album favorite "Your Mistake" in a significantly more metallic version. Understandably, many among the band's original fan base felt betrayed by Agnostic Front's daring new direction, and Cause for Alarm remains a hotly debated album to this day. Whatever your position, however, there is no denying its irresistible, nearly overwhelming power.

tags: agnostic frost, cause for alarm, 1985, flac,

Agnostic Front - Liberty & Justice For... (1987) ☠

Country: U.S.A
Genre: Hardcore
Label Number: 88561-8204-2
☠: Selected by Buccaneer
© 1987 Combat
AllMusic Review by Eduardo Rivadavia
After the controversy which followed their open embrace of speed metal on 1986's crossover classic Cause for Alarm, Agnostic Front took a step back into more familiar hardcore territory with the following year's Liberty & Justice For.... Gone were the double-kick drums which had offended many of the band's loyal fan contingent, but the razor-sharp riffing of guitarist Vinnie Stigma remained defiantly intact and proved that, while this album might have been a compromise of sorts, it was certainly no surrender. For his part, tattooed hardcore messiah (and singer) Roger Miret uses his ever-incendiary, take-no-prisoners lyrics to instantly reaffirm Agnostic Front's righteous commitment to social and political commentary (outright rage is more like it, actually) and reinstate their street-savvy hardcore ethos for all to see. Kicking off with the album's severely ironic title track (introduced by kids reciting the pledge of allegiance), the band piledrives through a storming set of instant classics, including "Anthem," "Hypocrisy," "Censored," and the exceptional career highlight "Crucified." Sadly, Liberty & Justice For... would prove to be Agnostic Front's last undisputed hardcore masterwork, as Miret's subsequent incarceration would completely derail the band's future plans.

tags: agnostic front, liberty and justice for, 1987, flac,

Agnostic Front - One Voice (1992)

Country: U.S.A
Genre: Hardcore
Label Number: 88561-3022-2

© 1992 Relativity Records
AllMusic Review by Eduardo Rivadavia
Originally intended as Agnostic Front's swan song, One Voice proved to be a disappointing finale for the heroic career one of New York City's most important '80s bands. The fact that it was recorded at all was nothing short of a miracle, however, seeing as AF frontman Roger Miret had only recently done time for a two-year drug conviction, and it was only through the bullish persistence of guitarist Vinnie Stigma that the band hadn't vanished altogether three years earlier. Like all previous Agnostic Front albums, One Voice paid little heed to fashion and harbored no preconceived notions about what their fans expected to hear from the band; but the who-gives-a-sh*t attitude which had somehow always worked in their favor in years past couldn't bail them out this time, and the album's metallic direction ended up sailing way off the mark. Not that you could really blame them for choosing the wrong path, since metal was saturating the era's musical landscape and the New York hardcore scene had dwindled significantly. The extended layoff certainly had a negative effect on their songwriting as well, and first single "New Jack" epitomized this confusion by failing to convince either as a metal anthem or as a punk rock rallying cry. Even worse, Miret's new and improved (?) spitting-bulldog delivery doesn't even sound like his old self, and simply can't do justice to his lyrics about sociopolitical rage ("Infiltrate," "Crime Without Sin," "Retaliate"). Truth be told, the graffiti signaling the band's demise was written on the wall by then, and Agnostic Front would eventually accept its finality.

tags: agnostic front, one voice, 1992, flac,

Onslaught - The Force (1986) ☠

Country: United Kingdom
Genre: Thrash Metal
Label Number: CD FLAG 1
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☠: Selected by Buccaneer
© 1986-1988 Under One Flag
AllMusic Review by Steve Huey
Onslaught's 1986 sophomore album displays the group's continued similarity to early Slayer, albeit with murkier, lower-budget production. Still, their musical chops have improved, setting the stage for the more accomplished In Search of Sanity.

tags: onslaught, the force, 1986, flac,

Onslaught - In Search of Sanity (1989)

Country: United Kingdom
Genre: Thrash Metal
Label Number: 828 142-2
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© 1989 London Records
AllMusic Review by Eduardo Rivadavia
The third Onslaught album to be released on as many labels, In Search of Sanity also featured the band's third vocalist, former Grim Reaper screamer Steve Grimmett. Not that the experienced Grimmett manages to lend any more personality to the band's predictable metal arsenal. "Shellshock" and the title track are competent, if rather long, examples of the band's unbearably average classic/thrash metal hybrid. The blunt riffing of "Blood Upon the Ice" and "Power Play" display a noticeable Exodus crunch and "Welcome to Dying" (clocking in at an absurd 12 minutes) sounds like a Metal Church outtake. Surprises? Well, they do knock out a thrashy take on AC/DC's "Let There Be Rock," but the results are interesting at best. And opener "Asylum" is the kind of generic not-as-creepy-as-you-think instrumental that gives metal a bad name.

tags: onslaught, in search of sanity, 1989, flac,

Onslaught - Killing Peace (2007)

Country: United Kingdom
Genre: Thrash Metal
Label Number: CDL318CD
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© 2007 Candlelight Records USA
AllMusic Review by Alex Henderson
Metal historians have offered a long list of possible reasons why, in the '80s and early '90s, British thrash metal/speed metal veterans Onslaught were not as well known as Slayer, Metallica, Testament, Megadeth, Anthrax or Exodus -- and those reasons range from uneven, inconsistent albums to inadequate promotion to lineup changes to less than stellar production. Whatever the reason (or reasons), most of those headbanger historians naturally assumed that Onslaught would never be heard from again after disbanding in 1991. But in 2005, Onslaught surprised metalheads by getting back together. That is, they surprised the metalheads who were actually familiar with their old '80s output; a lot of folks had never heard of them (especially on the U.S. side of the Atlantic Ocean). Killing Peace is Onslaught's comeback album and their first recording since 1989's In Search of Sanity, and there is nothing uneven or inconsistent about this CD; the material is excellent, the performances inspired, crisp and undeniably focused. Onslaught's sound on this 2007 release is best described as '80s-style thrash metal/speed metal with a strong Slayer influence, a healthy appreciation of Judas Priest and hints of death metal. None of the forceful, hard-hitting tunes (which are obsessed with Satanism, war and the Occult -- much like Slayer) are even slightly groundbreaking by 2007 standards, but all of them are executed with plenty of conviction. If one needs a sports analogy, Onslaught come across like veteran baseball players who never made it to the major leagues but have done a lot of training and working out in recent years and are determined to make up for lost time. Killing Peace is definitely a respectable comeback, and for those who have never heard Onslaught, it is a fine place to get acquainted with the thrash veterans.

tags: onslaught, killing peace, 2007, flac,

Onslaught - Sounds of Violence (Limited Edition) (2011)

*Contains 2 bonus tracks. 
12 tracks total.
Country: United Kingdom
Genre: Thrash Metal
Label Number: AFM 323-9
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© 2011 AFM Records
AllMusic Review by Eduardo Rivadavia
Although they were easily one of Britain's best ever thrash metal exports of the 1980s, Onslaught still failed to escape the clutches of the underground due to a succession of bad breaks, an inability to hold on to a reliable singer, and, of course, the sheer intractability of their aggressive sound, not to mention those pentagram-foisting album covers (not very popular with authority figures anywhere). This ill-starred trajectory proves both a curse and a blessing for the reconfigured band's new millennium comeback: simultaneously giving the group a smaller fan base than other recently revived former competitors to try reconnecting with, but also a less impressive body of work to try living up to. This curious quandary already benefited 2007's surprisingly stout Killing Peace and it does so again for 2011's aptly named Sounds of Violence, which makes use of a particularly ominous martial intro to preface both punishing speedsters in the Exodus mold ("Born for War," "Rest in Pieces," etc.) and more complex, dynamically charged thinking man's thrash à la "Master of Puppets" or "Seasons in the Abyss" ("Code Black," "Suicideology," etc.). Other songs don't prove quite as memorable (see "Hatebox," or rather, don't) and wind up slipping through the cracks between these two workable templates, but the band's performance never lacks for intensity from start to finish, and credit vocalist Sy Keeler for driving the action with amazingly evil rasps and thundering croaks worthy of Chuck Billy. And while it's true that dozens of young bands, and even some of Onslaught's old peers, have done a pretty decent job of replicating the ‘80s aesthetic to perfection while making things interesting, you have to respect these veterans for choosing to forgo safety in nostalgia and risk exploring a more modernized mosh machinery on Sounds of Violence.

tags: onslaught, sounds of violence, limited edition, 2011, flac,

November 10, 2019

Nasum - Human 2.0 (2000) ☠

Country: Sweden
Language: English, Swedish (Svenska)
Genre: Grindcore
Label Number: RR 6444-2
☠: Selected by Buccaneer
© 2000 Relapse Records
AllMusic Review by William York
Human 2.0 is Nasum's second album, and the one that really put the band on the map as a grindcore powerhouse. The title and cover art are meant to evoke a sort of man versus machine theme -- or of man and machine becoming more and more closely intertwined -- but the "2.0" aspect also applies to the music's place within the (by this point) maturing grindcore genre. For a genre based on extremity, it has still developed its traditions and norms like any other, many of which are present in Nasum's music: dual vocals (i.e., low growls versus higher screams), short songs lined up one after the next with little pause in between, etc. Nasum upgrades this old format, not based on any radical songwriting advances but by the sheer intensity of the band's performances and by the roaring, near-industrial sound the group creates as a whole, a sound brought to life by the chiseled, diamond-hard recording job on hand here (the work of guitarist/vocalist Miescko Talarczyk). When the bandmembers occasionally slow down from their usual full-throttle speed and settle into a half-timed groove, as on "The Idiot Parade" and "The Professional League," it is monstrously heavy. Is 38 minutes of this type of abrasive grindcore too much to digest in one sitting? That depends on the listener, but either way, this album is just about a must-hear for fans of no-frills grindcore, especially the more hardcore punk-leaning variety.

tags: nasum, human 2.0, human 20, 2000, flac,

Nasum - Helvete (2003) ☠

Country: Sweden
Language: English
Genre: Grindcore
Label Number: RR 6569-2
☠: Selected by Buccaneer
© 2003 Relapse Records
AllMusic Review by Eduardo Rivadavia
As one of heavy metal's most technically complex and intense sub-genres, grindcore doesn't lend itself to minimal personnel; but Sweden's Nasum defy these precepts by taking a stab at it as a power trio! Needless to say, this accomplishment only makes the blinding precision and incredible fury captured on 2003's Helvete (that's Swedish for 'Hell,' by the way) all the more impressive; especially when paired with the finely honed sense of dynamics displayed by the band's diversified songwriting -- in itself a challenge to grindcore's supposedly limited creative scope. Guitarist Miescko A. Talarczyk and bassist Jesper Liverod duke it out behind the microphones, their turn-taking ragged screams and low-end growls lending further variety to already outstanding cuts like "Living Next Door to Malice," "Relics" and "The Final Sleep" -- all of which respect genre guidelines by lasting no more than one or two minutes. But it's the band's distinctive riffs and compositional intelligence over these 22 relentless tracks that make it all work, confirming Helvete as that rarest breed of grindcore albums: an instantly memorable one. And if all this still doesn't perk your curiosity, ringing endorsements from guest performers Jörgen Knot Sandström (Entombed, Grave) and none other than Napalm Death legend Shane Embury should do the trick. Easily among the best grindcore albums of the new millennium, Helvete is an absolute winner.

tags: nasum, helvete, 2003, flac,

Nasum - Shift (2004)

Country: Sweden
Language: English, Swedish (Svenska)
Genre: Grindcore
Label Number: RR 6643-2

© 2004 Relapse Records
AllMusic Review by William York
Nasum's fourth full-length, Shift continued a prolific period for the band, who released Helvete in 2003 and also had members pitch in on Regurgitate's 2003 release Deviant -- meaning they had a hand in two of the top handful of grindcore releases to come out that year. Despite its title, Shift is not a change in direction for the band like its predecessor was; in fact, at first some fans might be a little disappointed at how similar it feels to Helvete, which was a noticeable advance from the previous album, Human 2.0. The same combination of punishing, abrasive grindcore, strategically placed mid-tempo breakdowns, and classic Swedish death metal overtones is still present here, and the production is also similar. Then again, if you are a fan of quality grindcore, neither of those aspects is a negative, so what's there to complain about? Standout track "Wrath" is a mostly mid-tempo number with a mosh pit ready riff on par with Human 2.0's "The Idiot Parade," while more strictly grindcore songs such as "The Deepest Hole" and "Fury" once again demonstrate the subtle melodic riffing prowess that separates Nasum from so many tuneless grindcore bands. "The Engine of Death" finds them stepping out of their customary four/four time on its blastbeat sections, and adds some fantastic harmonized lead guitar work during the solo, a rare event for this very hardcore-punk-inspired band. There are a couple of annoying moments, namely the broken-record screams on "Fight Terror With Terror" and the climactic ending of "The Smallest Man," in which they scream, "You're such a whore!" -- sounding like an immature teenage hardcore band for a brief moment. Two iffy tracks, along with five or six exceptional ones and about 16 more that are also very, very good is still not a bad ratio, though. Nasum, along with Regurgitate, labelmates Pig Destroyer and fellow Swedes Asterisk*), is one of the best grind bands going as of the mid-2000s, and while Shift is not their most groundbreaking release, it is another strong album.

tags: nasum, shift, 2004, flac,

Anal Cunt - Fuckin' A (2011)

Country: U.S.A.
Genre: Hardcore Punk
Label Number: PATAC 11

© 2010-2011 PATAC Records
Reviewed by Joe Reviled for Metal Underground.com
Poetry, thy name is Seth Putnam. The man behind the noise grind piss take machine Anal Cunt has made a career out of satirizing and skewering anything that registers on his 360 degree ire radar, which is pretty much everything, and his latest release, “Fuckin' A,” is obviously no exception. The songs on “Fuckin' A” were reportedly supposed to be part of a longer album called “Wearing Out Our Welcome,” which was subsequently split into two albums, with “Fuckin' A” taking the so called “cock rock” songs and a later release, “The Same Old Shit,” taking the noise grind songs.
The album opens with “Fuck Yeah,” a simplistic three-chord punk track that sees Putnam spewing on about every sex, drugs, and rock 'n' roll cliché he can muster in his Smeagol does grindcore voice. The rest of the album, from a lyrical standpoint, keeps its feet steadfast along this path, and the song titles tell you all you need to know in that regard. Does a song entitled “Crankin' My Band's Demo on a Box at the Beach” really require further lyrical analysis? Moving on. With that being said, you can't dismiss Putnam's head on attack on the sexual, misogynist and musical stereotypes that have been rife in the metal community in the past. The only problem is that this attack probably comes about 20 years too late. Maybe that drug induced coma he experienced a few years back sent Putnam into some sort of time warp where hair metal bands are still defiling the barely legal groupies of the world with hotel phone receivers and wine bottles.
From a musical standpoint, the songs on “Fuckin' A” are basically hair metal schlock meets grindcore and punk, as exemplified by the shout along chorus and lo-fi speed metal version of an arena rock hook of “Loudest Stereo on the Block.” Then all pretense goes straight out the tenth story window on “Kicking Your Ass and Fucking Your Bitch,” which sounds like the song was an afterthought, and is merely background noise for Putnam's vitriol. In fact, if it took more than an afternoon to write this album, I'd be very surprised, but that's pure Anal Cunt.
Are there any other touring band tenets to take down? Here comes “Hot Girls on the Road” to cast the final stone. Though just over two minutes long, this track sticks out as one of the catchiest on the album—all punk aggression to go along with hilarious lyrics. You have to enjoy it for what it is. However, songs like this juxtaposed with the announcement that Putnam is going to release a sex tape to promote the album, in conjunction with photos that have been circulated online of Putnam and a more-than-willing female in mid fellatio, blur the lines between bringing down the corporate rock sex god cliché and becoming a part of it, albeit a highly humorous and obviously satirical part of it. Putnam seems pretty easy to figure out; we seem to know he's just making fun of the music industry, as he has done for decades, but how much do we really now about him? Maybe we should ask Chris Barnes or Jamey Jasta.
From there on out the cavalcade of metal comedy marches on the faces of every overdosing, makeup wearing, multiple autobiography releasing shell of an eighties icon with songs that are each more on the nose than the last. “Whiskey, Coke, and Sluts,” with its Venom-esque “Live Like an Angel, Die Like a Devil” sound quality, and “All I Give a Fuck About is Sex”--these are just a couple examples. What more needs to be said? The riffs on all these songs are, more often than not, interchangeable, and could have been written by any three-chord wonder. Aside from Putnam's voice, there's nothing discerning about the music by any stretch of the imagination, and perhaps that's what the band intended all along.
People who enjoy Anal Cunt's unrepentant back catalog and angry grind aficionados who want to blast the mainstream to oblivion will enjoy “Fuckin' A,” while those who don't understand, or don't want to understand, Seth Putnam and Anal Cunt's fractured take on on the modern music industry will dismiss it as the random ramblings of an aging grinder who is finally feeling the effects of his own past overindulgence. The truth about “Fuckin' A” probably lies somewhere between the two.

tags: anal cunt, axcx, ac, fuckin a, fuckin a album, 2010, 2011, flac,

Anal Cunt - Everyone Should Be Killed (1993)

Country: U.S.A.
Genre: Grindcore
Label Number: MOSH101CD

© 1993 Earache
AllMusic Review by Bret Love
With insane song titles like "I'm Not Allowed to Like A.C. Anymore Since They Signed to Earache" and "Abomination of Unnecessarily Augmented Composition Monickers," music that, at low volumes, sounds like a distant faucet being turned on and off repeatedly, and a whopping 58 tracks clocking in right at 58 minutes total, this CD should win comedy album of 1994, hands down. As the great music critic Beavis once said, "They suck, but they suck in, like, new ways we haven't heard before, so I guess that makes them kinda cool!"

tags: anal cunt, axcx, ac, everyone should be killed, 1993, flac,

Anal Cunt - Top 40 Hits (1994)

Country: U.S.A.
Genre: Grindcore
Label Number: MOSH 129 CD 

© 1994 Earache
AllMusic Review by Bret Love
For mentally deranged sociopaths who find Boredoms' brand of noisecore a bit too mainstream and accessible, A.C. offers up the indescribable Top 40 Hits, a 39-minute, 40-song descent into the most hellish abyss of dissonant noise you could ever hope to imagine. The band's "music" lies somewhere between the sound of a distant faucet being turned on and off and the sound of impending doom smashing down on unsuspecting heads. But how can a mere critic ever hope to accurately describe the music of a band with such crafty song titles as "Don't Call Japanese Hardcore Jap Core" and "Breastfeeding Jm J. Bullock's Toenail Collection"? But wait, where are the promised Top 40 hits, you ask? As an added bonus, the band puts their own special twist on oldies radio favorites such as the Guess Who's "American Woman," Elton John's "I'm Still Standing," and, in an Oi! version that must be heard to be believed, the Bee Gees' "Stayin' Alive." Don't say you weren't warned.

tags: anal cunt, axcx, ac, top 40 hits, 1994, flac,

November 09, 2019

Nasum - Inhale/Exhale (1998) ☠

Country: Sweden
Language: English, Swedish (Svenska)
Genre: Grindcore
Label Number: RR 6984-2
☠: Selected by Buccaneer
© 1998 Relapse Records
AllMusic Review by Jason Ankeny
With 38 cuts in as many minutes, Inhale/Exhale is absolutely relentless -- Nasum builds on the influence of their Swedish hardcore and death metal predecessors to create a grindcore aesthetic which won't win any new fans to the genre but will delight the converted.

tags: nasum, inhale exhale, 1998, flac,

Anal Cunt - 40 More Reasons To Hate Us (1996) ☠

Country: U.S.A.
Genre: Grindcore
Label Number: mosh 149cd
☠: Selected by Buccaneer
© 1996 Earache
AllMusic Review by Bradley Torreano
Depending on your level of sensitivity, this is either a hilarious parody of grindcore by three obnoxious punks or a tuneless mess of noise made by filthy homophobes. No one really knows what to think of A.C., but one thing that is certain is that this is abrasive, hateful music that often targets women and homosexuals for its lyrics. It is very hard to take any of this seriously, but songs like "I Just Saw the Gayest Guy on Earth" are easy to offend. Pantera fans may enjoy the duet with Phil Anselmo on their cover of Manowar's "Gloves of Metal," while their cover of "Theme From Three's Company" needs to be heard to believe. This has already found popularity in the underground punk world (many skateboarding videos feature A.C.) and in the metal world, but few others outside of those communities would be interested in the grating noise found on this album.

tags: anal cunt, axcx, ac, 40 more reasons to hate us, 1996, flac,

Sodom - Sodom (2006)

Country: Germany
Language: English
Genre: Thrash Metal
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© 2006 Steamhammer
AllMusic Review by Eduardo Rivadavia
Not many bands manage to endure for over 20 years -- least of all a band whose name would normally draw perfectly blank (and possibly mildly offended) expressions from your average human being, as might Germany's Sodom. But, believe it or not, this eponymous effort from 2006 is something like the 12th studio album released by the ubiquitous Tom "Angelripper" Such and his latest interchangeable henchmen. Sodom's music, too, is a matter of curious interest, since, from the group's very inception, it has represented a rare intersection of styles that experts would normally separate into thrash, speed, death, and black metal (and, depending on how rarely they get laid, even more subdivisions). One listen to Sodom is enough to ascertain that little has changed; most of its songs tend toward the frenetic, dirt-encrusted ends of the extreme metal spectrum, their lyrics wavering between sociopolitical observations ("Wanted Dead," "Axis of Evil," etc.) and anti-establishment diatribes ("Bibles and Guns," "Lords of Depravity," etc.). At the same time, look beyond its uncompromising delivery and "Buried in the Justice Ground" could very well be a pretty accessible hard rock tune (much as many Motörhead tunes might be). Likewise, additional retro-thrashing highlights such as the aforementioned "Axis of Evil" and "No Captures" display an uncommon immediacy that latter-day extreme metal bands would not dare touch for fear of coming across soft. It's their loss, since Sodom have parlayed this unselfconscious strategy into a distinguishing strength from day one, and it's why this effort provides a welcome extension of the band's 20-plus-year legacy for tried and true fans to enjoy -- even if modern listeners fail to get the point.

tags: sodom, sodom album, 2006, flac,

Sodom - The Final Sign of Evil (2007)

Country: Germany
Language: English
Genre: Thrash Metal
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© 2007 SPV USA
AllMusic Review by Alex Henderson
When metal bands devote new albums to their older songs, it often becomes an exercise in contrasts -- what older material sounds like with the current lineup versus the lineup of 20 or 25 years ago, how older songs sound with today's studio technology compared to the studio technology of the past, how they sound after being influenced by grunge versus how they sounded before being influenced by grunge. But on The Final Sign of Evil, Sodom revisits early material without trying to update it either technologically or stylistically. This 2007 recording finds Sodom's 1984 lineup -- Tom Angelripper on lead vocals and bass, Josef Dominic (aka Grave Violator), on guitar, and Chris Dudek (aka Witchhunter) on drums -- re-recording all five of the songs from their 1984 EP In the Sign of Evil and adding seven bonus tracks, all of which were also written during that period. Recorded 23 years after In the Sign of Evil, this 49-minute CD envisions what that EP would have sounded like as a full-length album back in 1984 (when Sodom's budget only allowed for an EP). The production on The Final Sign of Evil has a muddy, demo-ish quality, which is by design; The Final Sign of Evil faithfully re-creates the raw, garage-like, punk-drenched spirit of In the Sign of Evil, but with 12 songs instead of five. Some of the tunes are excellent, while others are merely decent. But regardless of the fact that The Final Sign of Evil is mildly uneven, this is an important release for metal historians. Sodom was one of Europe's early thrash metal bands (although Motörhead and Venom preceded them), and their willingness to bring ultra-dark subject matter to a metal/punk hybrid helped pave the way for death metal and black metal. Serious thrash collectors will welcome the release of The Final Sign of Evil, imperfections and all.

tags: sodom, the final signs of evil, 2007, flac,

Sodom - In War & Pieces (2010)

Country: Germany
Language: English
Genre: Thrash Metal
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☠: Selected by Buccaneer
© 2010 Steamhammer
AllMusic Review by Phil Freeman
The 13th album by German thrash/death metal institution Sodom deviates not a bit from the pattern established over its dozen predecessors. The group bashes through aggressive, Slayer-esque songs with lyrics about death and war, never letting momentum flag for an instant. Songs like the title track and "Hellfire" could easily be outtakes from the Slayer songbook circa Seasons in the Abyss, and Tom Angelripper's hoarse, shrieking vocals are extremely close in spirit to Slayer frontman Tom Araya's fevered shouting. Even when they offer a slow intro, as on "Through Toxic Veins" or "God Bless You," it soon erupts into another burst of staccato riffing and machine-gun drumming. Sodom are a lot like Motörhead in that you basically know what you're going to get from album to album; it just depends whether the band is particularly "on fire" or not. While this album does nothing to move Sodom's music to the "next level," whatever that might be, it's a strong dose of what fans have been coming to them for since the late '80s.

tags: sodom, in war and pieces, 2010, flac,

Sodom - Epitome of Torture (Limited Edition) (2013)

Contains 2 bonus tracks. 12 tracks total.
Country: Germany
Language: English
Genre: Thrash Metal
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© 2013 Steamhammer
Review by Ray Van Horn, Jr. Blabbermouth.net
Of all the death metal and thrash giants who have faced more trials on a charred path filled with scrutiny and ill-fated personnel, it has to be SODOM. Inherently, death metal is a form of protest music depending on the latitude of intelligence its practitioners push into their work. "Agent Orange" put SODOM on the map for its ingenuity and courageous subgenre morphing. However, the more critical facet to that album is the deciding course of action Tom Angelripper and his SODOM horde would steer towards. The band has become less about the arcane from its "Obsessed by Cruelty" days and more of a cacophonous vehicle against war.
SODOM has spun within a ball of confusion at times sound-wise of the years, but at the core, the group has presented an appreciable dichotomy of churning ugliness and intrinsic hope. Having wrongly been accused of fascism, reason has now shed the light and on their latest album, "Epitome of Torture", SODOM remains honor-bound as ever to tee off against the horrors of war and political nihilism.
Fortunately for speed freaks, "Epitome of Torture" stays primarily in thrash mode with random variances in tempo. Having lost previous drummer Bobby Schottkowski due to reported in-house "personal and private problems," the band soldiers on with new slammer Markus "Makka" Freiwald and loses no ounce of momentum.
If anything, "Epitome of Torture" carries a settled, gusty feeling to it. The album rages, but it's so finessed and perfected from years of experience between Angelripper and guitarist Bernd "Bernemann" Kost, it's not so much a routine for these guys. "Epitome of Torture" is the sound of veterans who know when to punch in and make the short-termed but hours-intensive shifts count.
Though the album settles down at the end on the mid-tempo whumps of "Into the Skies of War" and "Tracing the Victim", the majority of "Epitome of Torture" is set upon a blitz as SODOM continues to reflect mankind's atrocities within their fractured mirror of accusation. The first four tracks are full of relentless velocity, which will delight purists. "Stigmatized" is especially nasty, calling up the dark and gritty "Persecution Mania" years as Tom Angelripper (who has an unabashed vocal resemblance to Tom Araya most times) dips his vocals back into the Stygian mists of the band's early days. Likewise, "Shoot Today Kill Tomorrow" keeps the old-school flavor rolling with rambling choruses to break up the whirling mayhem.
"CANNIBAL1" scales things back to a medium pace, as does "Invokating the Demons", but expect the blood-flinging to ensue on "Katjuschka", a song about a Russian rocket launcher that's been in production since World War II and is, according to Angelripper, "responsible for the death of more people than Stalin's organ."
Bernemann continues to shred with precision and his solos are as spectacular as expected. He makes listeners forget the goofy title of "S.O.D.O.M." with one of the most breathtaking solos he's ever laid down. It helps matters the cut is blazing fast to begin with. For all the parting and death Angelripper has had to stomach over the years in SODOM, Bernemann continues to be a blessing and he seldom gets the credit he's due.
Nonetheless, "Epitome of Torture" is just about by-the-numbers for SODOM's purposes. Best of all, it carries a thought-provoking state of conscience that adds to the true legacy of a band once notoriously remembered for Lucifer odes and sex-heavy cover art ("Mortal Way of Live") banned throughout the world.

tags: sodom, epitome of torture, limited edition, 2013, flac,

November 08, 2019

Barenaked Ladies - Everything To Everyone (2003)

Country: Canada
Language: English
Genre: Pop Rock
Label Number: 48209-2
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© 2003 Reprise Records
AllMusic Review by MacKenzie Wilson
Barenaked Ladies took their time in following up their almost commercial flop Maroon. Having Don Was in the production seat wasn't enough to flesh out Barenaked Ladies' bright musical humor, although "Pinch Me" and "Falling for the First Time" were moderate radio hits. Opting to shake things up (as much as they can for being jokesters), Barenaked Ladies hooked up with Ron Aniello (Guster, Lifehouse, Loudermilk) three years later for Everything to Everyone. A dynamic mix of the band's special branded wit and bittersweet reflections, Barenaked Ladies show their age on their fifth release. Don't fret -- growing up isn't easy to do, but some members of the band are daddies and BNL crafted a set of songs in a post-September 11th society. Instead of mocking themselves and refraining from harshly criticizing the arena that's made them popular, BNL subtlety ridicules corporate excess. If the title itself doesn't give that away, songs like "Celebrity" and the techno-inflected "Shopping" will. Those smart enough to get the slyness hiding inside the joke will be amused by Everything to Everyone and the poignant lyrics for which Steven Page and Ed Robertson are known. "War on Drugs" is a somber reflection and "Next Time" is that second chance you're always hoping will be there. Everything to Everyone is probably Barenaked Ladies' most honest album -- always touching, but serious and completely open for the first time in their 15-year career. Several artists have made attempts to spoof the celebrity-obsessed world in which we live, but Barenaked Ladies succeed in keeping things simple. Sure, their classic charm will forever be a part of them, but wising up to make a point is what's real. If you can laugh in the process, all the better. [A CD/DVD edition with special packaging and artwork is also available. The DVD, which allows the listener to hear the album in surround sound, includes behind-the-scenes material from the studio, 11 acoustic songs, and five Internet bonus clips.]

tags: barenaked ladies, everything to everyone, bare, naked, 2003, flac,

Barenaked Ladies - Barenaked Ladies Are Me (2006)

Country: Canada
Language: English
Genre: Pop Rock
Label Number: 2-44351
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© 2006 Desperation Records
AllMusic Review by Matt Collar
Continuing in the mature, reflective vein of 2003's Everything to Everyone, the Barenaked Ladies' seventh studio album Barenaked Ladies Are Me features more of the band's trademark wit and melodic folk-rock. Never straying too far afield from the formula they've been using ever since their breakthrough 1998 album Stunt, Barenaked Ladies are true torchbearers for the post-R.E.M., post-Smiths sound that shares much in common with such bands as Beautiful South, They Might Be Giants and even Sloan. Once again, lead vocal duties are largely split between Steven Page and Ed Robertson although both pianist/guitarist Kevin Hearn and bassist Jim Creeggan take the lead here on their original tunes "Vanishing" and "Peterborogh and the Kawarthas," respectively. Interestingly, these tracks, along with Hearn's "Sound Of Your Voice", are some of the best on the album with both musicians displaying a true knack for writing heartfelt, literate and tuneful songs about leaving those you love, whether they are your wife or young son. Elsewhere, the band's gift for mixing the humorous and the poignant is evident on such eminently catchy tracks as "Bank Job," "Bull in a China Shop'," and "Rule the World with Love." For a band 16 years into its career, it's great to hear an album so full of sparkling, positive-minded songcraft and thoughtful revelations.

tags: bare, naked, barenaked ladies are me, 2006, flac,