Satan – Songs in Crimson Review

By Steel Druhm

One of the great mysteries in life is how an 80s NWoBHM act with limited success in their heyday could become such a reliable source of righteous metal thunder 40 years later. Satan was an original member of the British metal explosion, but despite a solid debut and follow-up, greater glory eluded them. after 1987s Suspended Sentence, they folded up shop and moved on. It wasn’t until 2013 that Satan rose again with a shockingly vital and all-around badass opus called Life Sentence. It sounded like a NWoBHM product but everything was dialed to 12 and the writing and playing were razor-sharp and uber-infectious. Thus began one of the greatest comebacks of all time. Killer album after album followed, delivering exemplary retro metal with polish, class, and brass balls. 2022s Earth Infernal was one of the year’s best metal albums and it seemed Satan could do no wrong. Now comes album five of their unholy comeback campaign. Can Songs in Crimson keep their unnatural late-career resurgence going?

There’s no cause for a Satanic panic because Songs in Crimson is the same hard-rocking retro metal attack we’ve heard since 2013, though this time the band sounds more raw and rough. Slashing opener “Frantic Zero” is indeed frantic and hard-charging, bordering on early days speed metal with furious fretboard slinging and thunderous drumming. NWoHM’s hardest-working man Brian Ross roars and croons his way through the maelstrom with grace and poise and everything feels like 1983 (as it always should). There’s been a touch of Hammers of Misfortune in their sound on the last several albums, but it’s more pronounced this time, with cuts like “Era (the Day Will Come)” reeking of their handiwork. An early high point is the gobsmacking tumult of “Sacramental Rites” which sounds like Satan cross-pollinated with Hammers and Wytch Hazel1 for a rowdy monster sure to bludgeon your delicate sensibilities. The chorus hits harder than a dump truck full of concrete, and Ross is in a very high feather.

Song after song comes out to smack your arse in the dirt and Satan’s approach holds up remarkably well. Yes, it’s NWoBHM at its core but it sounds fresh and interesting rather than old and moldy. There’s a vitality and raw power to this that’s often lacking in traditional metal styles. “Turn the Tide” is a world-beating tune full of wild guitar pyrotechnics and dazzling musicianship with a chorus that sticks like Gorilla Glue. “Curse in Disguise” leans into vintage Mercyful Fate-isms while incorporating some Dave Mustaine-esque riffs for extra spice. No songs here qualify as filler or bunk, though the back end is less propulsive and sticky-addictive than the first half. “Captives” is fun but hits a bit less intensely and closer “Deadly Crimson” goes for an epic sound but doesn’t fully connect all the dots on the yarn wall. The tight 44-plus minute runtime and the refusal to let any song run into the fifth minute make for a fast-paced stream of metallic aggression that can be digested quickly with no reflux. The production is rougher than before, giving the material a live vibe and intensity that suits the band down to their cloven hooves.

As with all the late-career Satan platters, the guitars are the main attraction. Original Satan axe slingers Russ Tippins (Tanith) and Steve Ramsey (Skyclad) bring the heat relentlessly with more ace leads in any 3 songs than you get over all 65 hours of Senjutsu. They live on that bleeding edge between traditional metal and speed and throw caution to the wind in the name of MOAR. Every song has killer moments and their solos are just so damn tasty. Brian Ross is a metal legend who gave us a lovely Blitzkrieg album this month, and now he shows us how it’s done again here. The man may not be blessed with the crazy pipes of Halford or Dickinson, but he knows how to drive a metal song with commanding vocals and can still hit some shockingly high notes when needed. He’s metal royalty and imparts a classy gloss to every track. The backline is also top-notch with Graeme English (Skyclad) thumping along expertly on bass and Sean Taylor (ex-Blitzkrieg, ex-Raven) pounding away like a man half his age. This is the fountain of youth in album format.

The sounds of Satan continue to compel me and though Songs in Crimson is a slight click down from Earth Infernal, the quality is still sky-high. Every time Satan drops a killer album, I go back to their early stuff to see if I missed the signs of future greatness. Each time I find solid if not exceptional NWoBHM fare. Thus the mystery of where these last 5 albums come from. We may never know, but we should praise Satan for them. Hails and Devil horns!

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Metal Blade
Websites: satanuk.bandcamp.com | facebook.com/officialsatanpage | instagram.com/officialsatanpage
Releases Worldwide: September 13th, 2024

#2024 #35 #Blitzkrieg #EarthInfernal #HammersOfMisfortune #MetalBladeRecords #NWOBHM #Review #Reviews #Satan #Sep24 #SongsInCrimson #UKMetal #WytchHazel

Satan - Songs in Crimson Review | Angry Metal Guy

A review of Songs in Crimson by Satan, available worldwide September 13th via Metal Blade.

Angry Metal Guy

Warlord – Free Spirit Soar Review

By Steel Druhm

And the cannons of destruction have begun… anew! Long ago in a very different time, guitarist Bill Tsamis and drummer Mark Zonder (later to become a member of Fates Warning) joined forces to create a new heavy metal project. Warlord was a little band with a huge potential, and their early demos quickly caught the attention of Metal Blade Records. Their 1983 Deliver Us EP made an impression on the scene, offering regal, semi-progressive American power metal with hooks, pomp, and polish. Despite the promising start, lineup issues and the odd decision to use a live performance recorded and filmed in an empty theater as their full-length debut hurt their momentum.1 And though And the Cannons of Destruction Have Begun… was a solid piece of 80s metal with some major high points, it gained limited traction and left a confused public wondering what to make of it. Further lineup issues quickly undermined the band’s resolve and Warlord came to an ignoble end all too soon. The band’s cult mystique endured however, and Hammerfall’s cover of EP track “Child of The Damned” on their Glory to the Brave debut introduced Warlord to a new generation of metal fans. Soon thereafter, Tsamis and Zonder reunited to revive Warlord for the modern age. Since then they’ve dropped three albums of greatly varying quality.2 Bill Tsmamis sadly passed away in 2021, and now Mark Zonder has seen fit to carry on without him for fifth album, Free Spirit Soar. Can Warlord finally live up to the potential they’ve hinted at throughout their strange history?

I’ll say this about Free Spirit Soar – it truly captures the sound and feel of the band’s early output, as does the album art. It makes it almost too easy to imagine that this was the release intended to follow the Deliver Us EP. New vocalist Giles Lavery (Dragonsclaw, ex-White Wizzard) sounds quite similar to original frontman Jack Rucker and the production is so old school sounding it seems improbable it could’ve been recorded after 1985. Opener “Behold a Pale Horse” is a ginormous dose of old school American power with huge NWoBHM influences and it sounds as if it could have appeared on their EP or debut. Think Wytch Hazel meets Jethro Tull meets Atlantean Kodex and you have a sense of what to expect. It’s a great song with a seriously epic vibe, Lavery kills it with a laid-back but vibrant performance, and the keyboard presence provides a rich atmosphere for the guitar lines to play off. “Conquerors” is another ginormous olden metal gem with a classic metal gallop as classy riffs charge forth and 80s-centric keyboards blare away for dated texture. Lavery does a great job here, reminding me of Jiotis Parcharidis (ex-Human Fortress). The guitar work is slick and tasteful, recalling acts like Savage Grace and Heir Apparent, while hints of Keeper of the Seven Keys era Helloween inform the huge chorus. It’s my favorite song this year and I cannot get enough of it.

“Worms of the Earth” is another massive offering for those who buy their glory in bulk from GloryCo. It introduces a darker, more ominous sound with Lavery going for a more gravelly delivery and the music conjures a wonderfully larger-than-life trve metal feel. The same goes for the massive title track with its majestic gallop and Blind Guardian-esque might which get infused with a weird Blue Oyster Cult luster thanks to the 80s keyboard swells. “The Bell Tolls” is another biggum with a sweet blend of anthemic and epic-scale metal and the chorus sticks like Gorilla Glue. Seven-plus minute closer “RevelationXIV” sounds like a heady blend of Iron Maiden, Wytch Hazel, and cheesy-as-fook 70s sci-fi soundtracks, and though it can feel awkward and WAY too preachy, it still works and contains outstanding guitar work. Only “The Rider” feels slightly underbaked, with keyboards that rip the song out of metal entirely into something like 80s goth rock a la Joy Division. I’m madly in love with the production and how 80s it sounds, but at times the keyboards overwhelm the guitars and render them a nullity. This hurts the overall heaviness and drenches everything in cheddar gravy.

I’m highly impressed by the guitar work from the recently recruited Eric Juris (Crystal Viper). He decorates every song with tantalizingly old school metal leads and harmonies that an iron geezer like me just can’t resist. His playing touches on the best of early 80s metal while venturing into rock and folk for inspiration. Giles Lavery does a great job vocally and plays his part in recreating the sounds of a bygone era. He makes smart choices with his vocal placement and patterns, giving the material enough grit while keeping things smooth and classy. Well-traveled keyboard wizard Jimmy Waldo (Alcatrazz, ex-Vinnie Vincent Invasion) brings an ass-ton of 80s sound to the mix, and though he occasionally overdoes it and becomes too prominent, his playing is a huge part of the album’s charm. Mark Zonder provides a sturdy foundation for the castle building and alongside bassist Philip Earl Bynoe (A-Z) brings a rock-solid backline to the crusade.

I wouldn’t have imagined it possible after so many years and the passing of Bill Tsamis, but Warlord finally gives the metal world their magnum opus. Free Spirit Soar is the album we should have gotten in 1984 and though it’s got flaws, there’s a lot to love and the high points are HIGH. Better still, the album grows with every spin, revealing hidden layers to its rich soundscape. I can see this having a limited demographic due to its very dated sound, but classic metal fans will fooking love it. All hail our new Warlord. Long may they reign.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: High Roller
Website: facebook.com/officialwarlord
Releases Worldwide: May 10th, 2024

#2024 #40 #AmericanMetal #AtlanteanKodex #HeavyMetal #HighRollerRecords #May24 #Review #Reviews #SavageGrace #VirginSteele #WytchHazel

Warlord - Free Spirit Soar Review | Angry Metal Guy

A review of Free Spirit Soar by Warlord, available worldwide May 10th via High Roller Records.

Angry Metal Guy

Steel Druhm’s Top Ten(ish) of 2023

By Steel Druhm

Well, we made it to the end of another year full of surprises, disappointments, gains, and losses. 2023 saw us add a few new voices to the AMG staff and sadly, it will see a few longtime members of the family stepping back from the day-to-day operations and activities. The much beloved Madam X has moved on from managing our everflowing stream of promos and that grave responsibility will now be handled by yours Steely. Sadly, our main cat man Grymm will also be taking some personal time away from the deadlines and pressures of nonstop blogwork.

Through all the changes we’ve endured over the years, both good and bad, the AMG mission remains the same: to bring you the most honest, insightful, and entertaining reviews possible without bowing to label pressure or outside influences because we earn absolutely nothing for our efforts, We may be truly terrible capitalists, but we love metal as much as you do and we love to talk about it, so the site grinds on year after year. I hope it always does.

A warm, heartfelt thanks to the AMG staff for making this enterprise possible week in and week out. I may talk badly about you 24/7, but you’re mostly an okay lot when not being overrating, underperforming, no-taste slack masters. There’s your positive feedback for the year!

Now let’s all embrace the new year and what it may hold for us. Life is always an adventure and one best shared with people you care about who make you laugh and make you think. If you don’t have those people in your life, WE can be those people. Hop on board with us and into the future we go!

Anywho, here are the things that brought out my inner primate in 2023.

(ish) Blood Oath // Lost in an Eternal Silence – One of the year’s best and most entertaining throwback death metal releases, Lost in an Eternal Silence targets the exact point where early death metal looked to the skies and dreamed of being something more complex. Blood Oath have the raw talent and crazy creativity to recapture the early days of death metal and to replicate that frantic jump from brutality to proggy insanity that the genre toyed with in the late 80s. The album is the perfect blend of nostalgia and insane ambition, melding the past with the present and what may be the future. One of the most inventive and zany death platters of the year.

#10. Tanith // Voyage – Formed by Satan axe-master Russ Tippins, Tanith exist in a space between classic NWoBHM and 70s hard tock with a sheen of folk covering the entire enterprise. On sophomore outing Voyage, they take this retro formula and mine it for every ounce of precious metal, crafting some killer little gems along the way. Songs like “Snow Tiger” and “Olympus by Dawn” have been replayed more times than I can count and there’s something magical and endearingly DIY and indie about this thing. It’s not especially heavy, but the hooks stick so deep, you won’t care much. This is the Charmer o’ the Year for sure.

#9. The Night Eternal // Fatale – I loved the sadly defunct act In Solitude dearly. Their mash-up of NWoBHM, occult metal, and Mercyful Fate was hard to resist and I wanted more, more, MOAR. When I first stumbled on The Night Eternal, it sounded to me as if In Solitude had possessed them, forcing them to pick up where they left off. I’m very okay with this and Fatale plays out like the new In Solitude platter I so desperately wanted. It’s the same sweet, hooky mix of classic Mercyful Fate-isms, chilly occult rock, Goth rock, and early 80s metal. This thing gets into your head deep and demands many replays, and if I had found it earlier, it would have moved up the rankings considerably. Get this and feel The Night’s iron grip.

#8. Oak // Disintegrate – Oak is the project of Gaerea lead guitarist/vocalist, Guilherme Henriques, and instead of creating another black metal act, Henriques steers Oak into the funeral doom universe and what better way to accomplish that than to make Disintegrate one 45-minute-long track? Yes, that makes for a daunting listen but the beauty of what Oak do is just how listenable their ultra-doom, very deathy sound ends up. Heavy as fook riffs intertwine with weepy melancholic trills and beautifully emotive solo work and the listener gets carried along on ephemeral waves. The ebb and flow of the 45 minutes is remarkable and it never feels bogged down or stuck in the mud. This is first-rate writing and execution and the slightly blackened edges add a great spice to the wood flavor. Bring in this wood.

#7. Rotpit // Let There Be Rot – In the time of old school death metal mania, Rotpit is the proudly unevolved monkey. Formed by members of Heads for the Dead, Wombbath, Just Before Dawn, and Revel in Flesh, Rotpit have the rancid pedigree and leverage it to make Let There Be Rot the most over-the-top fun, mindless, dumb, death platter of the year. Cuts like “Slimebreeder,” “Let There Be Rot,” and “Beastfeaster” are Grade A bloody meat with no expiration date, and you will use them as the soundtrack to everything you do in life. This idiotic collection of caveman deathage has been a constant companion to me since it dropped and I’m all the dumber for having its company.

#6. Serpent Corpse // Blood Sabbath – Picking the best old school death metal platter of the year was no easy feat in 2023. There was so much good and nasty stuff this year that at times it felt impossible to stay ahead of it and give everything a fair listen. At the end of the race though, it was Serpent Corpse that kept dragging me back for another beating more often than anyone else, though Rotpit came so close! Their toxic blend of Autopsy-core and the scuzziest of Swedeath HM-2 abuse is seasoned with very unexpected but effective doses of melodeath to create a near-perfect cacophony of chaos that feels old but also fresh and plenty evil. This thing slithers, slaps, and grinds in all the ways a deathhead wants and needs. Get it inside your skull.

#5. Prong // State of Emergency – My bingo card for 2023 did NOT include falling in love with a new Prong album and beating it into the ground for 3 months straight. As much as I loved those classic Prong platters in the late 80s and 90s, they went through a long period of uneven releases and in the past few decades I had only been impressed by 2012s Carved in Stone. That’s why State of Emergency hits so damn hard. It’s the best thing Prong’s done in forever and takes you back to the salad days when they were on the cusp of metal’s adventurous edge. This thing is chocked full of the best riffs and harmonies Tommy Victor’s dreamed up in a long time and every song grabs you and smacks you around with NYC attitude. It’s so good to hear these goons back in fighting shape!

#4. Saturnus // The Storm WithinSaturnus have always had a relaxed release schedule, with only 5 albums to show for some 30 years in the business. It took them almost 10 years to drop The Storm Within, but the end product was well worth the wait, ending up one of the most polished and captivating doom albums of the year. Recapturing their classic sound and famed ability to wring emotion from the listener, Saturnus does their doom thing with style and panache all across the album, blending crushing riffs, airy trilling, and mournful melodies to harsh your mellow completely. I’ve heard loose talk about this album being overrated or overhyped. Ignore that noise and tell the spewer to taste the floor! Experience the feelz storm within.

#3. Isole // AnesidoraThere weren’t a lot of classic doom releases that blew me away this year, by Isole have my number and once again they used it to knock me flat with their take on the classic Candlemass style on Anesidora. Keeping in line with what they did on 2019s Dystopia, Isole roared back with another mammoth slab of crunching doom leads, haunting vocals, and more weight than can normally found in Holdeneye‘s garage gym. “The Song of the Whales” is doom perfection, and “In Abundance” is a candidate for Song o’ the Year. There are traces of Fvneral Fvkk here that take the already high-quality material to the next level and the album plays so well from start to finish. These guys just get what great doom is all about.

#2. Vanishing Kids // Miracle of Death – No one does what Vanishing Kids do. Their strange witch’s brew of genres and styles is unique and enchanting. It captivated me on 2018s Heavy Dreamer and I was just as susceptible when Miracle of Death hit this year. It’s doom, it’s goth rock, it’s 70s acid rock all wrapped into one enigmatic, ethereal burrito and it’s just so damn haunting and bewitching. The combination of Nikki Drohomyreky’s enchanting vocals and Jason Hartman’s fuzzy, 70s-centric doom-rocking guitar work is tough to resist, and song after song sucks you into their strange dark world. Miracle of Death is the ultimate mood album and you can’t easily get away from it once the hooks set in. These cats are pure magic.

#1. Tribunal // The Weight of Remembrance – The little album that could, Tribunal was the ultimate lucky grab from the promo sump as 2022 gave way to 2023. Utterly unheralded, their Weight of Remembrance debut is a Gothic doom album with the inevitable nods to My Dying Bride, but it’s so much more than that. With heavy doses of classic Candlemass and moments that recall the grim haunts of Fvneral Fvkk, Weight of Remembrance does so many things exceptionally well, it’s hard to believe this is but their debut. Songs like “Initiation” use the classic “beauty and the beast” vocal approach so well, that you almost forget you’ve heard the same thing done a million times before, and “Of Creeping Moss and Crumbling Stone” looms large as one of the best doom songs of this or any other year. There’s nothing I would change or trim on Weight of Remembrance, and if anything, I wish it was a little longer. I don’t feel that way for many albums not named Reign in Blood, so you know this thing really got to me. Doom perfection.

 

Honorable Mentions

  • Overkill // Scorched – The beasts of The Garden State roar back into top form for a timeless dose of ugly thrash grooving.
  • By Fire and Sword // Glory – The weirdest, most hilarious novelty album I heard this year, taking organized religion to the cleaners with a smile. Hail Conduit!
  • Theocracy // Mosiac – The Lord works in mysterious ways and Theocracy works in epic US power ways. HUZZAH!
  • Wytch Hazel // IV: Sacrament – More Lordcore with huge hooks and Jethro Tull flair. Run to the light.
  • Vomitory // All Heads Are Gonna Roll – Ugly death metal doing what ugly death should do as it removes your head.
  • Disguised Malignance // Entering the Gateways – A shockingly brutal and entertaining death debut by a bunch of snot-nosed kids.
  • Dripping Decay // Festering Grotesqueries – If Autopsy, Carcass and Exhumed had a love child, this would be it, and it is FUGLY!
  • Wormhole // Almost Human – I didn’t expect to care much for this thing, but its weird charms wormed right under my skin and made me a believer.
  • Autopsy // Ashes, Organs, Blood & Crypts – The kings of graveyard gore and the morgue floor return with another scuzz bucket full of gut slop and I’m here for it.
  • Sacred Outcry // Towers of Gold – This doesn’t quite resurrect the lost glory of Lost Horizon, but damn does it come close. Daniel Heiman is GOD.

 

Disappointment o’ the Year

Restless Spirit // AfterimageThis highly talented stoner sludge doom act from my backyard released an album that should be listed above in my Top Ten(ish) because the songs are there and they hit hard. What hits harder still is the absolute shit show of a production job that crushes the music into sonic pulp, making a great album barely listenable. Afterimage is the ultimate “what could have been” release and a total aural tragedy.

I could have added Metallica here, but why even bother at this point?

 

Song o’ the Year:

Vanishing Kids // “Spill the Dark” – There were a series of close competitors, but this piece of ethereal witchcraft stuck the deepest in my ape brain in 2023 and it’s still in there rattling around. This is such a beautifully grim, dark piece of music and it embodies everything I love about Vanishing Kids. This is the stuff!

#2023 #Autopsy #BlogPost #BloodOath #DisguisedMalignance #DrippingDecay #Isole #Lists #Listurnalia #Oak #Overkill #Phobocosm #Prong #RestlessSpirit #Rotpit #SacredOutcry #Saturnus #SerpentCorpse #SteelDruhmSTopTenIshOf2023 #Tanith #TheNightEternal #Theocracy #Tribulation #VanishingKids #Vomitory #Wormhole #WytchHazel

Steel Druhm's Top Ten(ish) of 2023

We've nearly reached the zenith of our list adventure. The great ape and fearless driver of the n00b pit lists!

Angry Metal Guy

So after finally getting the spelling right (or, err... wrong) so I could find the band, I think this 'Wytch Hazel' album 'IV: Sacrament' is really good.

I'm not sure if I have a good reference point for the chill, doom-ish, folk-ish, Metal-ish music.

But I know it was good.

#WytchHazel #Metal (?)

I have been trying to listen to this band 'Witch Hazel' for a while, but every time I looked for it I couldn't find it.

Today... Oh, it's spelt "Wytch Hazel".

#WytchHazel

Das neue #WytchHazel Album ist unbeschreiblich gut und wahrscheinlich bisher die beste Platte des Jahres!

Album Review: Wytch Hazel – IV: Sacrament

Whilst their subject matter is centred on spirituality and Christianity, it’s the quality of the music in this album that caught the ear. The fourth album from Lancaster’s Wytch hazel, IV: Sacrament is the follow up to the well-received III: Pentecost, released in 2020. The band’s current line-up features Alex Haslem o

https://www.moshville.co.uk/reviews/album-review/2023/05/album-review-wytch-hazel-iv-sacrament/

#AlbumReviews #WytchHazel

So the upcoming Wytch Hazel album sounds ... ... very slow? I think this is now where they lost me after tw fantastic and one good album. #WytchHazel #Rock https://wytchhazel.bandcamp.com/track/angel-of-light
Angel of Light, by Wytch Hazel

from the album IV: Sacrament

Wytch Hazel

Starting the weekend with some melodic #hardrock from british band 'Wytch Hazel'.
#nowplaying their latest #album 'III: Pentecost' from 2020. Saw them on this year's 'Keep It True Rising' and I really liked them.

#cd #music #musiccollection #MusicCollector #collector #love #wytchhazel #greatbritain #friday