2025 Metal Journal Vol. 1

Juglans Regia - Controluce. 2005 private (CD). One of the more unusual thrift shop finds, though it's clear once again this was part of Independent Records closing. Their CDs were strewn about Colorado Springs and could be found at various thrift shops last year (I bought a huge pile of them that's for sure). All charging from 50 cents to $3 each. Fortunately this came from one of the cheapest rate stores. I had a vague notion of this band's existence but can't remember why. Perhaps an old Syn-Phonic catalog or a mention on Progressive Ears. They have a page on ProgArchives and it's there we learn that Juglans Regia started as a traditional heavy metal band but became influenced by the dark side of Italian prog. They name checked Biglietto per L'Inferno. That's a heavy hitter and something that certainly would have caught my attention, so maybe that's what I remember. Right away we're introduced to a metal tone, though they don't riff according to genre norms. There are many post-1990 Italian prog bands that bring a little metal with them, most notably A Piedi Nudi, another band with a clear affection for the darker side of Italian prog. But that's where the association to progressive rock ends. Their debut apparently featured a keyboardist, and that element is clearly missing here. And without the presence of some psychotic flute, comparisons to Biglietto per L'Inferno become frivolous. The rhythms are very rigid and clearly geared for standard fare rock. Over time it becomes clear that the Stoner genre is more present than any other. The guitarist mixes his crunch with fluid solos, and at times he can be expressive. Put him in a different setting and I think he'd shine brighter. The only prog guy here is vocalist Alessandro Parigi who sings in Italian and very much sounds like he's singing on a neo Italian progressive rock album. Apparently they've released a newer album (2023) with a keyboardist in tow. Comes with positive reviews and ratings. Probably won't find that one in a thrift shop. (May)

Betrayel - Offerings. 2020 Divebomb (CD). I bought a huge pile of sealed CDs directly from Divebomb a couple of years back, but this one was an open copy. So this will be my first foray into that purchase. Betrayel were a thrash metal band from Fresno, California that released two cassettes between 1986 and 87 and off to the former-metal-band desert they went. Years later the good folks at Divebomb reissued those and a raftful of other archival material on what looks like a well researched release (I haven't heard it and it's not in the pile I grabbed). The enthusiasm inspired the original quartet to reform and release a new album. Figure these guys are close to my age, so probably were in their mid 50s at recording time. One cannot accuse Betrayel of betraying (had to do it) the 80s thrash aesthetic. But if you don't do more with the concept, then it becomes yet another 80s sounding thrash album, which is why these albums tend to rate much lower than the originals. From the first note to the last I was reminded of Exodus first with a few nods to early Testament. Especially the brusque vocals of Chris Campise and the gang chorus', never a favorite motif for me. I like the guitar tone and also appreciate the solo style which is more melodic than shred. A good effort but without creating new paths, Betrayel is treading the same old ground verbatim. It's worn out. (May)

At Vance - Chained. 2005 AFM (CD). Yet another German power metal band from this 2016 metal buy (they weren't all like this fortunately). A lot of commercial aspirations for this title it would seem. Almost like a more metalized version of Whitesnake. Sounds fairly generic to me. This was their 6th album and I'm reading it was a bit of a drop off from prior works, though I might not notice the difference. The style exists within a tight framework so I'm not sure where there's room for innovation. This is a long way from the tech thrash bands of the late 80s and early 90s, which was totally random, or so it appeared. Plenty of classical rips to endure here as well. (Apr)

Seventh Wonder - Waiting in the Wings. 2006 Lion (CD). And we're back into that 2016 collection buy that I seem to tackle once a year (see Dream Quest below). Maybe this will be the year we get through them all. We'll see. Want to guess what this sounds like? Yep, more Dream Theater worship with a European power pop sensibility. These albums follow a pattern and they are instantly recognizable. By default they will nail a sequence or two that I find interesting. This isn't easy music to play and the band are to be commended for attempting the complexity. Problem for me is that it was done pretty much exactly in the same style a decade prior. But if you can't get enough of it, here's one more for you. Seventh Wonder are still around and have six studio albums and one live effort. (Apr)

Morbid Angel - Altars of Madness. 2018 Earache UK (CD) (1989). I remember Morbid Angel when they first broke into the metal scene. Though I was far removed from most contemporary popular music trends by 1989, I did keep an eye on metal, especially thrash and some of the wild techy albums coming out of that scene. Morbid Angel were part of the next wave of extreme music, that of death metal. I never liked the vocals of that subgenre too much, sounding cartoonish to my ears, so most of the music sort of passed me by. Lately I've been drawn to some of the more extreme thrash bands from the 80s like Kreator and Destruction, so I'm thinking that this might be my time for Morbid Angel. I found this CD for $1 at a thrift shop in the Kansas City area two years ago but it ended up in the "eventually will get to it" pile. Probably for the best in this case. So how did Altars of Madness do? Hmmm. I didn't let the vocals bother me, and they didn't honestly. What of the metal? It has the problem a lot of these type of groups have. They go too fast and there's no separation in the music. Blast beats. It's a blur at times. I want more crunch and inventive riffing. More meter changes would have helped with the pacing as well. Not to say they don't do that on occasion, but not enough for me. Looking at the ratings this is considered a landmark album for the style and I can appreciate that. For 1989 this is some pretty radical music. But it wasn't for me then, and it still isn't. But I do appreciate it much more than in the past. Interesting to note that despite being from Florida, the album was only released on LP in England. A year later it was issued as a CD and cassette here in the States. (Apr)

*Apocalyptica - Live in Helsinki St. John's Church. 2023 Odyssey (2xCD). Numbered. Pulled this out of a local record shop for a buck. Brand new. I'll take that! Honestly this belongs more to classical than metal, but for journal purposes, I'll put it here. My synopsis: I have an idea. Let's get Starker, Du Pre, and Piatigorsky on stage, along with a percussionist, and ask them to play the music of Univers Zero. With the atmosphere and riffing of Candlemass. That sounds like a good plan. (Feb)

Kick Axe - Vices. 1984 Pasha / CBS (LP). Picked up dirt cheap at a local vintage shop's closing sale (Feb). Saskatchewan's finest debuted with Vices on the same label that housed Quiet Riot. And that's a good guidepost too as for the sounds within. If you're going to do this kind of metal, then you might as well do it right, and Kick Axe goes to the top of the glass - I mean class... Very nice heavy metal sound they have here. Thick and wedgy, no mistaking this for hard rock. And the tunes aren't that bad at all. They even throw in a couple of unexpected twists to keep the three people happy that would be interested in hearing such a thing on an album like this. What holds Vices back is the style itself. There's only so much you can do within the confines of anthem metal. About half the album holds interest and the other is like a repeat of the same. Kick Axe - well someone had to take that name. Might as well be these guys. This is a much better album than you would initially think given the premise. I thought about keeping it, but it would start at the bottom of the collection rankings. No point in that.

Ratt - Invasion of Your Privacy. 1985 Atlantic (MC). From a friend's garage sale last year. I found this on LP five years ago during the pandemic, and decided to grab my profit instead of keeping it. And since I didn't document the listen, thought I'd try this tape out and get that done as well. I was pleasantly surprised that I enjoyed their EP tape, pulled from the same sale. Ratt were yet another variation of the Motley Crue sound and the rest of them from Los Angeles. More metal than hard rock, though hardly cutting edge. Perhaps the heavier side of Van Halen circa Fair Warning is another reference. Feminine friendly, so when you go that route, you better bring some songwriting to the studio. No technical superiority to hide the lack of those skills. I'd suggest the music is similar to that debut, though without any noticeable progress. I still haven't heard Out of the Cellar (well at least in 40 years), their recognized classic. I never get tired of seeing the megababes of the 80s, of which the cover features (she was a Playboy model). Today the woke children of RYM suggest in the comment section it would have been better had it been one of the guys in the band. Yea we're f*cked up alright. Time to get back on track guys! (Jan)

Dream Quest - Centralia. 2006 private (CD). Collection revisit (Jan). Funny that this came from the collection I'm always threatening to tackle, and I'm already revisiting this title ahead of ones I still haven't heard. One of the few I listened to upon receipt of that collection (2016). This is a good album really, a fine mix of power and prog metal with a dash of shred. And at 33 minutes, the EP length is more ideal for this style of music. Same argument as always, I have way too much of this already. If I didn't though, I'd keep it for sure. Nice private release from Canada.

Isen Torr - Mighty & Superior (EP). 2008 Shadow Kingdom (CD). Collection revisit (Dec 2023). For some reason I had it in my head this was a reissue of a rare American 80s piece. I think it's the goofy "private looking" cover. But no, it's a side project of the doom metal band Solstice from England. Mighty & Superior is made up of two eight minute tracks and is clearly aimed at the epic metal crowd led by Manilla Road and the likes. Which would be me. It's not exceptional but certainly true to the genre and a pleasant listen. I have enough of the "real deal" so I can let this one go.

Other albums heard but not reviewed: This Ending - Needles of Rust (Feb); Nightrage - Abyss Rising (Feb).

* - Keeping for the collection

2024 Metal Journal Vol. 3 - Complete

Casus Belli - In the Name of the Rose. 2005 Limb (CD). One of many from that 2016 buy I still haven't heard. I feel that 2025 will be the year I finally conquer my backlog. More on that topic later. Casus Belli are from Greece and they play... European power metal. So - SO many of these bands like this from that era. I give them credit, they start off with two fast paced numbers to get one's attention. No messing around with arty pretension. I like their tones too. But they're about as original as the rest of them. Vocalist has nailed the Bruce Dickinson tenor, and Judas Priest's Painkiller is front and center for the rhythm section. Man, no one wants this stuff today, each cheaper than the last one. Hype sticker says "Power Metal. ...combines murderous riffs* and rhythms with compositorial elegance**, garnished*** with an incredible vocalist and an exceptional guitar player." OK fine, it is a hype sticker after all. *I'm not sure I'd want my riffs to be murderous though, especially live in concert. **Compositorial is a new word for me, so I looked it up, and it's not used correctly here. ***-Sounds like a fine dining table layout. (Dec)

Legend - The Dark Place. 2013 Workshop (CD). Collection revisit (Dec). In the first entry of this journal I bemoan the fact that Legend's comeback effort was well done, true to their early albums, yet it somehow felt too safe and planned out. The Dark Place came a decade later, is their follow up to Still Screaming, and it remains their last studio effort to date. Starting out like a vintage early 80s Judas Priest album, it doesn't appear Legend are going to take too many chances here either. I do like their guitar tone and Mike Lezala has a great voice for metal (he actually sings!). Legend are to be admired for not jumping on modern metal trends in order to stay relevant. They are, pardon the expression, legends in their own right. And it is that legacy they bring forward here. However there's a dearth of ideas or catchy tunes to keep going forward with. Unfortunately. Interesting to note that the final track, though no longer in duration than any other tune, has the right idea in terms of progressing their sound further. Too little, too late. 

The Mystick Krewe of Clearlight. 2000 Tee Pee (CD). Collection revisit (Dec). Instrumental side project of Eyehategod from New Orleans. The gimmick here is that one of the instruments is a Hammond organ. The music is fairly generic stoner metal fare, though not unpleasant. The organ helps with this, but unfortunately it's buried in the mix. Given the sound palette options, one would hope for more of a stylistic brush. It never really unfolds that way and after some 40 minutes, you realize not much as happened. I appreciate the willingness to expand beyond the same ol' same ol' but they hedged their bet too much and played it safe.

Cinderella - Night Songs. 1986 Mercury (LP). Another Colorado Springs pre record show grab for cheap. (Nov). Cinderella were from Philadelphia and their image was pure glam with teased hair, makeup, and standard issue 80's chasin' chicks fare. The music is really nothing of the sort, sounding very much like AC/DC, maybe Aerosmith for a stretch goal. I could have just as easily written this in the hard rock journal, but metal is where the band is generally categorized. I'm sure the band had talent and could have done far better than this effort, but such were the times to get recognized, and Cinderella cashed in just fine. It's not an embarrassing work, but rather mundane in the scheme of things. While gathering for a family Thanksgiving dinner, little Timmy finds the album buried in a nearby desk drawer, and points to the photo confused: "Did you really used to look like that, Uncle Eric?"

Lanfear - The Art Effect. 2003 Nightmare (CD). From a large metal collection I bought last year. Most were sealed as is this. So off to YouTube to check it out first to see if I might want to keep it (Nov). This looks like typical German prog metal. I'm going to read some positive reviews to get me in the mood for this... Alright found some. They enthusiastically compare Lanfear to Queensryche and Blind Guardian. Oh boy, not more of that. Oh yea, more of that. Well let's see if a melody or sequence catches my ear. Something different maybe? Nope. It's certainly well played and executed. I think prog / power metal was a cottage industry in Europe during this era, and many folks made a halfway decent living doing this. As I said in the first Winterlong review below: "They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move."

Eldritch - Headquake. 2006 Limb (CD) (1997). Collection revisit (Nov). Somehow I ended up with five Eldritch albums, I think because they were deep discounted at some point. I did first hear Seeds of Rage real time, but everything else came much later. The Italy based Eldritch could be seen as the blueprint for European prog / power metal that would become commonplace in the 2000s. The raw and quirky tech thrash of the early 90s morphing into the very professional sound of Dream Theater. I do appreciate their gritty tone, much less friendly than their contemporaries. The use of synthesizers is more atmospheric than showy. Vocals (from American Terence Holler) are from the LaBrie school without the wimpy moments. It's tough to evaluate these albums at such a late stage primarily because I have so much of it already. I sense that if this was one of my first discoveries in the genre, I would have played it numerous times and many of the sequences, breaks, and melodies would be burned deep into to my soul. Super package with a slip case, a full poster of the cover, thick booklet with lyrics, photos, and a short biography. And four bonus tracks. Great value. Despite all of that, just too much of the same thing here for me to hold onto.

Iron Cross. 2001 Iron Glory (CD) (1986). Collection revisit (Nov). After first acquiring the CD, in Dec 2004, I wrote: "More great vintage thrash with plenty of mid tempo pure HM. Similar to the Griffin I spoke of before, though this is clearly more bar/basement. Orlando, Florida based group foreshadowing the impending death metal movement that prevailed, and ultimately dominated there. Iron Cross could also be considered a tangent Savatage (another Florida group) could have taken had they explored more with thrash. Some prog moves and moods with solos closer to 70’s hard rock than 80’s hair metal pig squeal. All the songs are about death, demons, Halloween, etc… traditional bonehead metal fare. Check out the Umberto Eco-like prose on ‘S+M Medley’: “Tight Jeans well they hypnotize, you got pulled tight to the perfect size and you know you should have buttoned your shirt”". ------In hearing this CD again for the first time since, I'll pull back the thrash comment and attribute it more to US Power Metal, like fellow Floridians Iced Earth. Early Savatage remains the best guidepost here along with the classics such as Judas Priest and Iron Maiden. It's a very amateurish take on all these bands, and while I usually reward such endeavors, this one needed a bit more time in the production room. The CD adds bonus tracks from 1991 and 1999, and it appears additional ones from the original recording session. Oddly the band never improved. Were I fortunate enough to own this as an original LP, I'd likely treasure it, considering it's financially truly a treasure. 

Haji's Kitchen. 1995 Shrapnel (CD). Collection revisit (Sep). These guys were from my old stompin' grounds of Lewisville, Texas (Dallas suburb). I bought this not long after it was released and I was quite taken with the sound at the time. I always liked the premise of groove metal, that of a slower thrash, but with heavier guitars and more bluesy solos. Vocals were often a problem, but they aren't really egregious here. The issue I have is the similarity of each subsequent track. The opener on Haji's Kitchen is 'Machine' and it's a great wake up siren. But it sort of meanders from there. They needed more something, whether it be complexity or palette of sound or not-sure-what. They do add some intriguing elements on occasion but not enough to deviate very far. This album is held in high regard for genre fans, and I can see why. But I think I'm going to move on from it.

Winterlong. 2005 Lion (Finland) (CD). Thrift shop find (Sep). From the off, this sounds like a distinct improvement on their debut Valley of the Lost. And it becomes apparent they're copying Iron Maiden rather than the multitudes of Euro power metal neo-classical outfits. And that's a good thing. Unfortunately they aren't exploring that sound further as the namesake Iron Maiden currently is. As the album rolled on, their speed metal roots came to the fore. Gotta do more than that in 2005.

*Ratt (EP). 1984 Time Coast (MC) (1983). From my buddy's garage sale (Sep). Solid debut from San Diego's Ratt, a band that rode the fence between solid traditional metal and glam. Really not that much different from their California brethren Motley Crue. Sort of an updated and metalized Aerosmith. Lots of swagger and politically incorrect sexism. You know, the good ol' days. For a dollar cassette, I think I'll hold onto this one.

Winterlong - Valley of the Lost. 2001 Lion (Finland) (CD). Thrift shop find (Aug). Standard issue neo-classical power metal from Sweden with fast chromatic scale solos and synthesizers going at about the same speed. Vocals are aggressive but non-abrasive. There's some grittiness here that I appreciate, but they're too accomplished to be that interesting lol. It's good, of course, and not painful to sit through. It's just the same ol' same 'ol. They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move.

Legend - Still Screaming. 2003 Monster (CD). Collection revisit (May). Kind of a bummer that I didn't really get much out of this reunion release. I love the early Legend albums, all pioneers of the original NWOBHM movement. Still Screaming is very much in spirit with those albums too, not a change in direction. But it lacks the angst and naivety of youth. Too stale and rehearsed. It's good, yes, but I don't need more of it.

* - Keeping for the collection