Trashed Sabbath: Getting weird with Born Again.

Black_sabbath_born_again_2004_retail_cd-frontI’ve long tried to come up with an excuse to write about Black Sabbath’s Born Again.  Most who’ve heard it will probably agree with me that it doesn’t belong on any top albums list you can thing of, yet it possesses a certain strange appeal that’s as much because of its flaws (of which there are many) as it is in spite of them.  As I was loading all the Black Sabbath I own onto my iTunes and got ’round to this 1983 disasterpiece, I finally said to hell with it, it’s time to devote some digital ink (not to be confused with the “Digital Bitch;” keep away from her) to one of the weirder metal albums in my collection.
Continue reading

Interview: DARKTHRONE [FENRIZ]

Darkthrone - PortraitsWhat can I say that hasn’t already been said about the goddamn mighty Darkthrone?  It’s been three years since I last interviewed drummer/co-vocalistFenriz, so naturally I jumped at the chance for a second round of interrogation upon the release of Darkthrone’s sixteenth(!) album, the ridiculously awesome The Underground Resistance.  I mean shit, it isn’t every day you get the chance to interview your favorite fucking band.
Continue reading

Darkthrone – The Underground Resistance (Peaceville, 2013)

darkthrone the underground resistanceI don’t know that I have a favorite band anymore; in my old age I’ve become more of a favorite album guy. But, if I was forced at gunpoint to pick a favorite band, chances are the first one that would spring to mind is Darkthrone. They’re one of the few that can do no wrong in my eyes, whether we’re talking about the twisted death metal of Soulside Journey, the genre-defining pure Norse black metal of the A Blaze in the Northern Sky/Under a Funeral Moon/Transilvanian Hunger trilogy, or their current incarnation as a black/punk/traditional heavy metal hybrid. Even Goatlord, by far the worst album in their entire catalog, has its charms. No matter what direction Darkthrone take their sound in, they do it more than competently and with plenty of attitude, and I in turn always seem to find something to enjoy in whatever they do.

Continue reading

Alpha Tiger – Beneath the Surface (Century Media, 2013)

Press_Cover_01Metal has had a bad case of retro-itis for the past several years, and I’ve been known to talk quite a bit of shit about it.  Whether it be the glut of Incantation clones with swamp-ass production values and zero riffs, occult rock bands fronted by witchy women that just end up sounding like Jefferson Airplane singing about Satan, or more ham-fisted NWOBHM wannabes than you can shake a Flying V at, vintage is the new new, and it seems that for every one boundary-pushing metal band, there are a dozen more flogging a not-quite-dead horse.  But, even I have to (grudgingly) admit that a handful of young bands are doing a pretty swell job of sprucing up and putting a fresh coat of paint on ye olde heavy metal, and Germany’s Alpha Tiger are most certainly one of them, having released a pretty darn excellent old school metal album this year in the form of Beneath the Surface.
Continue reading

Manilla Road – Mysterium (Shadow Kingdom, 2013)

Manilla_Road-MysteriumCoverAt this point I think all of us here in the good ol’ U-S-of-A can agree that Manilla Road mastermind Mark “The Shark” Shelton is a national treasure. The man has been fighting the good fight since forming the band in 1977 (aside from a brief break from 1992 – 1994) and Mysterium, Manilla Road’s sixteenth album (counting The Circus Maximus, which was originally intended as a separate project) finds the Kansan quartet sounding as mighty as ever. This should come as no surprise, considering that Manilla Road is not only one of the longest-running US heavy metal bands, but also one of the most quality consistent in this or any other country, seemingly incapable of releasing anything less than instantly classic material.

Continue reading

RIP Clive Burr (1957 – 2013)

Clive+Burr+cliveClive Burr joined Iron Maiden in 1979 and went on to play drums on three of the best and most influential albums in the history of heavy metal: Iron Maiden, Killers and of course the godly Number of the Beast.  Burr left this mortal coil for the halls of Valhalla this week on March 12, 2013 after a lengthy battle with MS, and although he was ousted from Iron Maiden in 1982, he will forever be remembered as a legend of the NWOBHM and a seminal inspiration for heavy metal and hard rock drummers the world over.

I would say more, but the awesome might of the music below, for which Mr. Burr’s beats were the foundation, speaks for itself. So, let us not spend our days mourning this tragic loss to the music world, but instead celebrating the life of one of the architects of heavy metal.


Up the irons and eternal hails to Clive Burr.

The Sword – Apocryphon (Razor & Tie, 2012)

The%20Sword_Apocryphon_72If I remember correctly, The Sword were among the first bands to get the dreaded “hipster metal” tag lobbed at them when they came seemingly out of nowhere back in 2006 with Age of Winters.  I personally didn’t understand it; since when has ’70′s Sabbath flavored riff rock ever been considered “hip?”  Do hipsters really listen to/like this stuff?  The town I live in has a pretty sizeable hipster contingent, which is quite surprising for being centered smack dab in the asshole of the Midwest, but I have never once seen any of them at a metal or rock show,  they’re too busy drinking coffee and listening to Bon Iver or some shit.  Perhaps it had something to do with the way the band looked; Satan forbid someone make this music without sporting a navel-grazing billy goat beard and a denim vest that smells like a thirty-year-old beer fart.  In reality, it was probably a combination of the hype surrounding the band and a pervasive media presence.  Age of Winters was a competent if flawed album, but The Sword would continue to uh, sharpen their approach with 2008′s excellent Gods of the Earth, an album that (at least to these ears) was both heavier and catchier than what had come before.  I somehow missed the quartet’s third album, the science-fiction concept album Warp Riders, but when Apocryphon was released earlier this year, I was ready to check back in with the band so many metalheads seemingly love to hate.
Continue reading

THKD’s Top 20 Metal Albums of 2012

2012 has been more stressful than a motherfucker; probably one of the most all-around stressful years of my life. Buying a house + assorted family and work-related issues that I wouldn’t even dream of getting into here managed to turn the year into a goddamn pressure-cooker. I’m pretty sure the only things that kept me alive were my wife’s unwavering love (and limitless patience) and an avalanche of incredible music. In 2011 I was feeling pretty jaded and dissatisfied with the state of heavy metal, this year I found myself feeling better about things than I have in years. That isn’t to say there weren’t great albums released in 2011, there were, but in 2012 I felt like there was so much greatness that I couldn’t possibly keep up with it all.

Continue reading

Kreator – Phantom Antichrist (Nuclear Blast, 2012)

German thrash legends Kreator have come a long way since the barbaric infernal racket of Endless Pain and Pleasure to Kill.  Ever since returning to a more straightforward metallic attack with 2001′s Violent Revolution after a misguided experimental phase, the band have experienced a rather impressive late-career resurgence, marked by the ripping instant classic Enemy of God and the solid Hordes of Chaos.  Now with their thirteenth album Phantom Antichrist, Kreator have completed their stylistic evolution from primal thrash overlords to quasi-gothic/industrial metal weirdos to purveyors of thunderous, thrash-tinged traditional metal.
Continue reading

Dawnbringer – Into the Lair of the Sun God (Profound Lore, 2012)

Dawnbringer are nothing if not ambitious motherfuckers.  The band’s last album, 2010′s awesome Nucleus, was originally conceived to be a musical palindrome, and although that ultimately didn’t come to fruition, you have to applaud them for even thinking of something so innovative.  The idea of a concept album might be considerably less original, but the thing about concept albums is that most of them are fucking awful; for every one Abigail or Welcome to My Nightmare, there are probably twenty Music from the Elders.  It takes courage, vision and above all talent to wade balls deep into the treacherous waters of the concept album and live to tell the tale, and Dawnbringer have proven themselves to possess those qualities and then some with Into the Lair of the Sun God.
Continue reading