Review: Cleveland death metal legends in the making 200 STAB WOUNDS have a hardcore following of fans and are getting ever more critical acclaim. Their new album Manual Manic Procedures on Metal Blade Records is only heightening that reputation with another bold mix of high-quality death metal sounds that are seriously constructed but not too earnest in execution. This fine sophomore effort follows 2021's Slave to the Scalpel, a manic debut that is followed up by another hefty slab of old-school death metal but with a contemporary edge. If you like it hard and gore-themed with ferocious licks and unrelenting drums, get your ears around this one which deals with themes as diverse as chemical spills and mental health.
Review: Hailing from Minneapolis, Minnesota, Abberation are the latest in a new breed of abyssal depth dwellers plumbing the cavernous realms of extreme metal to provide the type of sonic horror more in line with Lovecraftian cosmic terror than, say, slasher movies. Following on from their punishing 2021 self-titled EP, the band's debut album Refracture weaves hyper-dense, virtuoso technicality with avant-garde compositional approaches, in order to audibly concoct the musical equivalent to falling endlessly through the void. Featuring members of Void Rot, Suffering Hour and Nothingness, their fluid cohesion marks a triumph for the modern scene of USDM, and implores listeners to surrender rather than mosh and allow the insidious sonic meanderings to enlighten and horrify in equally transcendent measure.
Review: Relapse Records welcome Absent In Body for a label debut. The metal collective is made up of musicians such as Iggor Cavalera, Scott Kelly and former members of acclaimed metal-ers such as Amenra, Sepultura and Neurosis. Plague God is an adventurous record that is fearless and uncompromising in its approach with a real lucidity of expression and collective coming together that reaches new heights. It might be a terrifying listen filled with hellish left turns and sublime subversions but it is all held together well.
Review: Following on from 2021's excellent Too Mean To Die, German proto-speed/thrash metal pioneers Accept return with their highly anticipated 17th full-length Humanoid. Marking their sixth overall LP with former T.T. Quick frontman Mark Tornillo handling vocal duties (who has been with the group since their third reunion in 2009), the material here espouses genuine concerns over the increase of AI in modern technology and its careless displacement of artists from varying fields. Emboldened by frenetic, anthemic riffage and soaring melodious hooks, Accept are back to remind all of their vital influence and put every band who've come since back in their quiet little place atop the band's giant shoulders.
Review: Following on from last year's critically acclaimed self-titled debut album, Los Angeles-based self-described "ecstatic black metal" outfit Agriculture return with a new EP titled Living Is Easy. Expanding their wall-of-sound sonics even further to conjure a form of saccharine abrasion with barrages of tremolo guitar-picking, blast-beating triumphant fury that echoes the likes of Deafheaven or Liturgy in their most epic moments, this is a form of metallic extremity crafted to help espouse negativity, not through negative sonics but by re-channelling said sonics through dexterous and uplifting cataclysms of audible euphoria. This 12" pressing is also coupled with the band's 2022 debut EP The Circle Chant, which has never been available on vinyl before now.
Too Young To Die, Too Drunk To Live (No Parole From Rock 'N' Roll) (4:24)
Hiroshima Mon Amour (4:03)
Jet To Jet (4:55)
General Hospital (4:57)
Starcarr Lane (4:00)
Island In The Sun (4:08)
Kree Nakoorie (6:12)
Big Foot (5:00)
Suffer Me (5:22)
Review: Originally formed in 1983 in Los Angeles, Alcatrazz are one of the pioneering metallic-tinged hard rock acts of the decade of change and cheese. Often noted for once being the musical home of an at-the-time unknown Yngwie Malmsteen who served as lead guitarist for a year, before being replaced by Steve Vai, in the later years, the band have become somewhat comically known for their splitting off into separate factions of the same group, both performing under identical monikers since the release of 2020's Born Innocent with lead vocalist Graham Bonnet embarking on his own version of the band complete with Nevermore mastermind Jeff Loomis, while guitarist Joe Stump, Jimmy Waldo on keys, Gary Shea on bass, and Mark Benquechea on drums have remained united. Released as part of Record Store Day 2025, All Night Long In Japan 2019 originally arrived a year prior to all of this internal conflict, showcasing a series of shows unlike the band had ever done before, featuring two sold out nights at TSUTAYA O-EAST in Tokyo on 28th & 31st May 2019, with night one including their classic debut album No Parole From Rock 'N' Roll performed in its entirety in the intended track sequence the band originally wanted to be released back in 1983, while night two would include Graham Bonnet's Rainbow era 1979 album Down To Earth performed in full by Alcatrazz.
Review: With the latest release of 2024's triumphant Les Chants de l'Aurore, label Nuclear Blast have opted to reissue the 2019 predecessor project from French post-black metal/blackgaze pioneers Alcest. Spiritual Instinct initially marked only the second time the band's live bassist Indria Saray had performed on record following on from his in-studio inclusion on 2016's Kodama, while musically, the material is noted for continuing to restore some of the previously eschewed metallic malevolence absent from their previous efforts. This restoration reembraces cataclysmic blastbeats and despair-laden vocal shrieks yet reliably subdued, compressed and drowned under swathes of shoegaze haze and bombastic yet lilting crescendos. In short, no one makes black metal sound as pretty as the French.
Review: This is a limited edition black and yellow marbled vinyl version of Alcest's Les Chants de L'Aurore". In the midst of a bewildering world, the album emerged as a beacon of transformative power. Hailing from Bagnols-sur-Ceze, and led by Neige, the group defy heavy music norms as they famously blend darkness with radiant light. Since their groundbreaking debut in 2007, they've reshaped the metal scene, infusing beauty and melody with extreme metal's intensity and their latest release again offers hope and renewal. Recorded intimately yet expansively, it reinvents their sound with newfound depth and sophistication. Neige's ethereal melodies counteract darkness with positivity, offering a sanctuary of blissful beauty. All in all, this record marks a poignant evolution in Alcest's journey as it resonates with both charm and conviction.
Be My Lover (live At Mar Y Sol Pop Festival, Puerto Rico April 2 1972) (5:32)
You Drive Me Nervous (live At Mar Y Sol Pop Festival, Puerto Rico April 2 1972) (2:19)
Yeah, Yeah, Yeah (live At Mar Y Sol Pop Festival, Puerto Rico April 2 1972) (4:03)
I'm Eighteen (live At Mar Y Sol Pop Festival, Puerto Rico April 2 1972) (5:38)
Halo Of Flies (9:56)
Is It My Body (7:38)
Dead Babies (5:28)
Killer (9:23)
Long Way To Go (9:53)
Under My Wheels (5:54)
You Drive Me Nervous (alternate version) (2:22)
Under My Wheels (alternate version) (2:36)
Dead Babies (alternate version) (5:42)
Review: Alive Cooper's 1971 classic Killer was his fourth studio album during a truly unstoppable period for the Detroit rocker. He clocked up consecutive platinum-selling albums as well as five Top 40 hits such 'I'm Eighteen,' 'School's Out' and 'No More Mr. Nice Guy.' This reissue comes alongside a reissue of the 1972 album School's Out and has been newly remastered with the addition of rare recordings and previously unreleased live performances. This one topped out at #21 on the Billboard albums chart and featured hit singles such as 'Under My Wheels' and 'Be My Lover' as well as a prog-rock-inspired epic in the shape of 'Halo Of Flies.'
Review: Alice In Chains' 2009 release, Black Gives Way to Blue, marks a significant moment for the bandia poignant farewell to the late Layne Staley and the beginning of a new chapter with vocalist William Duvall. The album opens with 'All Secrets Known,' a track that signals a fresh start, with lyrics like 'Hope. A new beginning,' underscoring the band's evolution. Jerry Cantrell's guitar work remains as powerful as ever, driving the album with emotional intensity, particularly in tracks like 'Your Decision,' where the raw honesty in the lyrics is striking. Duvall's contributions shine, especially on 'Last of My Kind,' where he brings a new energy to the group without attempting to replicate Staley's iconic voice. The title track, 'Black Gives Way to Blue,' is a heart-wrenching tribute to Staley, featuring a sparse yet haunting arrangement with piano by Elton John. The song's quiet fade-out leaves a lasting impact, a fitting close to an album that balances grief with renewal. Black Gives Way to Blue not only honours Alice In Chains' legacy but also sets a strong foundation for their future, proving that the band's creative spirit remains unbroken.
Review: For people of a certain age, their teenage years were defined by the edgy grunge, alt and punk rock sounds of bands like Alice in Chains. Three decades later their seminal sophomore effort, Dirt sounds as good as it ever did and gets an anniversary reissue to mark the occasion. It comes with plenty of powerful drums and big-ass basslines as well as yelping vocals and fuzzy textures that take in a range of emotions and even bigger riffs. This issue features a special insert and comes across four sides of vinyl so it's nice and loud, just as intended.
Review: Arguably one of the most integral tentpoles of the grunge movement, Alice In Chains' seminal sophomore effort, Dirt, changed the game upon its release in 1992. Featuring some of the band's most classic cuts such as, 'Them Bones', 'Down In A Hole', 'Rooster', and, 'Junkhead', to name but a few; the incomparable dynamic of Wayne Staley's iconic vocals and cryptic, yet brutally honest lyricism combined with guitarist Jerry Cantrell's mammoth riffs and delicate nuance, still resides high in the echelons of alternative rock three decades on. For lifers and newcomers alike, this 30-year anniversary edition serves as an ideal opportunity to revisit a genuine classic, far murkier and riddled with antagonistic depths than any of its would-be peers.
Review: This reissue marks the vinyl debut of Alien Ant Farm's 2003 album, a record that captures the band's energetic blend of alternative rock and nu-metal. Produced by Stone Temple Pilots' Robert and Dean DeLeo, the album features a raw and powerful sound, with tracks like '1000 Days' and 'Drifting Apart' showcasing the band's heavy riffs and dynamic songwriting. 'Quiet' and 'Glow' offer moments of introspection, while 'These Days' and 'Sarah Wynn' deliver infectious melodies and catchy hooks. The album also includes a four-page booklet with lyrics, adding another dimension to the listening experience. This reissue is a must-have for fans of Alien Ant Farm and anyone who appreciates the raw energy and melodic hooks of early 2000s alternative rock.
Review: Ones to watch in 2025, according to BBC Introducing, double-MOBO Award nominated sisters Nyrobi and Chaya, AKA ALT BLK ERA claim to be "redefining music" with their fusion of rock, house, drum & bass, rap and pop. They're certainly making enough noise to start a mini revolution, with the months preceding Rave Immortal seeing them blow up at events like Glastonbury, Download, and the Reading-Leeds weekenders. Sonically there's not much more to add - this is a rabid, in-your-face, high tempo amalgamation of sound that calls to mind the likes of NERVO, Pendulum, Enter Shikari, and to a lesser extent Prodigy. All convention-defying names, the fact ALT BLK ERA are also big advocates of disability rights and inclusivity within the music industry also paints them, sadly, as necessary outsiders.
Review: Alter Bridge's debut album made a bold statement when it first arrived in 2004, showcasing a dynamic shift from the members' previous project. With a heavier, more aggressive sound, the band set themselves apart through thick basslines, intricate melodies and fiery guitar work. Myles Kennedy's commanding voice elevates the album, blending seamlessly with the instrumental intensity. 'Metalingus', remains a defining moment, pairing pounding drums with razor-sharp riffs that build to an explosive energy. Its enduring appeal is evident in its inclusion across various media, cementing its place as a fan favorite. Tracks like 'Open Your Eyes' and 'Broken Wings' balance the album's raw power with heartfelt emotion, offering a glimpse of the band's versatility. This deluxe reissue breathes new life into the album, adding five live recordings that capture the electrifying energy of the band's performances. The live versions of 'One Day Remains' and 'Burn It Down' amplify the album's intensity on the last side of this release. These additions highlight Alter Bridge's ability to bring their studio craftsmanship to the stage, delivering performances that resonate deeply with fans.
Review: One of the key releases of the first wave of the New Wave of British heavy metal, the self-titled Angel Witch debut full-length, has long been heralded, praised, analysed and remembered as a vital contribution to the world of metallic machinations since its initial 1980 release. Inspiring waves of black metal, thrash, death and almost any other form of sonic extremity one can lay their ears upon, the work was misunderstood by many not prepared for the monumental surge in popularity the metal scene would ride over the ensuing decades. That being said, the project had those who would fight its corner, with its credence eventually leading to the same regard as say, Iron Maiden's self-titled affair, yet channelling far darker avenues of influence. Chalk most of the genre's expansion throughout the 80s, and you'll always circle back to this monumental classic.
Review: Anthrax unleash their ferocious energy on this 2016 album, their first with lead guitarist Jon Donais. The iconic thrash metal outfitifeaturing Joey Belladonna, Scott Ian, Frank Bello and Charlie Benanteidelivers a potent blend of untamed aggression and melodic hooks. Recorded with longtime producer Jay Ruston, the 11 tracks offer a powerful and socially conscious take on heavy metal, tackling themes of religious fanaticism and personal responsibility. Singles like 'Evil Twin' and 'Breathing Lightning' showcase the band's signature sound: a relentless barrage of riffs, thunderous drums and Belladonna's soaring vocals.
Review: Originally released in 2003, We've Come For You All would serve as the much-lauded ninth full-length from one of the Big 4 of thrash metal, New York City's Anthrax. The first work from the band to feature Rob Caggiano on lead guitar while being their final effort with vocalist John Bush following his tenure throughout the 90s on Sound Of White Noise (1993), Stomp 442 (1995) and Volume 8: The Threat Is Real (1998), the material came after a brief self-imposed hiatus that saw the band reroute their course with a unique amalgam of groove-oriented, alternative hard rock injected into their frenetic signature thrash formula. Adored by fans as a welcome return to form, the album also boasted some varied pedigree with regards to guest features, including Roger Daltrey of The Who lending his vocals to 'Taking The Music Back', while Anthony Martini of New Jersey hardcore heroes E-Town Concrete would appear on 'Refuse To Be Denied', yet it's the inclusion of the late, great Pantera axeman Dimebag Darrell (only one year before his tragic and untimely passing) on 'Cadillac Rock Box' and 'Strap It On' that have both become metal legacy pieces in their own right.
Review: Anthrax's Sound of White Noise marked a pivotal shift in the band's sound and lineup. Released in 1993 and with new vocalist John Bush, formerly of Armored Saint, Anthrax infused their thrash metal roots with grunge and alternative rock influences. The album, produced by Dave Jerden, features standout tracks like 'Only' and 'Black Lodge,' showcasing a darker, more mature tone. Sound of White Noise received critical acclaim for its innovation and depth, and achieved commercial success by peaking at number seven on the Billboard 200. This album remains a significant entry in Anthrax's discography and one that symbolises their evolution and adaptability in the 90s metal scene.
Review: Originally released in Japan in 2001 but taking a further year before landing in US and European territories, the fourth full-length from Swedish melodic death metal giants Arch Enemy marked their first creative endeavour with longtime and most notable vocalist Angela Gossow, following the departure of founding frontman Johan Liiva. Furthering the vision of 1999's Burning Bridges with a balanced dichotomy between brutal riffage and complexly layered melodious passages, elevated by Gossow's shrieking range; Wages Of Sin is often regarded as the devastating arrival of the Arch Enemy most know and adore so deeply.
Review: Originally released in 2012, Daybreaker would serve as the fifth full-length from Brighton progressive metalcore heavyweights Architects, following an identity crisis after 2011's more streamlined post-hardcore effort The Here & Now. While in the decade since, the band have gone on to become one of Britain's most successful heavy music exports, finally managing to balance their heftier proclivities with mainstream appeal, the material here strikes a curious retrospective balance between their mathcore origins, the increasingly vast melodious experimentations, as well as their first forays into embracing elements of nuanced electronica. Conceptually marking their arrival to politically driven messaging, with the now even more timely and oppressively hefty 'These Colours Don't Run' tackling US political division while 'Devil's Island' lambasts the London riots of 2011, the album is also noted for its guest features including Drew York of Stray From The Path on 'Outsider Heart', and Oli Sykes of Bring Me The Horizon on the standout 'Even If You Win, You're Still A Rat'.
Review: The brainchild of guitarist and songwriter Simon Harrison (Stranger, Wisht) who has primarily enjoyed a career as a session musician and ghost-writer, Atlantic was established as an outlet for his retro 80s AOR and melodic rock proclivities, paying homage to the likes of Whitesnake, Journey and Bad English. Releasing their debut LP Power in 1994 before disbanding to focus on a myriad of other duties, Harrison would cross paths with Mark Grimmett towards the end of the decade, with the pair agreeing to eventually work on a project together. While sessions initially took place under the moniker of the MGB Band and had somewhat of a start-stop energy in the early days, somewhere along the line the duo realised they had a new Atlantic LP on their hands. Enlisting a full backing band, Another World is a 2024-time portal right back to 1984 with glistening synths, face-melting guitar solos and saccharine vocals all melded into one glorious dad-rock hour of self-aware cheese delivered with an overabundance of musical virtuosity.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Blood Children (An Introduction) (1:30)
Bleeding Mascara (2:00)
Right Side Of The Bed (3:43)
This Flesh A Tomb (3:51)
You Eclipsed By Me (3:37)
The Crimson (4:00)
The Remembrance Ballad (4:28)
An Interlude (1:57)
Corseting (2:13)
Demonology & Heartache (3:34)
My Sanity On The Funeral Pyre (1:44)
Nevada's Grace (1:53)
Five Vicodin Chased With A Shot Of Charity (8:06)
You Give Love A Bad Name (bonus track) (3:29)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Following on from 2002's debut full-length Suicide Notes & Butterfly Kisses, California metalcore heavyweights Atreyu would capitalise on all of their ensuing momentum with 2004's career-high sophomore effort The Curse, which celebrates its 20th anniversary with this long overdue reissue. Boasting two of their biggest singes to date, 'Right Side of the Bed', and 'The Crimson'; both would go on to receive heavy rotation on MTV2 and Fuse, garnering the band a vast new legion of devout followers, most of whom have remained Atreyu faithful to this day. Praised for both their venomous delivery and evident ability to craft arena-sized hooks, the band and specifically this record were instrumental in the mainstream crossover popularity of more melodic, emo-tinged metalcore and post-hardcore throughout the early noughties, while as of 2020 The Curse has been certified Gold in the US with 500,000 copies sold.
Review: Following on from 2002's debut full-length Suicide Notes & Butterfly Kisses, California metalcore heavyweights Atreyu would capitalise on all of their ensuing momentum with 2004's career-high sophomore effort The Curse, which celebrates its 20th anniversary with this long overdue reissue. Boasting two of their biggest singes to date, 'Right Side of the Bed', and 'The Crimson'; both would go on to receive heavy rotation on MTV2 and Fuse, garnering the band a vast new legion of devout followers, most of whom have remained Atreyu faithful to this day. Praised for both their venomous delivery and evident ability to craft arena-sized hooks, the band and specifically this record were instrumental in the mainstream crossover popularity of more melodic, emo-tinged metalcore and post-hardcore throughout the early noughties, while as of 2020 The Curse has been certified Gold in the US with 500,000 copies sold.
Review: Bad Omens expand their sonic universe with this ambitious triple LP, an experimental companion to 'The Death of Peace of Mind'. Featuring reimagined tracks, interludes, and collaborations with artists like ERRA, Poppy, and HEALTH, this release ventures into bold new territory. 'C:\Projects\CJOST\BEATDEATH' sets an ominous tone, while 'V.A.N (feat. Poppy)' injects a dose of dark pop energy. The band explores their heavier side with 'Anything > Human (feat. ERRA)', and 'Nervous System (feat. iRis.EXE)' delves into electronic textures. Live versions of fan favourites and collaborations with the likes of Let's Eat Grandma add further depth to this expansive project. This is Bad Omens at their most ambitious and experimental, pushing the boundaries of their sound and captivating listeners with a truly immersive experience.
Review: Marking their first LP to not be named after a colour, Savannah, Georgia based sludge-prog metal collective Baroness make their illustrious return on Stone; a darker and more introspective opus of heaving heft and unsettling atmospherics. Leave no doubt though, this is still the band fans have come to know and adore with their reliable brand of fuzzed out psychedelic guitar solos, crushing riffs and catchy hooks. Just one spin of lead single 'Last Word' should be more than enough to dispel any concerns whilst signalling a gloriously grim and captivating new era for the group.
Review: Reissued by The Flenser, known for their penchant for avantgarde "weirdo" metal acts such as Chat Pile, Mamaleek and Have A Nice Life, this 2011 demo from "funeral doom" post-metal duo Bell Witch would serve as the clarion call for their burgeoning future as standouts in the US doom scene. Clocking in at a beastly 37 minutes spread out over just four tracks, with two ('Beneath The Mask', 'I Wait') re-appearing as cuts on their 2012 debut full-length Longing, the pair's mercurial, slow-paced, depressively trudging drone metal approach was already on such potent display from the outset that it almost seems disingenuous or indicative of their humble nature to refer to this project as merely a demo. Presented with an updated layout, the release still bears the original artwork designed by founding drummer Adrian Guerra who tragically passed away in 2015 following the release of their sophomore effort Four Phantoms.
Review: BIG BRAVE's music epitomises what has been called 'massive minimalism,' with layers of textural distortion and feedback accentuating its weight and frayed edges. Their artistry blends traditional folk techniques with a modern deconstruction of guitar music, all of which is evident in the new album A Chaos Of Flowers, which is a follow-up to their fierce 2023 album Nature Morte. Lyrically, the songs delve into vulnerability, isolation, and co-existence in nature and guitarist and vocalist Robin Wattie drew inspiration from poetry by female-presenting artists, exploring alienation's impact on the psyche. This record is a testament to the band's ability to evoke intense emotions through minimalist yet powerful arrangements.
Review: Caputing the band in live action during the early 80s, Black Sabbath's Born In Hell is culled from the short tenure of former Deep Purple singer Ian Gillan as lead vocalist, after the departiure of Ozzy Osbourne's replacemennt Ronnie James Dio. Therefore, among the run through the Brum band's overwhelmingly legendary back catalogue there nestles a very Sabbath take on 'Smoke On The Water'. Of course, the biggest selling-point here is simply Sabbath doing Sabbath, very loudly, although not quite as loud as the crowd's reaction at various points of the show. Not least Tony Iommi's insane solo as 'War Pigs' refuels in preparation for its monumental climax, worth the price of admission alone.
Review: From rehearsing in dungeons to renting out estates in Bel Air, Black Sabbath did everything they could to muster up the creative spark for their now iconic fifth full-length Sabbath Bloody Sabbath, which celebrates its 50th anniversary this year. Exhausted from a ludicrously demanding touring schedule whilst battling sever cocaine addiction following the album cycle for Vol. 4, the band would regroup at Clearwell Castle in the Forest of Dean, Gloucestershire where guitarist Tony Iommi would conceive the now timeless and pioneering riff to the opening title-track, which many to this day still cite as one of the first true pieces of psych/doom metal. Balancing their macabre early material with the more leftfield experimental cuts like the synth-laden 'Who Are You?' and the fan-favourite closer 'Spiral Architect', five decades on, the dust has settled enough for most fans to agree that this was the last truly great LP from the Ozzy run.
Review: While the critical reception wasn't initially kind to the final Black Sabbath album of the Tony Martin era, time's healing powers have offered the eighteenth full-length a slight reprieve, with many now learning to appreciate the ambition Tony Iommi imbued into the project. Many might have scoffed at Ernie C of Body Count handling production duties, even enlisting bandmate Ice-T for the spoken word section of opener, 'The Illusion Of Time', but with the subsequent reunion of Iommi and Ozzy not long after, there's no denying the sheer individuality this album offered, toying with everything from blues to power metal motifs. Martin would go on to refer to the effort as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion", but with the near-two decade wait for, '13', some still gave Forbidden, the spins and attention it deserved. Reissued for forgiving ears and those willing to revisit.
The Sign Of The Southern Cross/Heaven & Hell (Continued) (7:15)
Paranoid (3:46)
Children Of The Grave (5:26)
Fluff (1:14)
E5150 (40th Anniversary remix) (3:14)
Neon Knights (4:35)
NIB (5:51)
Children Of The Sea (6:31)
Voodoo (5:30)
Black Sabbath (9:14)
War Pigs (9:19)
Iron Man (7:41)
The Mob Rules (3:50)
Heaven & Hell (12:07)
The Sign Of The Southern Cross/Heaven & Hell (Continued) (7:18)
Paranoid (4:23)
Children Of The Grave (5:27)
Fluff (1:24)
Review: Capturing the era of Black Sabbath with Ronnie James Dio on vocals following Ozzy Osborne's departure, Live Evil was the first officially sanctioned live album from Birmingham's foremost heavy metal pioneers. The album came together in 1982, drawing on shows from Seattle, San Antonio and Dallas on the Mob Rules tour, and now it has been given the deluxe reissue treatment. As well as the original mix of the album, there's an entirely new mix of the album from the original analogue master tapes by long time band associate Wyn Daivs, complete with a 40-page hardback book featuring new liner notes and replicas of the original concert book and poster form the Mob Rules tour.
Review: The year 1970 truly served as the dawn of Black Sabbath with not only the release of their iconic self-titled debut LP but also their even more legendary sophomore follow-up Paranoid also arriving the other end of the calendar. Embarking on a mammoth 121 date tour across Europe and the United States, kicking off in Swansea, Wales in September all the way through to April 1971, the middle point just before Christmas saw the metal pioneers land at L'Olympia, Paris on 20th December 1970 for a grandiose performance made up of some their greatest works and legitimately the most vital metal tracks of all time. From the opening riffage of the quintessential title-track to the resurgent 'Iron Man', the proto-doom stylings of 'N.I.B' and 'Behind The Wall Of Sleep' to the ultimate anti-war anthem 'War Pigs', this setlist reads almost exactly like the first disc of one the band's many greatest hits collections, as it just so happens that this early in their tenure, they'd already penned such a bevvy of classics. Pulled directly from the soundboard, this is Ozzy and co in their absolute prime before ego and mass quantities of narcotics would join as a permanent fifth member.
Review: 1995 saw the semi-controversial release of the final Tony Martin-era Black Sabbath album Forbidden, marking their 18th full-length overall. Reuniting the 1990 Tyr-era lineup with the re-enlisting of Neil Murray on bass and Cozy Powell on drums, the project was maligned upon release on both the critic and fan sides of reception, likely stemming from the unusual choice to have Ernie C of Body Count man the desk for production duties with bandmate Ice-T even providing the spoken word segment on the opening track 'The Illusion Of Time'. While in later years, Martin would consider the project a "filler album that got the band out of the label deal, rid of the singer, and into the reunion", based off the fact that guitarist Tony Iommi would reconcile with original frontman Ozzy Osborne not long after, that still doesn't alter the fact that the original lineup reunion effort 13 wouldn't arrive for practically another two full decades. Whatever your deeply held personal beliefs, they are those out there who still fly the flag for this peculiar era from the metal pioneers, so much so that the Anno Domini 1989-1995 box set release earlier in 2024 collates all of the Martin-era albums into one definitive collection while being freshly remastered by Tony Iommi himself in perhaps an internalised effort to undo the production choices many have highlighted as a major point of contention. This limited ultra clear pressing marks the first time since the release of said box set that Iommi's remaster of Forbidden has been made available for individual purchase.
Review: A chance to catch the 1989 iteration of Black Sabbath in action in Japan on their Headless Cross, in support of their 14th fourteenth studio album (of the same name), the second with Tony Martin on vocals. This nine track selection from the show is fairly evenly spread across their already almost two decade long career, with that album's title track nestling alongside older triumphs such as 'Iron Man', 'Paranoid' and 'Black Sabbath' and Ronnie James Dio-period faves like 'Mob Rules' and 'Heaven & Hell'. The recent addition of the legendary Cozy Powell on drums just makes it an even tastier prospect.
Review: Long before the 13 record was even considered, it took many a false start to get Ozzy back with Black Sabbath for a proper reunion tour, which began somewhat in earnest with their two hometown shows on 4th and 5th December 1997. These performances were captured for the now iconic, aptly titled live album Reunion. Marking the first official release with the original line up since 1978's Never Say Die! and garnering the band their first ever Grammy Award in 2000 for the live rendition of 'Iron Man' taken from this collection, the work is a flawless compilation of greatest hits and fan favourite deep cuts, performed with a veteran's vigor.
Review: The Black Sabbath Hand Of Doom box set provides the ultimate collection for fans who opt to live in a world where the group never had any other vocalist apart from Ozzy Osbourne. Providing picture disc represses of all eight LPs released during the original frontman's tenure from 1970 to 1978 (2013's reunion album 13 is not included), the collection boasts the self-titled 1970 debut, the same-year follow up Paranoid, as well as the iconic slew of Master Of Reality (1971), Vol 4 (1972), Sabbath Bloody Sabbath (1973), Sabotage (1975), Technical Ecstasy (1976) and Never Say Die! (1978). Limited to 3000 copies (which isn't a large amount when considering how vital Sabbath's early material still is to this day) and complete with a large coloured poster, fan service rarely gets as ideal or essential as Hand Of Doom.
Review: Following on from 1987's The Eternal Idol and 1989's Headless Cross, the very next year of 1990 would see the third full-length from Birmingham metal gods Black Sabbath to feature vocalist Tony Martin. Instructed to tone down the direct, in-your-face nature of the previous project's satanic lyrics, Martin looked toward Norse mythology for lyrical inspiration; a decision initially bewildering to guitarist and primary songwriter Tony Iommi. With the title Tyr, named after the son of Odin and the god of single combat and heroic glory, the band sought to seek out a new sonic identity to compliment the lyrical narratives, leading to what many fans consider to be the heaviest Sabbath album to date, while some bemoan that Cosy Powell's mammoth drumming utterly eclipses all other instruments. With the release of the Anno Domini 1989-1995 box set earlier this year which collates all albums from the Tony Martin-fronted era, this marks the first time any of these LPs have ever been reissued, and now with all albums being made separately available, the newly remastered Tyr does its utmost to restrain Powell's power and amp up everything else from the grooving riffage to the quintessential keyboard sections provided by perennial fifth member Geoff Nicholls. This would also be the last time this lineup would record together until 1995's Forbidden.
Review: Originally released in 1989, Headless Cross would serve as the second Tony Martin-era album from Birmingham metal pioneers Black Sabbath, following on from The Eternal Idol. Notably increasing the occult and satanic aspects to higher degrees than ever before, many heralded the work as a true return to form following the hard rock-centric turn of their latter material with Ozzy or throughout the majority of their Ronnie James Dio fronted run. With hefty, macabre riffage cloaked (and daggered) in shrouds of sonic gloom, the project would be the first to feature drummer Cozy Powell, while being their only full-length with session bassist Laurence Cottle. Marking the dawn of their deal with I.R.S. upon becoming disillusioned with the big major record labels, this criminally overlooked era of the band finally received its flowers in early 2024 with the release of the Anno Domini 1989-1995 box set which collates all the Tony Martin albums onto one fully remastered box set for many of the titles' first time ever made available on wax. This pressing offers the same updated, newly revitalised version, now being individually distributed.
Review: From any one of their landmark genre-defining metal albums to the scores of live documents, there are many ways to approach the monumental legacy of Black Sabbath, but this box set is the perfect distillation of the best of the band honed into a two-disc collection. Focused on those breakthrough years with Ozzy Osborne, there are just too many classic tracks to count on here, whether it's the harmonica baiting sludge of 'The Wizard' or the motorik drive of 'Paranoid' you're after. A perfect primer for newcomers, or a handy capsule of all the best bits - it's Black Sabbath, need we say more?
Review: Classic rock up there with the likes of Audioslave, Foo Fighters and Guns N Roses, Kentucky natives Black Stone Cherry write anthems that make you want to put your foot down on a vintage hotrod and blaze a trail through the desert. The guitar playing is supreme with flashy solos and a Led Zeppelin-esque ability to hone a riff. Singer Chris Robertson has a bit of Chris Cornell about him with a rich timbre and strength to be able to sing in front of a wall of stack amps without sounding drowned out. This is a reissue of their second album that originally came out in 2008 on the label that gave us Slipknot - Roadrunner. It's a critically acclaimed entry point to their oeuvre and went to number one in the UK Rock Album Chart when it was first released.
Review: Former Iron Maiden vocalist Blaze Bayley returns after overcoming a quadruple bypass surgery following a heart attack last year, to remind listeners that he's still got the pipes and chops of frontmen half his age. The 60-year-old Bayley fronted Maiden from between 1994-1999 and provided vocals for two albums; The X Factor and Virtual XI. While not the major sellers of the Dickinson era (hence his eventual return), Bayley carved out his own cult following which has stuck by him all the way up to and including his most recent solo effort; 2021's War Within Me. Now fully recovered, rejuvenated and emboldened by outpourings of support from long-time fans and former bandmates alike, Circle Of Stone promises to deliver another reliable batch of big riff retro metal centred round by the impeccable vocalist's dynamic range and grandiose presence.
Review: Denver, Colorado based progressive death metal auteurs Blood Incantation have become renowned for their overarching science fiction themes and cosmic reimagining of genre motifs, with 2019's sophomore triumph Hidden History Of The Human Race garnering immense acclaim and exposure. Unexpectedly, their 2022 follow up would rip a page right from the book of Tangerine Dream with Timewave Zero being made up entirely of ambient synth-laden pieces designed to serve as a soundtrack to passing through the stars. With this unpredictable penchant and clear lack of genre boundaries illuminated, anticipation was rife to see if the band would have the balls and brains to marry both opposing sonic guises and that's precisely what Absolute Elsewhere delivers. Named after the mid-70s prog collective (who once featured King Crimson drummer Bill Bruford), and even featuring Tangerine Dream's Thorsten Quaesching, the album is made up of two tracks, both broken into three segments each, that weave hallucinogenic death metal with synthwave prog, Krautrock, and euphoric alien ambience to conjure a uniquely transcendental listening experience. This ain't your granddaddy's prog rock, nor is it your daddy's death metal, but in a sense, it's kind of both.
Review: Originally forming in 2016 as a YouTube parody band providing metal renditions of well-known pop songs, it wouldn't take long for Bloodywood to realise their full potential as India's most successful metal act to date. Following on from their 2022 debut full-length Rakshak, the group return with their highly anticipated sophomore effort Nu Delhi, serving as both a tribute to their city of origin as well as their embracing of nu-metal and rap metal styles, combining low-end grooves and bilingual verses delivered in both English and Hindi, though the language palette is expanded to Japanese for the BABYMETAL featuring 'Bekhauf'.
Review: Madison, Wisconsin based stoner/sludge metal legends Bongzilla make the gnarliest, heftiest, ugliest weed-inspired cacophony possible, while their avid legions of dank smelling followers are often the closest they can get to stern when highlighting how the band's live experience is the truest means of hitting the bong properly. Dabbing (LIVE) Rosin in Europe brings the live bong experience right to your ear canals with a collection of cuts taken from performances at Paradise Island, Minoga in Poznan, Poland, and Voodoo in Belfast, Northern Ireland, which were all hits on the band's Dabbing Across Europe & UK Spring-Summer 2023 Tour.
Review: The first of three albums from the Japanese post-everything auteurs titled Heavy Rocks, arrived in 2002 with the second and third installments coming in 2011 and 2022, respectively. These volumes served to allow the group to fully explore their heaviest tendencies with full abandon, and none are as adored or praised (or essential to own on vinyl) than the minimal orange adorned first entry. Plumbing the depths of psychedelic stoner rock, heaving sludge and cavernous doom metal, all whilst retaining accessible grooves and absurdly catchy riffage, this is Boris at their most abrasive, face-melting and imposing, while also serving as a solid entry point into their beastly 20+ album discography.
Review: Boris's Amplifier Worship, first released in 1998 and now reissued by Third Man Records, stands as a monumental testament to the band's uncompromising vision of heavy music. This album showcases their ability to push metal to its extreme boundaries, blending doom-drone, psych-sludge, and unrelenting noise. It's an intense, chaotic, and visceral experience, not for the faint of heart. The remastered version brings new life to this brutal classic, housed in a Stoughton gatefold jacket and pressed at Third Man Pressing for a high-quality vinyl experience. Boris's signature sonic landscapes are rich with mythic weight, as tracks shift from slow, crushing doom to explosive bursts of sound. The group's bullish experimentation, combined with their powerful live performances, has earned them a devoted fanbase worldwide. This reissue is essentialia timeless blueprint for Boris's expansive future.
Review: Originally conceived in 2019 during a tour with industrial hardcore purveyors Uniform, Japanese psychedelic noise-rock juggernauts Boris would invite their co-conspirators on stage to reimagine the trio's classic "Akuma no Uta" as part of their encore, with the resulting chemistry inspiring both acts to begin crafting a fully collaborative album. Many years of exchanging ideas from one home studio base to another has finally bore fruit in the form of the hideous yet glorious Bright New Disease. Combining almost every nuance of each group's genre-less machinations, the project swells and extends in every sonic direction from harsh walls of screeching noise to retrofitted Japanese D-beat hardcore, with time in between for aquatic, shoegazing serenity and mechanized industrial venom.
Amen (feat Lil Uzi Vert & Daryl Palumbo Of Glassjaw) (3:27)
[ost] Puss-e (3:24)
Die4u (2:51)
Dig It (6:34)
Review: Bring Me The Horizon were once known as Nottingham's emo-fringed MySpace deathcore scene kids, but the near two decades since have seen them balloon into the latest gateway mainstream metal outfit, taking the reins from the likes of 30 Seconds To Mars and Linkin Park before them. Returning with the highly anticipated sequel to their 2020 nu-metal-centric 'Post Human: Survival Horror' EP, their seventh album (and first proper full-length since 2018's Amo) Post Human: Nex Gen does its utmost to level up on every front just like a true sequel should. Condensing practically every sonic well the group have previously toe-dipped into one noxious bucket of hallucinogenic fluidity, the material here might make numerous nods to their metalcore and post-hardcore beginnings, but that's only to calm the trip with familiarity before being utterly doused in swathes of everything from pop-punk to trap, hyperpop, nightcore and even Anime music. Best described as "ADHD maximalism", the band and project make no qualms over its self-professed over-stuffed, chaotic, messy, obnoxious, overwhelming nature, though it's nearly impossible not to be impressed by the effortless fusions on display at every sonic turn. Their final work with longtime keyboardist/programmer/producer Jordan Fish, while offering a bevvy of dichotomous features from the likes of Aurora, Lil Uzi Vert, Underoath and Daryl Palumbo of Glassjaw and Head Automatica, the Post Human saga continues to rage through the mainstream and underground metal and punk circles like a coked-up unicorn, simply too farcical to be fucked with. Where the trip takes us on Part 3 is, for now, anyone's absurd guess.
In For The Kill/You Are The Biggest Thing Since Powdered Milk (6:28)
Love For You & Me (4:00)
Parents (9:17)
Breaking All The House Rules (7:25)
Breadfan (6:53)
Review: Welsh hard rock band Budgie never quite reached the highs of some of their peers by still did plenty for the evolution of their own particular musical niche. The were often said to be a blend of Rush's progressive styles and the more direct and dark heaviness of Black Sabbath. At the heart of the band was Burke Shelley's vocals - famous for their high-pitched banshee style - and despite being commercially unheralded, they have been mentioned as an influence by the likes of Iron Maiden, Van Halen and Queens of the Stone Age. This live show from LA in the late 70s catches them in electrifying form.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.