Back catalogue: Metal

Review: The brainchild of Olli-Pekka Laine (Amorphis, Barren Earth, Mannhai), Beyond The Aeons marks the debut full-length from psych-death-prog entity Octoploid. Rounding out the line-up with several long-time collaborators including vocalist Mikko Kotamaki (Swallow The Sun) and keyboardist Kim Rantala (formerly of Amorphis), the collective live up to their namesake by pulling from several eras of rock simultaneously with a sonic bedrock built upon 70s prog and psychedelia, 90s death and black metal, as well as the myriad Venn Diagram-like intersections where these styles have crossed paths over the decades. Equal parts King Crimson, Pink Floyd and Opeth, on their debut statement Octoploid deliver a fuzzy, bombastic ode to all things heaving, hypnotising, hefty and hallucinogenic.

Review: Born on the 17th of May 1988 and dying in October 1992, Old Funeral were one of the very first Norwegian extreme metal acts on record, before the second wave black metal wave would sweep through Scandinavia. Featuring members of later pioneering acts such as Abbath and Demonaz of Immortal, as well as Varg Vikernes (who would go on to become the one-man band Burzum and murderer of Mayhem's Euronymous), the Our Condolences collection collates every known recording the group ever made, showcasing the earlier chaotic maelstrom of blackened death-thrash experimentation retrospectively required before black metal as we know it today could arise. In traditionalist fashion, these recordings have been in no way remixed, remastered or touched up, this is straight from the original tapes cold, raw harshness in the exact same form it was delivered to unsuspecting listeners decades prior.

Review: Crafted over years, Rebirth encapsulates Old Gods Of Asgard's decades-spanning creativity as eminent collaborators with the video game industry. Over the years, the Old Gods have woven a tapestry of sound in conjunction with such indie titles as Alan Wake and Control, which now takes full retroactive form in this Greatest Hits record. A barrage of rock 'n' roll anthems that could grind rocks to dust and pulverize hotel rooms, the band's thunderous drumbeats and scorching guitar riffs ignite a fire within, while the vocals soar to celestial heights, invoking an undeniable euphoria. A numinous experience if we've ever heard one, this new Insomniac edition is a testament to the indomitable Odinist spirit of the Old Gods.

Review: Originally founded in 1982, Bristol thrash metal legends Onslaught are considered to be one of the UK's so-called "big four" along with Xentrix, Sabbat and Acid Reign, while their sophomore effort The Force from 1986 is often regarded as a worldwide, stone cold thrash classic. Originally inspired by frenetic hardcore punk acts such as The Exploited and Discharge, the band would eventually adopt a hardcore-shaped speed metal assault that would be perfected following the arrival of vocalist Sy Keeler, allowing Paul Mahoney who provided vocals on their 1985 debut Power From Hell to switch to bass duties. Keeler would depart following issues with the label regarding his performance on the band's follow up third record In Search Of Sanity, released in 1989, yet he would make a triumphant return with the rest of the members for the dawn of their new era on 2007's Killing Spree.

Review: Originally released in 2005 and celebrating its 20th anniversary, Ghost Reveries would serve as the eighth full-length from Swedish progressive metal legends Opeth. Following the 2002/2003 two-part project which showcased their most malevolent form on Deliverance and then a resolutely pleasant prog rock opus with Damnation, this follow up sought to rectify one side with the other; coalescing into a masterwork which simultaneously was regarded by longtime fans as a career height, whilst the expanded distribution from signing with major label Roadrunner opened them up to an entire new wave of unsuspecting ears. Marking their first album since 1999's Still Life to not be produced by Porcupine Tree's Steve Wilson, instead duties fell to Jens Bogren (Katatonia, At The Gates, Dimmu Borgir) who helped Mikael Akerfeldt and his cohorts to rediscover their death metal origins yet channelled through their more melancholic sensibilities. Boasting some of their most vital pieces from the epic 10-minute opener 'Ghost Of Perdition', to the even lengthier fan favourite 'Reverie/Harlequin Forest', as well as the equally adored 'The Grand Conjuration', the album has long since been held aloft as the perfect modern entry point to the world of Opeth. The project would also be the first to include keyboardist Per Wiberg as a "permanent" member while serving as their final endeavour to feature both drummer Martin Lopez and long-time guitarist Peter Lindgren.

Review: The third album from the Swedish prog-metal auteurs served as their first endeavour following the replacement of drummer Anders Nordin with Martin Lopez, while proving that their newfound departure into ethereal waters weaved around their reliable gothic death metal machinations was no mere one-off. Distinguishing itself from its seminal predecessor, Morningrise, by restricting all tracks to below the ten-minute mark (an accomplishment for a group notorious for their eschewing of brevity), the expansive tracklist which includes fan favourites such as 'Demon Of The Fall', would cement Opeth as leaders of a new artistic nuanced form of prog-death which they have continued to refine over the ensuing decades since.

Review: Originally released in 1999 and celebrating its 25th anniversary this year, Still Life served as the fourth full-length from Swedish progressive metal titans Opeth, while marking their first project with bassist Martin Mendez (the second-longest-serving member after primary songwriter Mikael Akerfeldt). Another concept album following on from 1998's predecessor My Arms, Your Hearse, the narrative details an anti-Christian sentiment of a man ostracised from his village due to a perceived lack of faith, only to return years later to be with his love. It's here where things turn very grim and complex, whilst the narrative is further bolstered by the compositional intricacies, weaving frosted Scandinavian death metal around lush prog-folk harmonies. Reissued on splattered vinyl and spread across a double LP set, the album remains a strong favourite across the devout Opeth camps of the world.

Review: Marking their first album in five years and follow up to 2019's criminally overlooked In Cauda Venenum, Swedish progressive death metal legends Opeth return with their fourteenth full-length The Last Will & Testament. Marking the return of vocalist/guitarist/primary songwriter Mikael Akerfeldt's signature death growls; the first project to feature the inhumane bellows since 2008's Watershed, the work is the band's first concept album since 1999's Still Life, with the narrative based around a wealthy, mysterious patriarch in the post-World War I era whose death leads his family to congregate at his estate to learn horrific secrets as his last will and testament is unveiled. Whilst retracing some of their gloomier, more macabre sonics, musically the compositions continue to embrace the 70's psychedelia of Heritage and Sorceress yet with a notable rediscovery of their harrowing, frosted death metal origins. Pressed on limited marbled 'rough seas' vinyl 2xLP..

Review: Originally released in 2011 as follow up to 2008's stellar career height Watershed, the tenth full-length from Swedish progressive death metal legends Opeth marked a notable turn, which the members had been desiring to take for some time. Heritage would be their first album since 2003's melancholic Damnation to completely eschew vocalist/guitarist/primary songwriter Mikael Akerfeldt's signature death growls, yet this decision wasn't so much in service of this one particular project as had been so in the past. Rather, this was the sign that the Scandinavian death metal elements of their core sound were ready to be laid to rest in favour of an embrace of the 70s prog rock the members grew up idolising. Drawing on the likes of Genesis, Yes and Rush, whilst allowing Akerfeldt's smooth cadence to lead the pieces, this is vintage, jazzy, complex yet undeniably groovy retro progressive rock of the classic era, complete with fuzzed out guitar lines, bizarre time signatures and an abundance of Hammond organ. Somewhat maligned by some of the fanbase while others lauded the brave and natural change in direction, this style would become the standard Opeth sonic aesthetic up until 2024's latest album The Last Will & Testament, which saw a return to their heavier death metal origins.

Review: Originally released in 2003 as the companion piece to the preceding year's equally acclaimed Deliverance, the seventh full-length from renowned Swedish progressive death metal auteurs, Opeth, would mark their first unashamed wade into the waters of retro prog-rock, whilst opting to eschew essentially all metallic machinations. Embracing primary songwriter Mikael Akerfeldt's lush clean vocals, while sonically delving into delicate atmospherics elevated by the prominent use of a mellotron, Damnation has grown in the two decades since its initial release to become a much lauded fan favourite, with many being able to appreciate the sharp turn the group took while noting the reflective balance contrasted against its much more macabre sister album. From the opening notes of essential cut 'Windowpane' onwards, you're pulled into a frosted world of depressive romanticism where the only way out is through. Celebrating its 20 year anniversary with a long overdue reissue, this is a work designed to be spun and absorbed in all its haunting majesty.

Review: Led by the incomparable Sami Albert "Witchfinder" Hynninen (Reverend Bizarre, The Puritan, The Candles Burning Blue), Opium Warlords are the lo-fi, sultry, genre-less playground where all of the sonic auteurs most insightful and bizarre predilections come to life. Described as an audible melting pot of "pussy techno, sludge, industrial pop, hardcore punk, drone, shamanistic pulse, noise, heavy metal, old school gothic rock and march music", Strength is the sixth full-length from the mysterious project which essentially guarantees from the outset that you're entering into an utter mess of ideas, yet reliably reigned into one cohesive vision. While compared to the oppressive gloom of 2020's Nembutal, the material here benefits from brighter synths and glossier production yet underpinned with a macabre and alienating dissection of Machiavellian and Nietzschean philosophies of strength and elitism. That's when the lyrics aren't directly pulled from the back of shampoo bottles. Confused? Good, that's the only requirement for entry

Review: Returning with their first album in six years, homegrown stoner/psych metal legends Orange Goblin follow up 2018's filthy The Wolf Bites Back with their tenth full-length LP Science, Not Fiction. The project marks the first of their tenure to not feature original bassist Martyn Millard, who amicably departed in 2020, with founding vocalist Ben Ward, guitarist Joe Hoare and drummer Chris Turner now joined by Harry Armstrong, making his on-record debut with the goblin, while their newly penned deal with reliably excellent metal imprint Peaceville, appears to have lit a major fire up their arse and in their belly, with a rejuvenated collection of bluesy, grooving, nasty bangers that see Ward let loose in quite the articulated manner his growing frustrations and concerns with an increasingly hostile and ugly world.

Review: Returning with their follow up to 2020's hallucinatory epic Mestarin Kynsi, Finnish psychedelic black metal collective Oranssi Pazuzu deliver their most cosmic, alien reimagining of the genre to date with their sixth full-length Muuntautuja. Expanding their sonic palette beyond the already pre-established forms of blackened psychedelia and prog the group have made their name from bastardising, this latest work channels glitching elements of downtempo and trip-hop, resulting in the type of lysergic horror one could only imagine if the likes of Portishead or Massive Attack decided to switch lanes to pursue and fully embrace black metal in all its macabre, dissonant glory.

Review: Following a successful, vital surgery, Ozzy has left little time to unveil details of his upcoming thirteenth studio album, and follow up to 2020's triumphant, 'Ordinary Man'. Later this year, we'll be introduced to the world of, 'Patient Number 9', which boasts a ludicrously impressive array of guest features from the likes of Zakk Wylde, Jeff Beck, Pearl Jam's Mike McCready, Chad Smith (Red Hot Chili Peppers), Robert Trujillo (Metallica), Duff McKagan (Guns N' Roses), Eric Clapton and the late, great Foo Fighters drummer Taylor Hawkins. Black Sabbath guitarist extraordinaire, Tony Iommi, shall also make his Ozzy solo album debut, which essentially everyone can agree, has been a long time coming. Utilizing his own approach to morality and legacy, the great grandfather of all things metal and malevolent appears eager to whisk us around his hallowed ground yet again.

Review: Ozzy Osbourne remains a rock behemoth. Number 9 is The Prince of Darkness's 11th solo studio album and one that finds the heavy metal singer and former Black Sabbath frontman in fine form after a big performance at the closing Ceremony of the Commonwealth Games in his native Birmingham recently. He has a big team of top collaborators along for the ride such as Jeff Beck, late Foo Fighters drummer Taylor Hawkins and Eric Clapton. It is his second solo album in two years and word is there is a new studio being built at his Grade II listed UK pile so expect much more to come.

Review: RECOMMENDED
You can almost feel Ozzy Osbourne's determination to prove critics wrong on his solo work from this era. Diary of a Madman was released in 1981, just three years after the Prince of Darkness was thrown out of Black Sabbath due to the extent of his drink and drug problems. It should go without saying you have to take things pretty far to wind up an evictee from one of heavy metal's most full-throttle outfits. Nevertheless, it happened, so by the time this record arrived there was a clear desire to show people that was a temporary setback.

At the same time, there's also an element of sending himself - and that reputation - up here, preempting the comic book caricature of Evil Ozzy we would come to recognise, and love, in later years. Musically, it's as it should be - atmospheric, eerie, and packed with the classical-leaning guitar work of the late, great Randy Rhoads. 3million copies sold and counting, say no more.

Review: Recorded in Montreal, Quebec in 1981 whilst touring his sophomore solo endeavour Diary Of A Madman, this live LP from the former/current/former (?) Black Sabbath frontman serves up an iconic slice of very-much-in-his-prime metallic rock mayhem. Featuring timeless staples such as 'I Don't Know', 'Crazy Train', 'Mr. Crowley', and even finishing with an electrifying cover of 'Paranoid' (greatly embellished by Ozzy's secret weapon throughout the 80s - guitar virtuoso Randy Rhodes), this LP serves as a high watermark live collection from the Prince of Darkness.