I think we should start this off by saying that this is not Slayer. It’s not meant to be Slayer and at the end of their 2019 run, some would say that the Slayer on stage wasn’t Slayer. There is also a lot of negative arrows being shot at Mr King, based on comments he’s made (or not made), his personae, and the fact that the announcement of some Slayer shows this year surfaced around the same time he was gearing up to release his solo album.
Considered by some to be a hack artist, constantly in the shadow of Jeff Hanneman his efforts are sometimes maligned and to be honest I think treated unfairly. Was Repentless a storming album? No, it was patchy, but it was the only Slayer you were getting. Like AC/DC you know what you are going to get the minute you press play, and they are not going all out to win new fans.
So, to recap I’m reviewing this purely on the strength of the music within. I’m not comparing it to Slayer, because it isn’t. However, I’m sure that if there is something that sounds like them, I’ll have to mention that. King himself has said that some of this material was around in one form or another around the Repentless era. Also, if you have been writing music for one band for the last 40 years then that style will undoubtedly bleed into whatever music you are writing. So, I assume that if you weren’t fond of that album, then you might not find a lot to like here.
And to avoid any doubt, those wishing to read a hatchet job might as well look elsewhere. I’m sure there will be plenty of that online.
Ok, here we go.
Diablo is the kick-off track. Its instrumental and I’m beginning to detest these because everyone is doing them. I’m not sure they offer anything apart from announcing that the show is about to begin. Where I Reign on the other hand comes screaming in, breakneck pace with Mark Osegueda in full flight. Lead breaks are right where they should be, and Paul Bostaph is playing with an energy that surprises me. It is exactly the sort of song you want to be starting things off, a statement of intent that there is still a fire there.
Geezer/Isaak – Interstellar Cosmic Blues & Riffalicious Stoner Dudes (Heavy Psych Sounds) [Paul Scoble]
Heavy Psych Sounds are a great label, particularly when they put two great bands like Geezer and Isaak together to make a split release. The two Doom bands, with different but complimentary sounds, have produced a split (as it’s got seven songs on it and comes in at thirty-six minutes I’m not sure if this is a split album or EP, I’ll just refer to it as a split) featuring four songs from Geezer and three from Isaak.
Geezer have been making music together since 2010 and in that time have made six albums, the last one being 2022’s Stoned Blues Machine. Geezer are made up of Pat Harrington on Guitar and Vocals, Richie Touseull on Bass Guitar and Steve Markota on Drums and Percussion.
Isaak have been around since 2007, from then until 2012 they went under the moniker Gandhi’s Gunn, but have only released material as Isaak, as their first album The Longer The Beard, The Harder The Sound was released in 2013. The band have released two albums since their debut, the last being Hey in 2023. Isaak are made up of Davide Foccis on Drums, Francesco Raimondi on Guitars, Giacomo H. Boeddu on Vocals and Gabriele Carta on Bass.
The Geezer material has a great bluesy stoner feel to it. Opening song Acid Veins is mid-paced Stoner Doom that switches between driving and purposeful and bigger, more expansive riffs, the song also boasts some great melodic Guitar solos. Next is Little Voices which is slower and more relaxed than the song that preceded it, again there is a tuneful solo, and a great head-nodding tempo. Mercury Rising is a great piece of Stoner Rock with a wonderful bounce to the tempo, it also has a great chorus that will get stuck in your head. Geezers side of the split comes to an end with the song Oneirophrenia, a tout and measured stoner song with a purposeful chorus and as with all the Geezer tracks, lots of melody.
So, to recap I’m reviewing this purely on the strength of the music within. I’m not comparing it to Slayer, because it isn’t. However, I’m sure that if there is something that sounds like them, I’ll have to mention that. King himself has said that some of this material was around in one form or another around the Repentless era. Also, if you have been writing music for one band for the last 40 years then that style will undoubtedly bleed into whatever music you are writing. So, I assume that if you weren’t fond of that album, then you might not find a lot to like here.
And to avoid any doubt, those wishing to read a hatchet job might as well look elsewhere. I’m sure there will be plenty of that online.
Ok, here we go.
Diablo is the kick-off track. Its instrumental and I’m beginning to detest these because everyone is doing them. I’m not sure they offer anything apart from announcing that the show is about to begin. Where I Reign on the other hand comes screaming in, breakneck pace with Mark Osegueda in full flight. Lead breaks are right where they should be, and Paul Bostaph is playing with an energy that surprises me. It is exactly the sort of song you want to be starting things off, a statement of intent that there is still a fire there.
If the riffs play up to his stereotype, then so be it because it flies. The lead breaks are frenzied, and I expected nothing less. Residue backs off, occupying that mid-pace chug but here the vocals carry the song as they are delivered with venom, As riffs go it’s perfectly adequate but with the vocals and drums being so prominent, they make it sound better. Idle Hands, mixes in punk with a delivery that is spat like bullets. So far so good.
Idle Hands brings more of that riff build that was used on Residue, so much so that the pair could be almost the same song. There is a nifty little pre-solo break, but again it’s the vocals that rule here. Trophies Of The Tyrant has some great lead breaks, a King™ melody line, and a solo rhythm that can be described as simple. Having reached halfway one thing is apparent. There are a lot of great moments, but they don’t translate into great songs.
Second half, Let’s go.
Crucifixation starts off at a pelt and stays there. There is some class drumming from Bostaph, not overtly flashy but embellished with enough touches that you would expect from him. An elongated melody break feels overlong, but as it descends into a manic solo it picks up once more which is always welcome because if you have nowhere to go, go berserk with a whammy bar. Tension has that slow, measure to it but again doesn’t offer anything and feels as though we are in the filler zone.
Idle Hands brings more of that riff build that was used on Residue, so much so that the pair could be almost the same song. There is a nifty little pre-solo break, but again it’s the vocals that rule here. Trophies Of The Tyrant has some great lead breaks, a King™ melody line, and a solo rhythm that can be described as simple. Having reached halfway one thing is apparent. There are a lot of great moments, but they don’t translate into great songs.
Second half, Let’s go.
Crucifixation starts off at a pelt and stays there. There is some class drumming from Bostaph, not overtly flashy but embellished with enough touches that you would expect from him. An elongated melody break feels overlong, but as it descends into a manic solo it picks up once more which is always welcome because if you have nowhere to go, go berserk with a whammy bar. Tension has that slow, measure to it but again doesn’t offer anything and feels as though we are in the filler zone.
It makes Everything I Hate About You hit so much better. Of all the songs I’ve heard so far this reminds me of about three different Slayer songs but is a quick blast through and over quickly. Toxic is a straightforward, heads down stomper and works really well because of that. It’s not trying to be anything other than a meat and potatoes track but its better than Tension by a mile. Two Fists has an almost hard rock riff build to it and is fighting with Toxic for the song I hate the most so far.
What did I say about a hatchet job?
Luckily, Rage comes in and gives the album the necessary kick in the arse. Mark’s vocals are spot on here, full of energy like he’s determined to drag the material kicking and screaming into something you want to hear again. This is what has been required, quick, nasty, and to the point. Shrapnel does enough to keep you engaged, but it needed to be faster to keep that momentum in place that had been built up by Rage. Its not a bad track by any means, but it could have been shifted earlier in the pack so that the final duo could have been a proper blitzkrieg.
Final track is From Hell I Rise and closes the album in a similar style to Rage. It had to finish with an attack like this, fairly rapid with suitably mental lead breaks. This is what this album should have been like, it’s what I expected it to be like and I wish It was like that. Its compact, quick and does what it needs to do.
In all honesty, this could have done with some ruthless attention. There are two, probably three songs that should have been cut from the final selection. Track placing also plays a part in reducing the effect that the good songs have and the final three should have been switched, so that the pace could increase and really give the album a decent close.
What did I say about a hatchet job?
Luckily, Rage comes in and gives the album the necessary kick in the arse. Mark’s vocals are spot on here, full of energy like he’s determined to drag the material kicking and screaming into something you want to hear again. This is what has been required, quick, nasty, and to the point. Shrapnel does enough to keep you engaged, but it needed to be faster to keep that momentum in place that had been built up by Rage. Its not a bad track by any means, but it could have been shifted earlier in the pack so that the final duo could have been a proper blitzkrieg.
Final track is From Hell I Rise and closes the album in a similar style to Rage. It had to finish with an attack like this, fairly rapid with suitably mental lead breaks. This is what this album should have been like, it’s what I expected it to be like and I wish It was like that. Its compact, quick and does what it needs to do.
In all honesty, this could have done with some ruthless attention. There are two, probably three songs that should have been cut from the final selection. Track placing also plays a part in reducing the effect that the good songs have and the final three should have been switched, so that the pace could increase and really give the album a decent close.
I keep mentioning Mark’s vocals, but they are the MVP here. He attacks each song like his life depends on it, there is nothing half-hearted or tired in his delivery. Same for Paul Bostaph. He is playing with an energy that I didn’t think he had and puts a shift in here. Between them, they do their best to elevate the music. Riff-wise, we know there is a million memes about 000-111-000-112211-000 and there is nothing here that will change it. They do what they need to do, and with that From Hell I Rise gets a 7/10
Pain - I Am (Nuclear Blast) [Richard Oliver]
After an eight year absence, Peter Tägtgren returns to his “hobby” project Pain for the ninth album I Am. Peter has certainly kept himself busy in the last eight years recording another album with Till Lindemann of Rammstein, a new Hypocrisy album and the resultant touring and an album with Joe Lynn Turner. Pain has never left Peter’s mind though and the overwhelming reaction to the 2021 single Party In My Head gave the album writing process an explosive start.
One thing that is definitely certain is that I Am is definitely a nod to the Pain of old. Previous album Coming Home was a great listen but saw Peter exploring some different sounds and was a more experimental Pain album. I Am certainly explores some different musical avenues but this has far more in common with albums such as Rebirth, Nothing Remains The Same and Dancing With The Dead with heavy, anthemic and downright catchy tunes which perfectly mesh metal and industrial sounds such as I Just Dropped By, The New Norm and Revolution.
Pain - I Am (Nuclear Blast) [Richard Oliver]
After an eight year absence, Peter Tägtgren returns to his “hobby” project Pain for the ninth album I Am. Peter has certainly kept himself busy in the last eight years recording another album with Till Lindemann of Rammstein, a new Hypocrisy album and the resultant touring and an album with Joe Lynn Turner. Pain has never left Peter’s mind though and the overwhelming reaction to the 2021 single Party In My Head gave the album writing process an explosive start.
One thing that is definitely certain is that I Am is definitely a nod to the Pain of old. Previous album Coming Home was a great listen but saw Peter exploring some different sounds and was a more experimental Pain album. I Am certainly explores some different musical avenues but this has far more in common with albums such as Rebirth, Nothing Remains The Same and Dancing With The Dead with heavy, anthemic and downright catchy tunes which perfectly mesh metal and industrial sounds such as I Just Dropped By, The New Norm and Revolution.
There is a greater emphasis on electronic and industrial sounds this time round with the 80’s goth aesthetics of Go With The Flow being a particular highlight and the darkwave teasing's of Not For Sale. The title track introduces a darker and melancholic tone which also really shows itself on sombre album closer Fair Game. Party In My Head makes an appearance on the album after its 2021 single release and it is a clear highlight being one of the most dangerously catchy songs that Pain have released.
As with the previous Pain albums, all music is performed by Peter Tägtgren though this one is a bit more of a family affair with Peter’s son Sebastian (also the live drummer for the band) contributing some writing credits. I Am is an album that is definitely going to go down well with the Pain fanbase. For those that were not keen on the experimental nature of Coming Home this album is Pain doing what they do best and firing on all cylinders. After an eight year gap between albums, Pain sound truly invigorated and energised and it sounds like Peter has had an absolute blast writing and recording this album as the energy of it is infectious. 8/10
As with the previous Pain albums, all music is performed by Peter Tägtgren though this one is a bit more of a family affair with Peter’s son Sebastian (also the live drummer for the band) contributing some writing credits. I Am is an album that is definitely going to go down well with the Pain fanbase. For those that were not keen on the experimental nature of Coming Home this album is Pain doing what they do best and firing on all cylinders. After an eight year gap between albums, Pain sound truly invigorated and energised and it sounds like Peter has had an absolute blast writing and recording this album as the energy of it is infectious. 8/10
Geezer/Isaak – Interstellar Cosmic Blues & Riffalicious Stoner Dudes (Heavy Psych Sounds) [Paul Scoble]
Heavy Psych Sounds are a great label, particularly when they put two great bands like Geezer and Isaak together to make a split release. The two Doom bands, with different but complimentary sounds, have produced a split (as it’s got seven songs on it and comes in at thirty-six minutes I’m not sure if this is a split album or EP, I’ll just refer to it as a split) featuring four songs from Geezer and three from Isaak.
Geezer have been making music together since 2010 and in that time have made six albums, the last one being 2022’s Stoned Blues Machine. Geezer are made up of Pat Harrington on Guitar and Vocals, Richie Touseull on Bass Guitar and Steve Markota on Drums and Percussion.
Isaak have been around since 2007, from then until 2012 they went under the moniker Gandhi’s Gunn, but have only released material as Isaak, as their first album The Longer The Beard, The Harder The Sound was released in 2013. The band have released two albums since their debut, the last being Hey in 2023. Isaak are made up of Davide Foccis on Drums, Francesco Raimondi on Guitars, Giacomo H. Boeddu on Vocals and Gabriele Carta on Bass.
The Geezer material has a great bluesy stoner feel to it. Opening song Acid Veins is mid-paced Stoner Doom that switches between driving and purposeful and bigger, more expansive riffs, the song also boasts some great melodic Guitar solos. Next is Little Voices which is slower and more relaxed than the song that preceded it, again there is a tuneful solo, and a great head-nodding tempo. Mercury Rising is a great piece of Stoner Rock with a wonderful bounce to the tempo, it also has a great chorus that will get stuck in your head. Geezers side of the split comes to an end with the song Oneirophrenia, a tout and measured stoner song with a purposeful chorus and as with all the Geezer tracks, lots of melody.
The three Isaak tracks have a more aggressive, sludgy feel to them. The Whale, which features a guest performance from Fabio Cuomo from Gotho and Liquido Di Morte, is a fast and aggressive track with a Hardcore edge to it, in places it reminds me of High On Fire’s more extreme material. Despite all the aggressiveness the song also has lots of melody, particularly in the second half of the song. Next we get Crisis, featuring Fabio Palomba from Nerve and Burn The Ocean. Crisis is slower than The Whale with a relentless feel it, the song gets more aggressive and sludgier in the second half. The final Isaak song and final song on the split is Flat Earth featuring Levre from Ufomammut, a big Doomy track that is full of melody and builds in intensity as the song develops.
Interstellar Cosmic Blues & Rifferlicious Stoner Dudes is a cracking split. All the material is very good, and the two bands styles complement each other very well. If I had to choose I prefer the Geezer material as I’m more into that style of Doom, but that is just my personal taste, the quality on this split is very high throughout. Another great split from Heavy Psych Sounds! 8/10
Zombeast - Heart Of Darkness (Massacre Records) [James Jackson]
Well this one took me by surprise, proving that you really can’t judge a book by its (Necronomicon style) cover. Heart Of Darkness is Zombeast’s second full length album and with a name like that and the accompanying blood soaked artwork, I fully expected to be heading into Death Metal territory but instead found a Horror inspired Punk Rock outfit in a similar vein to The Misfits.
Interstellar Cosmic Blues & Rifferlicious Stoner Dudes is a cracking split. All the material is very good, and the two bands styles complement each other very well. If I had to choose I prefer the Geezer material as I’m more into that style of Doom, but that is just my personal taste, the quality on this split is very high throughout. Another great split from Heavy Psych Sounds! 8/10
Zombeast - Heart Of Darkness (Massacre Records) [James Jackson]
Well this one took me by surprise, proving that you really can’t judge a book by its (Necronomicon style) cover. Heart Of Darkness is Zombeast’s second full length album and with a name like that and the accompanying blood soaked artwork, I fully expected to be heading into Death Metal territory but instead found a Horror inspired Punk Rock outfit in a similar vein to The Misfits.
Covering such Horror conventions as werewolves, in Call Of The Wild with its obligatory chant of "Die, Die, Die" soul sucking demons and serial killers; Zombeast have everything covered thematically, even including a track dedicated to necrophilia. Whilst I am finding the vocal delivery a bit hard to understand at times, that drawl a little muffled, the overall performance is pretty good, all of the “whoa’s” are in the right place and the melodies catchy.
There are moments which are almost Thrash like, thrown into the mix of Punk Rock which amps up the sound without it becoming too frenetic and for an album that is had initial doubts upon its fast becoming something that will be played again. My experience of Horror Punk acts is limited to the more commercially available Wednesday 13, Frankenstein Drag Queens and Murderdolls, Zombeast are a band that, based on this album, I’m keen to explore a bit more. 8/10
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