I spend many column inches on here and elsewhere waxing about the golden age of thrash in the 80’s. Most of that reiterates the point that there’s a sliding scale for bands of a certain age, where it seemed an impossible feat to pull off recordings that delivered energy and enthusiasm and decent production values at the same time. They would start with the former, with low budget hastily recorded and cheaply engineered belters, containing great songs but sounded poor production wise. As time and success came, so did more time and production values, but along the way the zeitgeist enabled by urgency of speed got lost. Then it all went out of fashion for a couple of decades, but 80’s influenced Thrash is back in a big way as part of the overall nostalgia fest currently surrounding the whole period.
So now I find myself listening to an act that has got the balance right on their debut. To be fair it’s technically a lot easier in the modern age, what with almost everyone having access to decent kit, software and the luxury of home working to polish things a bit. Even so, bands sometimes miss the point and waste time trying to recreate crap analogue hardware sounds, rather than realising that it was the energy driven by urgency that was the vital piece of the jigsaw. Not so Misfire, who have absolutely built that energetic pace of working into their recording processes, whilst simultaneously bringing the polish and mix-mastering techniques of the modern world.
Musically this is straight out of 80’s heyday thrash, with plenty that anyone who grew up on a diet of Slayer, Sodom and Death Angel in particular is going to appreciate. From the ponderous opening bars of Fractured, this Chicago-based three piece set a weight and gravitas of a much more experienced act. It’s heavy as a brontosaurus, but notches up the pace within a minute to turn into a brutal assault of technically blistering riffage.
The first thing that grabs me is the sheer technical talent behind this band, and delivered whilst remaining thoroughly accessible. Splitting vocal duties between guitarist Jay Johnson and bassist Sean Coogan, vocally they’re both flying at full pelt that sets an unforgivable momentum and pace, and the fact that their also playing all the blisteringly shredded guitar parts and technically insane bass parts as well is highly impressive. Not that the drum section of the band (James Nicademus) is any less technically accomplished, producing a pile-driving rhythm and brutality. It’s fantastic stuff, with arrangements as tight as the playing and not an ounce of padding, with fantastic production values – all the more noteworthy as these have also been engineered by Coogan. This is how Thrash should be done. Blistering, unforgiving, honest and energetic as fuck and I am really curious to see how they pull it off live. 9/10
The Hellacopters - Eyes Of Oblivion (Nuclear Blast) [David Karpel]
This album kicks ass. New sounds from The Hellacopters call for clear descriptors and room to dance. Gather your crew, clear some space, pour shots, and shoot’em down your gullets. Now turn this on and turn it up. This is a party. You won’t be able to sit down, none of you. You won’t want to. You will dance like nobody’s watching (BTW, nobody’s watching). You will. I promise. Watch. And listen, of course. Even if you don’t usually dance, YOU WILL DANCE.
You might think fourteen years between albums is a long time, especially when the last one was supposed to be the last one. And it is a long time. But here’s the thing, The Hellacopters don’t merely pick up from where they left off. See here, reader, this band has never sounded better. Nicke Andersson’s vocals have taken on a suddenly essential rugged quality that recalls the rugged vocals of Dan McCafferty of Nazareth and some of the smokier Axl Rose. The tunes are catchy, melodic, high energy rockers that capture a band super confident in the power of their sweat-inducing riffage.
Reap A Hurricane strums open with feedback before the drums surge. Commanding all of your muscle groups to move, the energy is high, the chorus is infectiously catchy, and Nike Andersson reminds you what it means to sing your heart out. Meanwhile, the keys keep us rooted in rock and roll hooks and glory. Can It Wait gifts us with hearty harmonies, tambourines, another memorable chorus, and all in two minutes of yearning needs. Punchdrunk barroom blues swing with such heart in So Sorry I Could Die you can’t help but utterly believe it to be true. The title track follows with a hook-laden guitar lead that blossoms into a rocker showing the band once again fully realized with thunderous bottoms, keys lifting the melodies, and harmonies through the chorus that you’ll be singing long after the song is done.
The Hellacopters - Eyes Of Oblivion (Nuclear Blast) [David Karpel]
This album kicks ass. New sounds from The Hellacopters call for clear descriptors and room to dance. Gather your crew, clear some space, pour shots, and shoot’em down your gullets. Now turn this on and turn it up. This is a party. You won’t be able to sit down, none of you. You won’t want to. You will dance like nobody’s watching (BTW, nobody’s watching). You will. I promise. Watch. And listen, of course. Even if you don’t usually dance, YOU WILL DANCE.
You might think fourteen years between albums is a long time, especially when the last one was supposed to be the last one. And it is a long time. But here’s the thing, The Hellacopters don’t merely pick up from where they left off. See here, reader, this band has never sounded better. Nicke Andersson’s vocals have taken on a suddenly essential rugged quality that recalls the rugged vocals of Dan McCafferty of Nazareth and some of the smokier Axl Rose. The tunes are catchy, melodic, high energy rockers that capture a band super confident in the power of their sweat-inducing riffage.
Reap A Hurricane strums open with feedback before the drums surge. Commanding all of your muscle groups to move, the energy is high, the chorus is infectiously catchy, and Nike Andersson reminds you what it means to sing your heart out. Meanwhile, the keys keep us rooted in rock and roll hooks and glory. Can It Wait gifts us with hearty harmonies, tambourines, another memorable chorus, and all in two minutes of yearning needs. Punchdrunk barroom blues swing with such heart in So Sorry I Could Die you can’t help but utterly believe it to be true. The title track follows with a hook-laden guitar lead that blossoms into a rocker showing the band once again fully realized with thunderous bottoms, keys lifting the melodies, and harmonies through the chorus that you’ll be singing long after the song is done.
While it goes quick, there isn’t a weak spot on the album. A Plow And A Doctor is a romp through a wicked trip, while Positively Not Knowing is an uptempo ripper in which the keys warmly undergird the choruses and solos. Tin Foil Soldiers gives a nod to the Bay City Rollers, while Beguiled recalls the gruffer punk of Husker Du. The Pressure’s On reminds us “we’re all gonna die” so that “from the cradle to the grave, the pressure’s on” and this seems to encapsulate the record as a whole, the feeling exuded throughout these songs. There’s a sense of undeniable urgency and confidence here.
Try Me Tonight closes this album on the perfect upbeat, sleazy hip shaker that recalls the famed Sunset Strip when it hosted bands like L.A. Guns and Faster Pussycat in the 80s. While clocking in at only around a half hour, Eyes Of Oblivion captures something special, a raw, live sound, a revival and perhaps a rebirth – a band coming together like a full heart ready to burst. 10/10
Mors Principium Est - Liberate The Unborn Inhumanity (AFM Records) [Richard Oliver]
Mors Principium Est are a melodic death metal band from Finland who formed in 1999 and have several excellent albums to their name. Previous album Seven released in 2020 was a duo effort between vocalist and original member Ville Viljanen and multi-instrumentalist Andy Gillion but after the two had a very public falling out and Andy was removed from the band, many wondered what the future held for Mors Principium Est. Long term fans of the band can be happy and rejoice in the fact that not only is the band a full unit once again but several former and some original members of the band have rejoined including guitarists Jarkko Kokko and Jori Haukio and bassist Teemu Heinola. The only fresh blood in this new era of Mors Principium Est is drummer Marko Tommila who makes his debut with the band here.
Mors Principium Est - Liberate The Unborn Inhumanity (AFM Records) [Richard Oliver]
Mors Principium Est are a melodic death metal band from Finland who formed in 1999 and have several excellent albums to their name. Previous album Seven released in 2020 was a duo effort between vocalist and original member Ville Viljanen and multi-instrumentalist Andy Gillion but after the two had a very public falling out and Andy was removed from the band, many wondered what the future held for Mors Principium Est. Long term fans of the band can be happy and rejoice in the fact that not only is the band a full unit once again but several former and some original members of the band have rejoined including guitarists Jarkko Kokko and Jori Haukio and bassist Teemu Heinola. The only fresh blood in this new era of Mors Principium Est is drummer Marko Tommila who makes his debut with the band here.
To commemorate the return of so many original members of the band, Mors Principium Est have released an album of re-recordings with material drawn from their first three albums Inhumanity, The Unborn and Liberation/Termination with the title of this album of re-recordings drawing from the three original album titles Liberate The Unborn Inhumanity. I am very fond of these early Mors Principium Est albums so there was a certain amount of trepidation approaching these re-recordings but the material is very much done justice. There are a few tweaks here and there and the material is afforded a much improved production and mix than the originals were afforded. These old songs are very much given a new lease of life with songs such as Cleansing Rain, The Unborn, Finality, Pure and Life In Black sounding absolutely fantastic.
For the real hardcore fan there is even re-recordings of material from the bands 2001 demo with Valley Of Sacrifice Part 1 and Part 2 given a 2022 overhaul and being the definite highlights on the album. Whilst re-recordings can be a contentious issue with a bands fandom this album does the material justice and seeks to be slightly enhanced versions of these songs rather than replacements for the originals. If you really despise the idea of a re-recording then the original albums are still there for you to enjoy. If you have never heard Mors Principium Est and their fantastic take on Finnish melodic death metal then this album is an excellent introduction to the band with material drawn from what I see to be the band's best albums. 8/10
Angel Nation – Antares (Inner Wound Recordings) [Matt Cook]
Elina Siirala belongs in the Symphonic Metal scene. The Finnish soprano has a bachelor’s degree in classical singing and has also studied contemporary vocals. She’s been fronting Leaves’ Eyes since 2016 and is also the founding member of Angel Nation (in addition to the keyboardist).
In other words, this isn’t her first rodeo. And with a voice like hers, it only makes sense to be involved with multiple bands.
Antares, the follow-up to 2017’s Aeon is yet another showcase of symphonic beauty and grace. And it’s not only a demonstration of Siirala’s talent. George Stergiou has composed first-rate riffs to complement the vocals, while bassist Julia B. Cadau effectively hums in the background to help provide a clean and impressive atmosphere. And though all four members have joined at different times throughout the band’s run (Drummer Lucas Williamson rounds out the group), every musician has had at least one gig prior to coming on board. Antares begins with a galloping riff and a shredded solo (Seraph) and is followed up by We Are Fire, giving credence to Siirala’s capability of nailing those high notes.
But as artistic as the four piece is, it’s difficult for the album to keep my attention. Out Of Sight, Out Of Mind seems to incorporate Viking-themed lyrics (in the same vein as Leaves’ Eyes) and End Of Innocence is tinged with balladic vibes. Though there isn’t a whole lot to latch onto in the way of hooks or memorable lines. Less “this album is low-quality” and more “I don’t feel like I can really connect with any one song.” Maybe it’s the fact the group is split between Germany and London, or the possible lack of chemistry. It’s Symphonic Metal through and through, but it doesn’t explode out of the speakers in a way that grabs hold of you and forces an immediate replay. 7/10
King Mountain - Tempest At The Gates (Grooveyard Records) [Matt Bladen]
Oh yeah. There's always a part of my brain that gets excited when I hear fat, blues riffs through a tube amp, played with in the slower stoner/proto-metal style. King Mountain play this kind of style and yes my synapses started firing and those endorphins began rushing through my body as soon as the strutting riff of Soul Sacrifice got this new record from the Athenian band going. From what I can see this is the fifth album from King Mountain and yes it's meat and potatoes, simple riff, chorus, soloing all wrapped up in a bluesy doom/stoner bow, but it's entertaining and make your head want to bang.
Oh yeah. There's always a part of my brain that gets excited when I hear fat, blues riffs through a tube amp, played with in the slower stoner/proto-metal style. King Mountain play this kind of style and yes my synapses started firing and those endorphins began rushing through my body as soon as the strutting riff of Soul Sacrifice got this new record from the Athenian band going. From what I can see this is the fifth album from King Mountain and yes it's meat and potatoes, simple riff, chorus, soloing all wrapped up in a bluesy doom/stoner bow, but it's entertaining and make your head want to bang.
King Mountain is another project from Stavros Papadopoulos who also is the creative force behind Revolution Highway and Super Vintage. Here he takes guitars and vocals, playing a more distorted style than in his other bands which lean heavily on Hendrix et al. King Mountain owes more to bands such as Spiritual Beggars, Fireball Ministry, Monster Magnet and even Karma To Burn. King Of The Mountain especially having that smoky Southern blues meeting big Sabbathian riffs.
Stavros' vocals especially whiskey soaked here while his guitar playing is sublime throughout, the backing and are no slouches either. A tight knit unit that knock out these grooves together. You can digest all sorts of styles when you're a music fan/journalist but sometimes you just need a bit of tasty riffage to ease yourself into a good mood. Tempest At The Gates is good mood music, ideal for sunny days and good friends. 8/10
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