Testament - Practice What You Preach Remastered (Nuclear Blast) [Simon Black]
There’s a saying that you can’t improve on perfection, but there’s certainly no harm in trying. It’s worrying how old I now feel considering I first bought this album when it was originally released in 1989 at the tender age of Nineteen.
Thirty-seven years later and still their best record in my ageing opinion, in fact it’s probably still my favourite Thrash album, nay probably one of my top albums of all time, so many spins has it had over the intervening decades. The band themselves have never taken their foot off the gas, recording and touring with a relentlessly consistent quality of both studio and stage output that at least makes me still feel the touches of youth when we meet, arthritis notwithstanding. But you never forget your first time…
The challenge with Practice What You Preach always however was that although the material remains amongst their best, the original recording suffered from the same challenge many Thrash acts of the time had – having to record rapidly and cheaply, as despite being on a major label at the time, they would not have been treated as lavishly with production budget than some of their label mates.
The challenge with Practice What You Preach always however was that although the material remains amongst their best, the original recording suffered from the same challenge many Thrash acts of the time had – having to record rapidly and cheaply, as despite being on a major label at the time, they would not have been treated as lavishly with production budget than some of their label mates.
That said it was always well mixed, allowing clarity of all the players across the mix, but some of the actual recording suffered from the analogue blues back in 1989. Louie Clemente’s drums in particular suffer harshly in the original. The crisp punchy sound they have, bass included comes across as tinny and overly sharp, and you couldn’t hear Greg Christian’s bass is getting much the same treatment as poor old Jason Newstead was elsewhere in the Bay area.
So how does this version stand up?
Well in many ways there’s only so much that can be done, given that they are still using the original source master tapes. What hit the tape from the mikes and cables is what they have to work with given they’ve not attempted to redub or change a note or performance, but the end results overall is a far fatter and richer sound, closer to what you get live. The drums still come across sharply, although much more rounded this time round, but at least I can not only hear the bass, but feel it to.
So how does this version stand up?
Well in many ways there’s only so much that can be done, given that they are still using the original source master tapes. What hit the tape from the mikes and cables is what they have to work with given they’ve not attempted to redub or change a note or performance, but the end results overall is a far fatter and richer sound, closer to what you get live. The drums still come across sharply, although much more rounded this time round, but at least I can not only hear the bass, but feel it to.
So can my neighbours, because this version can be played loud without sounding too trebly. Chuck Billy’s vocals however really come to the fore here in a way they did not first-time round, allowing us to hear what a rich and subtle performance was going on back then, whereas in the past the power and charisma were what had dominated. It’s as big a jump as finding out that for the last three decades you had been playing their albums with only one speaker plugged in.
Musically this remains their high-water mark, and hearing this fattened-up version really takes me back in time and finally means that I’m getting a nice sound out of the ridiculous amount of money I’ve spent on sound systems for what remains one of my absolute favourite records. 10/10
Bound In Fear - A Mind Too Sick To Heal (Unique Leader Records ) [Adz Redpath]
Formed in 2016 Bound In Fear hail from Farnham, Surrey in England and clearly have a hunger and drive that is to be commended within the UK scene right now, garnering them a support slot with the mighty Tony Danza Tap Dance Extravaganza this coming august and an Australian tour prior to that .
Musically this remains their high-water mark, and hearing this fattened-up version really takes me back in time and finally means that I’m getting a nice sound out of the ridiculous amount of money I’ve spent on sound systems for what remains one of my absolute favourite records. 10/10
Bound In Fear - A Mind Too Sick To Heal (Unique Leader Records ) [Adz Redpath]
Formed in 2016 Bound In Fear hail from Farnham, Surrey in England and clearly have a hunger and drive that is to be commended within the UK scene right now, garnering them a support slot with the mighty Tony Danza Tap Dance Extravaganza this coming august and an Australian tour prior to that .
Leaving behind the more tech based roots from their earlier work they are clearly hitting the current trend of Deathcore/Slam with a vengeance on this their debut release through Unique Leader Records, getting signed to such a prestigious label is no mean feat these days and shows just how driven and talented they are as a group and that a huge potential is shining through here.
Vocalist Ben Mason's work here is up front and captures the ear primarily within a hard hitting mix that lends itself to the scene with an undeniable brutality that I personally love. The album flows well with tracks like Chasm and Scum hitting the way a slam crowd will truly devour live with stank face to the fore, the guitars and drums hammer and have the impact you would expect although there are caveats here, the production is compressed to a high level and feels like the master volume was turned too high up and the gain staging was ignored.
This results in a sound that unfortunately is lacking in separation and at high volume turns into a bit of a muddied noise which is surprising given the clear talent on display here, whether this was due to band involvement in the mixing process I'm unsure but it is consistent throughout and absolutely undeniable when the usual slam sub drops hit and everything else is washed out.
Vocalist Ben Mason's work here is up front and captures the ear primarily within a hard hitting mix that lends itself to the scene with an undeniable brutality that I personally love. The album flows well with tracks like Chasm and Scum hitting the way a slam crowd will truly devour live with stank face to the fore, the guitars and drums hammer and have the impact you would expect although there are caveats here, the production is compressed to a high level and feels like the master volume was turned too high up and the gain staging was ignored.
This results in a sound that unfortunately is lacking in separation and at high volume turns into a bit of a muddied noise which is surprising given the clear talent on display here, whether this was due to band involvement in the mixing process I'm unsure but it is consistent throughout and absolutely undeniable when the usual slam sub drops hit and everything else is washed out.
Also an album cover that genuinely seems out of place when hearing the potential on offer here, the first thing many see is a cover and it shouldn't be overlooked especially as it is hung on the screen throughout most streaming platforms, this looks a little underwhelming to say the least especially when put alongside such a high standard of music.
For any negatives this is too strong a release to deny it your time and puts the band as a clear frontrunner in the UK Deathcore and Slam scene and with the potential to push them all the way. There are definite high points here which are easily heard in tracks like Soul Casket with its brutal and unrelenting attitude and killer riffage and Lurking which in particular has a clear voice of its own and feels like a breath of fresh air at the end of a very strong album overall.
For any negatives this is too strong a release to deny it your time and puts the band as a clear frontrunner in the UK Deathcore and Slam scene and with the potential to push them all the way. There are definite high points here which are easily heard in tracks like Soul Casket with its brutal and unrelenting attitude and killer riffage and Lurking which in particular has a clear voice of its own and feels like a breath of fresh air at the end of a very strong album overall.
The production is the only part that really lets this release down here and hampers the listener a touch but shouldn't detract from a band that has an incredibly promising future, if they can lean harder into their own sound they may be a name you hear a lot more of in future.
The musicianship is high and the future for a band like this is bright in my eyes scattering interludes and intros throughout giving a personality and character that I truly hope flourishes and does deserve a good listen especially to fans of everything from Spite to Peeling Flesh, Loathe and Snuffed On Sight, this album fits alongside these names comfortably and I hope gives a foundation that they can build on and allows them to keep growing more and more, given their foothold in the industry the only way is up and I personally will be keeping a close eye on these guys and see a bright future ahead. 6/10
Dark Millennium - Come (Massacre Records) [Mark Young]
So what is avant garde metal, specifically avant garde death metal? No idea, but from my perspective it boils down to a simple question of:
Does it rock? Is it exciting, a visceral representative of the reason why you got into this music in the first place? If so, then that is a good place to start. Dark Millennium are known as being avant-garde pioneers and Come is their 6th full length release. After a couple of listens, I’m not convinced of how I feel about it, which places me in an odd position in trying to get a review done on it. Initially, it’s a cold affair, the album not going out of its way to welcome you in and make yourself comfy.
Dark Millennium - Come (Massacre Records) [Mark Young]
So what is avant garde metal, specifically avant garde death metal? No idea, but from my perspective it boils down to a simple question of:
Does it rock? Is it exciting, a visceral representative of the reason why you got into this music in the first place? If so, then that is a good place to start. Dark Millennium are known as being avant-garde pioneers and Come is their 6th full length release. After a couple of listens, I’m not convinced of how I feel about it, which places me in an odd position in trying to get a review done on it. Initially, it’s a cold affair, the album not going out of its way to welcome you in and make yourself comfy.
It starts with the woolly guitar lines of Here, a song that has decides it wants to jump between forms, using discord amongst the more traditional black metal vocals whilst what you would say is a light, or pared back sound does its thing. I’m assuming that the avant-garde tag comes from this unwillingness to stay on one course and avoid the normal sounds.
The way it changes around mid-way through, a building rhythm that you expect to take off doesn’t, instead it occupies a more restrained tempo in an attempt to subvert your expectation of where it should go next. I can appreciate what they are doing, and the way they are doing it without It setting fire to my soul. What it can’t be accused of is being one-dimensional.
Amber is all ethereal, echoes abounding until its time for it to go dark. You can see why they have the reputation that they do; There is no rhyme or reason for the steps they follow or why they do so. They just set off and run with it.
Fear Forest is different again, unfolding in its own way that sounds like them but not like the two that preceded it. I can see where their labels have come from, it’s a mix of progressive and generally just weird movements that can drop the hammer when they want to. From my perspective it doesn't excite me because it doesn't adhere to heavy metal norms. Its literally me, not them.
Amber is all ethereal, echoes abounding until its time for it to go dark. You can see why they have the reputation that they do; There is no rhyme or reason for the steps they follow or why they do so. They just set off and run with it.
Fear Forest is different again, unfolding in its own way that sounds like them but not like the two that preceded it. I can see where their labels have come from, it’s a mix of progressive and generally just weird movements that can drop the hammer when they want to. From my perspective it doesn't excite me because it doesn't adhere to heavy metal norms. Its literally me, not them.
The songs come and go in the same manner, some with frenzied openings that tease with the promise of heads down metal, Winter Of Wizards step forward please. It jumps in front of you and takes flight with some serious top level riffing whilst Pieces Of Midnight is gentle, until jagged shards of noise come cutting in. I can see why it appeals; that constant flux and change of approach is intoxicating for some, especially those who love to tell you about bands that are more than just heavy metal. The problem is that us knuckle draggers, we want more than just the hint of heaviness. Well, at least I do, and I’m not afraid to say this. Sometime simple is good.
The album closes out on a more aggressive trifecta, which follow the now established rule book of anything goes, each of them moving lanes as easily as you or I find drawing breath. Again they are great examples of possessing a unique approach in how their music should sound. There is no doubting that they stick to their ideals and write to suit themselves. Within each song there are supreme moments of metal goodness, which are often supplanted by pulled back melodies or subtle arrangements.
The album closes out on a more aggressive trifecta, which follow the now established rule book of anything goes, each of them moving lanes as easily as you or I find drawing breath. Again they are great examples of possessing a unique approach in how their music should sound. There is no doubting that they stick to their ideals and write to suit themselves. Within each song there are supreme moments of metal goodness, which are often supplanted by pulled back melodies or subtle arrangements.
I appreciate its art, but I go back to my original question – does it rock?
Not always, and not enough. 7/10
Not always, and not enough. 7/10
BEAR– Anhedonia (Pelagic Records) [Spike]
Most bands treat a live recording as a "greatest hits" stopgap or a way to pad out a tour cycle. For Antwerp’s BEAR, recording Anhedonia live seems less like a choice and more like a necessity. They are a band that thrives on the physical friction of a room, and capturing these five tracks in a single, unvarnished take was the only way to do justice to their specific brand of mathematical chaos. At 57, I’ve seen enough "polished" live albums to know when a band is hiding behind the desk; BEAR are doing the exact opposite. They are standing in the middle of the room, inviting the ceiling to come down.
The EP ignites with Empty Markers, and the first thing that hits you is the rhythmic instability. This is high-velocity, tech-heavy hardcore that owes as much to the "chaos-theory" of The Dillinger Escape Plan as it does to the blunt-force trauma of Meshuggah. Because it’s recorded live, there is a "red-lining" quality to the production, the guitars scrape against each other with a jagged intensity, and the drums possess a snapping, physical presence that you just can’t replicate in a controlled studio environment.
What’s fascinating about this release is the title itself. Anhedonia, meaning the inability to feel pleasure is a grim concept to anchor such a high-energy performance. You can hear that struggle in Lacerate and The Smile. Maarten Beckers’ vocals aren't just "shouting"; they are a documented account of someone trying to find a pulse in a numb world. It’s a clever bit of songwriting that uses the technical complexity of the riffs to mirror the internal noise of the lyrics. It’s pained, honest, and properly loud.
Then we get to the title track, Anhedonia, it’s a mid-paced monolith that allows the band to stretch into some of the darker, more "cinematic" corners of their sound. The groove here is wider than a North Sea ferry, providing a thick, fuzzy foundation for the guitars to lose their minds over. It leads directly into the finale, Metastatic, a four-minute race to the finish line that effectively sums up the band’s ethos: unwavering, mechanical intensity.
This EP is a total adrenaline jolt. It doesn't sound like a "pro" laptop exercise; it sounds like four blokes who have spent enough time in the van to know exactly how to weaponize a room. This is a masterclass in the beauty of the collision, and proof that even when the world feels numb, a well-placed riff and a drummer who actually sounds like they’re hitting something can still make you feel alive. I’m off to listen to this again. Despite the name of the EP this makes me happy. 9/10
Most bands treat a live recording as a "greatest hits" stopgap or a way to pad out a tour cycle. For Antwerp’s BEAR, recording Anhedonia live seems less like a choice and more like a necessity. They are a band that thrives on the physical friction of a room, and capturing these five tracks in a single, unvarnished take was the only way to do justice to their specific brand of mathematical chaos. At 57, I’ve seen enough "polished" live albums to know when a band is hiding behind the desk; BEAR are doing the exact opposite. They are standing in the middle of the room, inviting the ceiling to come down.
The EP ignites with Empty Markers, and the first thing that hits you is the rhythmic instability. This is high-velocity, tech-heavy hardcore that owes as much to the "chaos-theory" of The Dillinger Escape Plan as it does to the blunt-force trauma of Meshuggah. Because it’s recorded live, there is a "red-lining" quality to the production, the guitars scrape against each other with a jagged intensity, and the drums possess a snapping, physical presence that you just can’t replicate in a controlled studio environment.
What’s fascinating about this release is the title itself. Anhedonia, meaning the inability to feel pleasure is a grim concept to anchor such a high-energy performance. You can hear that struggle in Lacerate and The Smile. Maarten Beckers’ vocals aren't just "shouting"; they are a documented account of someone trying to find a pulse in a numb world. It’s a clever bit of songwriting that uses the technical complexity of the riffs to mirror the internal noise of the lyrics. It’s pained, honest, and properly loud.
Then we get to the title track, Anhedonia, it’s a mid-paced monolith that allows the band to stretch into some of the darker, more "cinematic" corners of their sound. The groove here is wider than a North Sea ferry, providing a thick, fuzzy foundation for the guitars to lose their minds over. It leads directly into the finale, Metastatic, a four-minute race to the finish line that effectively sums up the band’s ethos: unwavering, mechanical intensity.
This EP is a total adrenaline jolt. It doesn't sound like a "pro" laptop exercise; it sounds like four blokes who have spent enough time in the van to know exactly how to weaponize a room. This is a masterclass in the beauty of the collision, and proof that even when the world feels numb, a well-placed riff and a drummer who actually sounds like they’re hitting something can still make you feel alive. I’m off to listen to this again. Despite the name of the EP this makes me happy. 9/10
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