DECADES APART: 5 Albums 5 Different Decades, 1972, 1982, 1992, 2002, 2012

By: David Majury, Curtis Dewar, Philip Weller, Chris Bull & Richard Maw

Decades Apart

The idea of Decades Apart is pretty simple. I’ll choose 5 different albums from 5 different decades and I’ll share a little information about them and hopefully you’ll check them out if you haven’t already.   Today is 1972, 1982, 1992, 2002 and 2012.  Whilst some these albums may not all be considered classics, they’re certainly amazing records.  So be sure to check it out.    

Deep Purple – “Machine Head” (1972)

Fate is a Deep Purple fan. It moves in mysterious ways, but its actions made a devastatingly big mark on the history of heavy music. What might have happened, you wonder, had a Frank Zappa concert on 4^th December 1971 not ended in the burning down of the Montreux casino in which they were due to record? What would have happened if that fan-lit flare hadn’t been fired into the building’s roof? Would the record have sounded the same were they not forced to relocate, and indeed, what effect would it have had upon on the lyrics of ‘Smoke on the Water’, which were directly inspired by the whole drama?

That juddering four note riff echoes through the ages of time, it’s inspired thousands of young souls to learn the guitar and crowned what would become the band’s most successful record, topping the charts across the world. It became a definitive moment, not only in Deep Purple’s career, but in heavy music as a whole. It turned so many people onto heavy music. So many of these people would then go on to become greats in their own right, the likes of Iron Maiden and Metallica, to name but two, owing so much to the song. With that riff, Deep Purple forged a legacy. Yet it could have all been so different had that fire not happened.

Through Ian Gillian’s inimitable introduction on ‘In Rock’, their sound had gotten hairy, lairy and beastly. But with 1972’s ‘Machine Head’, they learnt to tame their monster. 

‘Highway Star’ the rocket fuelled, gas-guzzling opener sets the tone of the album. With its breathless rapidity and scintillating duelling solos courtesy of Ritchie Blackmore and the late, great Jon Lord, they sounded deadly. Quickly followed by the tumultuous stomping riff of ‘Maybe I’m A Leo’ and ‘Pictures of Home’, a song powered by Ian Paice’s thunderous drums and boasting some gorgeous, soaring melodies, this was their finest moment. ‘Lazy’ is drawn out, ethereal and savage all the same, ‘Space Truckin’’ packing gigantean, insurmountable grooves. Every song on the record is gold.

And the rest is history.  

Twisted Sister – “Under The Blade” (1982)

1982 saw the release of what is perhaps one of the most underrated albums in the history of heavy metal: "Under the Blade" by Twisted Sister. While many modern day metal fans take a look at the band's heavy make up/transvestite image and automatically think "hair metal", the actual truth is that they were much closer to Judas Priest and even AC/DC in sound. While Twisted may have never reached the stellar heights of those two bands, the quality of "Under the Blade" (and later albums) cannot be denied. The album contains track after track of classic songs like "What You Don't Know (Sure Can Hurt You)", "Run for your Life", "Shoot 'Em Down" and "Sin After Sin" that definitely give other classic albums such as "Screaming for Vengeance" and "The Number of the Beast" a run for their money.

If you're one of those who never bothered to check the band out due to the 'glam' metal image, I highly recommend that you start with "Under the Blade" and then proceed to listen to the rest of the band's discography.

Darkthrone – “A Blaze in the Northern Sky” (1992)

After the release of the solid yet unspectacular 'Soulside Journey', Darkthrone embraced the flourishing black metal scene that was sweeping through the fjords and recorded 'A Blaze In The Northern Sky'. While many believe 'Under A Funeral Moon' and 'Transylvanian Hunger' to be the pinnacle of the band's corpse painted output, it was on 'A Blaze...” where they were at their coldest.

Starting with the ceremonial drums of the epic 'Kathaarian Life Code', a song which opened my eyes to the wonders of frost like atmosphere, Darkthrone laid down the blueprint that they would follow for years to come. While they had a few death metal riffs left over ('Paragon Belial' in particular), at the core is a dark and grim heart that bleeds the purest blackness. The guitars may sound like a swarm of wasps, but that was their intention on this, to make it as lofi and "necro" as possible.

Floor – “Floor” (2002)

Inspirational records don't come along very often. The Stooges "Funhouse" was one when I first heard it around the late '80s, "Nowhere" by Ride around 1990 was another and "Bullhead" by the Melvins changed things again about a year later. I didn't play guitar when I first heard those records, but I did by the time I heard Floor's self titled album.

I remember reading that when musicians saw The Sex Pistols they quit their bands and found punk, and for me hearing Floor was a similar experience. I quit the crust-stoner band I was in, tuned down and started on my endless quest for the ultimate combination of riff and tone. It's impossible to talk about Floor in other terms, as the record is absolutely bursting at the seams with both. When that opening low throb of "Scimitar" kicks in there is no way to avoid the crushing power of that riff. Every cliché for reviewing how heavy music sounds (glacial, tectonic, seismic, engulfing, etc etc) began with this riff. I immediately knew that less is more, that regular musical theory is obsolete and that "chops" mean nothing.

If Floor had just played that opening riff for the duration of the record it would still be one of the most magical records ever recorded, but of course they were/are way better than that. Every song is just loaded with riffs that other bands would kill for, only Floor would throw three of them into a two minute song. There was no indulgence at all, no filler, no need to repeat anything to fill space. This album is a template for how to use dynamics in heavy music, but what sets it apart from every other ‘tuned to z’ band is the melody.

Although I’ve grown up with Black Sabbath and all the rest, I’ve always loved melody in a song. The cookie-monster death grunt thing never appealed to me, and I’d been listening to bands like The Pixies a lot more than any heavy music for years. Suddenly here was a band with the heaviest riffs ever, but welded together with unbelievable melody and heart-wrenching vocals. One listen to “Tales of Lolita” was enough to completely change how I wanted to play music forever, and I suppose I’ve spent the last ten plus years with Slomatics trying vainly to even get close to what Floor did so effortlessly on this record. Add to all this, the fact that the band were almost completely unknown, that every live picture I could find of them was playing to a half-empty tiny pub, and that they’d never even been out of the States and I was hooked.

What a legacy to leave for the then-defunct band. I’ve a friend who has a theory that in every city there is a band somewhere, whether in a practice room or playing one of those half-empty tiny pubs, which would absolutely blow your mind. Floor were that band for me, and although they are now deservedly much more well known, at the time the very fact that they had existed and had written that beautiful record was enough inspiration for me to do what I’ve been doing since, and will never stop doing.   

Dragged Into Sunlight – “Widowmaker” (2012)

In a time when everything is known about everyone and there is no sense of mystery about anything, Dragged into Sunlight are a dynamic blast of fresh/fetid air. Indeed, nothing is really known about the band- what is mentioned is mostly conjecture. Let it be said: this is a good thing. The band retains anonymity and lets the music speak for itself.  When first reading about the new piece of music from Dragged into Sunlight some time ago it was described as a single track lasting 40mins plus. Indeed, the promo copy I have had on rotation is in this format. Research on Amazon indicates three tracks of 14.51, 11.47 and 13.10 in length respectively.  I have found that the record works best when viewed as a single track- 40 minutes of tortured paranoid hate and despair. If that sounds like your kind of thing... Welcome aboard!

‘Widowmaker’ reveals itself as a very different record to ‘Hatred for Mankind’ from the first listen. What takes time is the depth of what is on offer therein to reveal itself. From the first ominous twang of a clean yet eerie guitar the sound is bleak and sets a mood that is unrelenting- even when the music employs dynamic shifts and all kinds of instrumentation.  Four to five minutes in there are two guitar tracks building up an atmosphere that is the aural equivalent to watching the first series of Lynch's Twin Peaks. There is even a piano around the six minute mark. The first sign of any distortion comes at 8mins 20secs. An almost folk feel is created by cymbals and violin- and by that I do mean the good kind of folk. Think the feel of the seminal film The Wicker Man and you have the right idea. The samples of the first record are echoed over the first fifteen minutes but that is the only real comparison I can draw.

It may sound strange, but the first fifteen minutes fly past- the atmosphere, tension and feel of the record is introduced leads the way to what could be termed the second part of the album. A monolithic riff and the first scream herald in the next movement. The familiar horrific vocals over the music create a cacophony that is in stark contrast to the almost ambient first part of the record. A low death growl is introduced after more samples, creating another aspect and tonality for the listener. Just after twenty minutes an ascending/descending riff is introduced with other instruments buried low in the mix. The pounding double kick drums that were a great feature of their debut for me are back here.  On headphones the whole thing sounds masterful and suffocatingly dense. There is even an almost stoner rock, Karma to Burn-esque feel around the twenty three minute mark. It doesn't last long, though, and instead gives way to a groove which in itself abruptly twists into doomy sludge, heralding in the third and final part of the record.

‘Part III’, beginning as it does with very slow sludge, is different again to the previous two parts. The bass, ringing out alone around thirty minutes in, offers up a kind of distorted mirror of ‘Part I's atmospherics, indeed the record almost feels as if it doubles back on itself. The band take us back to cleaner guitar tones but five minutes from the conclusion the riffs, distortion and crashing chords are back. The samples reach an apex for me as thirty eight minutes rolls past- you'll have to listen to it for yourself to find out what is said! After some frantic playing and vocals the whole thing dissolves into howling feedback and there the journey ends.

It is rare that a record of forty minutes feels this short. I can only conclude that a lot of work went into making this piece of music- the pacing, peaks and dynamics are all very well judged. It is an expertly paced soundscape that should be viewed as a whole. If you do this and invest the time in it you will be glad you did- the rewards are rich indeed!

DECADES APART: 5 Albums 5 Different Decades, 1971, 1981, 1991, 2001, 2011

By: David Majury, Chris Bull, Joosep Nilk,

Marc Gaffney & Phil Weller

Decades Apart

The idea of Decades Apart is pretty simple. I’ll choose 5 different albums from 5 different decades and I’ll share a little information about them and hopefully you’ll check them out if you haven’t already.   Today is 1971, 1981, 1991, 2001 and 2011.  Whilst some these albums may not all be considered classics, they’re certainly amazing records.  So be sure to check it out.    

Hawkwind - 'In Search of Space' (1971)

Growing up in the '80s I heard the name Hawkwind often enough but never took the time to listen to them. As far as I knew they weren't a metal band, more some kind of hippie jam band with keyboards, which was a major turn-off when I was obsessing over Celtic Frost, Prong and Voivod. They seemed so twee, almost laughable in the face of the epic speed and heaviness of 'To Mega Therion' or 'Dimension Hatross. Of course, once Soundgarden and Mudhoney came along it suddenly seemed alright to look backwards for inspiration, and when Monster Magnet released “Spine of God” and started mentioning Hawkwind in every interview I thought it might be time for a reassessment. I bought a double cassette compilation and dived in.

Trying to consume so much Hawkwind at once is sheer madness and the compilation leapt around in terms of chronology so I thought I'd work out where to start and go from there. A tuned-in workmate was so excited to be asked for Hawkwind recommendations that he gave me a vinyl copy of 'In Search of Space' along with some valuable advice for ideal listening conditions. To this day I still get the same feeling of foreboding when the opening strains of 'You Shouldn't Do That' seep out of the speakers. To have the confidence to open with a 15 minute epic speaks volumes of just how mind expanding Hawkwind truly are/were, and to this day no-one has really done anything that comes close. Ultra creepy, doom laden, tribal, kosmich and totally confusing at the same time. What's more, there's nothing of the peace and love of American west coast psych here at all. Hawkwind were raw, tough and incessant. I had to check the record label to see how long that song was, it felt like it was as likely to be three minutes as thirty. Totally transcendental. They didn't let up either with 'Master of the Universe ' rivalling Sabbath for pure power, and 'Adjust Me' setting an early template for noise rock twenty years before anyone was even thinking about it.

Like Sabbath, really nothing sounded the same at the time, or since, and I can't begin to imagine how alien this record must have sounded in '71. Hawkwind's legacy has been tainted by inconsistent line-ups and releases, along with a slew of tenth rate copyists posturing as psych-rock, but there's no doubt in my mind that if the band had finished after 'Hall of the Mountain Grill' they'd be revered in the same light as Sabbath, Zeppelin and all the other Titans of the era. This record still stands up like few others. This is your Captain speaking. Your Captain is dead

Van Halen – “Fair Warning” (1981)

In 1981 an album that in my opinion is the epitome of the Van Halen sound was released, “Fair Warning”. Sheer gravitas. For my money, each track holds its weight in groove, riffs, musicianship and straight up ass kicking swagger from David Lee Roth.

What in my humble opinion always gets lost in a lot of their albums and I feel especially on this body of work is how amazing the percussion is.  “Dirty Movies” is a lesson in full on boogie till the fucking cows come home, sleep in the barn and prance back out to the pasture to graze.

“So This is Love”, forget about it. How many T Tops had this song blitzing from their 8 track stereos, meanwhile, engines growled like a Rottweiler in heat. The key is the smoothness of the Ted Templeman production, the sonic sexiness of the virtuoso himself, Eddie Van Halen.  The tonality and growl of his axe is more potent than any espresso ever brewed. 

I remember my buddyJim Delosh playing this for me and Vaugh Fachette's dad blaring “Sinner's Swing”, before going fishing.  So if you are feeling sentimental, and have a 3 quarter t shirt In your drawer please put it on, get one foot out the door and become “Unchained”.

Soundgarden  - “Badmotorfinger” (1991)

Having recently celebrated its 25^th anniversary, Soundgarden helped unshackle the band of their grunge tag with ‘Badmotorfinger’. While draped in that archetypal grittiness which helped characterise the movement and genre bursting from their hometown of Seattle at the time, this album was representative of a band outgrowing their early sound, building on their blues laden, doomy template with an intrinsic experimentalism which they learnt to perfect on ‘Superunknown’.

Indeed, while it was that succeeding album that helped skyrocket the band, breaking them to the masses with massive singles in ‘Spoonman’, ‘Fell on Black Days’ and ‘Black Hole Sun’, its older brother has grown into something of an underrated, cult classic. The melancholy chaos of ‘Rusty Cage’ - lovingly covered by Johnny Cash some years later - and the 7/4 thump of ‘Outshined’ (a pre-cursor to ‘Spoonman’, which is also in 7/4) make a moody and impenetrably iconic introduction to a record which, while its style and feel may receive seismic shifts throughout, never lets up. Its diversity is its greatest gift, riffs leaping out at you from the dark when you least expect it, psychedelia then whisking you away from the punches. 

They showed with this album a sharp and intelligent level of song writing, from the genius lyrics of Chris Cornell (“I’m looking California/but feeling Minnesota” and “share a cigarette with negativity”) to Kim Thayil’s nasty, unconventional approach to guitar playing, it may not be an album hugely revered, but that is in no way a representation of its quality. There is a progressive mindset driving the record, their playfulness with less common time signatures and often obscure, unnerving note choices defining it as something of an ugly beast. But why should rock music be pretty?

‘Slaves And Bulldozers’, ‘New Damage’ and ‘Holy Water’ are packed to the rafters with titanic doom riffs which snarl and growl like an animalistic Tony Iommi. The short and savage punk of Ben Shepard’s ‘Face Pollution’ and the bastardised, brass-tinged classic rock of Matt Cameron’s ‘Drawing Flies’, keep you guessing, keep you on your toes.

Never short of surprises, it is an amalgamation of so much, all condensed and blended into one unholy racket. Like any true classic, it is a record that no other band could write.

Converge – “Jane Doe” (2001)

Released in 2001, Converge's breakthrough 4th album, 'Jane Doe' remains a landmark in extreme music and sounds as fresh and relevant today as it did 15 years ago. Played with such ferocious precision, thanks in part to the impetus of new members Ben Koller and Nate Newton, 'Jane Doe' is a bitter, angry, scathing statement of intent from the band.

From the opening arpeggio that dips into the inhuman blasts of 'Concubine', the album barely lets you catch a breath as Jacob Bannon screams at you, telling you the story of a ruined relationship. It's so powerful and full of emotion that you can almost hear the blood pouring from the man's broken heart seep into his vocal chords.

Various twists and turns permeate the albums intensity; 'Distance And Meaning', 'Hell To Pay', 'Homewrecker', 'The Broken Vow' and 'Heaven In Her Arms' provide some of the most memorable moments, while 'Phoenix In Flight' is near perfect in its composition and placement on the album, allowing you to digest what's just been thrown your way before 'Phoenix In Flames' and 'Thaw' that follow, absolutely annihilate your eardrums. As if that wasn't enough, the album's title track is an 11 minute emotional rollercoaster, making you worry for the welfare of the song's protagonist.

Elder – "Dead Roots Stirring"(2011)

As opposed to the debut that was more of a brawny smack to the gut (or the wall, whichever you prefer), Elder’s excellent sophomore was one for the thinking-man’ stoner books. As psychedelia-ladden as it was riff-driven in its approach, this Boston trio set themselves up to be true trailblazers in the genre. Showing respect for the long-form, each track in duration 8 minutes at the very least with two nearing the twelve-minute mark, they brought a world fully their own and spent time exploring it with quieter moments but not lacking any punch either. The sheer rawness acting contrast to the intricate layering, all the while showcasing their penchant for experimenting with songwriting formulas.

The album is equal parts a plunge into murky depths – like the epically ravaging conclusion that closes the opener – as it is opting for the less travelled overgrown route, with floating guitars going off on shimmering tangents like aptly-titled third track ’III’. With rusty riffs bringing its plodding hooks, bluesy and bog-ridden coincide with the album art, sill, alongside the opening notes of ’Gemini’, or the thick earthy toned pulse that opens the title-track, it’s De Salvo’s vocals breaking at just the right moment. Concurrently melodic and raspy in their intonation, they come through as if a guide lighting the way, though showing restraint enough to let the instruments tell the majority of the story.

"Dead Roots Stirring" gave strong hints of what was to come on yesteryear’s acclaimed Lore, again proving that there isn’t a band that does it quite like Elder.

DECADES APART: 5 Albums 5 Different Decades, 1970, 1980, 1990, 2000, 2010

By: Aaron Pickford, Victor Van Ommen

& Phil Weller

Decades Apart

The idea of Decades Apart is pretty simple. I’ll choose 5 different albums from 5 different decades and I’ll share a little information about them and hopefully you’ll check them out if you haven’t already.   Today is 1970, 1980, 1990, 2000 and 2010.  Whilst some these albums may not all be considered classics, they’re certainly amazing records.  So be sure to check it out.    

Black Sabbath – “Black Sabbath” (1970)

An argument may still remain whether Black Sabbath truly invented heavy metal , however what is true to say, is that Black Sabbath impact and influence on heavy metal music remains unequalled.  Famously recorded in one day, Sabbath’s debut was released on Friday February 13, 1970.  The foreboding title track and “N.I.B” are perhaps the bands most potent examples of Sabbath’s fundamental power.  Indeed if you ask the question, what is doom?  Well you only have to refer to the title track and there you have your answer.  If satan had an anthem, “Black Sabbath” would be that song. Elsewhere on the album are traces of blues and psychedelia. Early reviews of the album according to Tony Iommi’s were “awful”. But in America, “Black Sabbath” sold a million. In the UK, it made the Top 10. And over time it would be acknowledged as a landmark album in the evolution of heavy metal.

The year proceeding would see the band develop further still morphing from the dark masters of  seemingly occult music to a respected hard rock band, who would help create the emerging genre of heavy metal.   Seemingly doing the impossible by today’s standard, the four brummies recorded not one but two classic albums in the 1970, with “Paranoid” following a mere 4 months later, an album that would cause further a tectonic shift in the rock world.   By the time “Paranoid” emerged, clearly Sabbath has developed greater compositional range to their music and their performances on their second album were further step up. 

To give some context to what Sabbath would go onto achieve, in 1968, bassist Geezer Butler and vocalist Ozzy Osbourne were in a band called Rare Breed when a certain unknown guitarist Tony Iommi invited them to form a blues rock group with drummer Bill Ward. This new band would settle on the name Earth, following the recording of some initial demos and some subsequent positive feedback, the momentum of the band was stunted slightly following Iommi’s brief dalliance with Jethro Tull. Iommi would soon return and the group reunited in 1969, deciding upon the new name of Black Sabbath.  In the Autumn 1969, the group was signed to Philips Records and entered the studio with producer Rodger Bain.

“Black Sabbath” was recorded live on the floor in the studio with very few overdubs added ad if you don’t already know the story, due to the loss of a few fingertips, Iommi down tuned his guitar for easier playing, with this new tone giving that synonymous “doomy” effect.

Having been turned on to Black Sabbath by my own Father, listening to this self-titled 1970 is arguably the definitive debut heavy metal record. In terms of a general concept “heavy metal” and it’s development of the genre was moulded not only tone of the music, but because of the band underlying lyrical themes, with Sabbath’s devotion to darker themes that others perhaps  had not dared undertake.  The band’s environment, in terms of living in poverty and career choices being limited to factory worker or petty criminality, Black Sabbath were far removed from hedonism hippie music that was popular when the band formed in 1968, considering themselves a blues band. Instead it is said that Tony Iommi observed the lines that formed at the local movie theatre whenever it showed horror films and remarked that if people were so willing to pay to be scared, perhaps they should try playing evil-sounding music. So with that in mind, they took their name from a Boris Karloff film.  Indeed the title track to “Black Sabbath” capture the essence of horror, with Iommi playing a slow, ominous riff based on the “devil’s tritone,”. The sluggish pacing of the track is truly something to behold and perhaps personifies what is indeed heavy, with the slow and ominous motif becoming the primary influence of the doom metal genre.  There is no filler on this record, “The Wizard” with their inspired use of harmonica, ably backed up by Geezer on bass and a masterful performance from drummer Bill Ward. “Behind the Wall of Sleep,” inspired by psychological horror writer H.P. Lovecraft. “N.I.B.” a Sabbath song for bass-lovers, man that Butler solo and with Osbourne at his mercurial best. 

Sabbath’s cover of “Evil Woman” by Crow was their first single from the album, a straightforward blues rocker and arguably the most accessible song on the record, Sabbath truly but their own stamp on it, particularly with Iommi’s riffs replacing the brass of the original. 

The title of “Sleeping Village” speaks for itself, a sombre dirge with Osbourne crooning over the top of Iommi’s acoustic guitar from the outset. With dramatic shifts in tone throughout, from a 60s inspired jam to the rigid structure of an menacing, plodding riff. “Evil Woman”is up next into another cover, this time in the form of “Warning” originally by The Aynsley Dunbar Retaliation, clocking in at an immense 10m30s, and taking up most of the album’s second side. This track was the least accessible on the album with “Wicked World” completing the album with politically charged lyrics, A politician’s job they say is very high, For he has to choose who’s got to go and die, They can put a man on the moon quite easy, While people here on Earth are dying of old diseases catchy riffs, booming bass guitar and a master class of intricate drumbeats from Ward.  Black Sabbath made music that personified their environment, dealing with the harsher realities of life in their lyrics, married with dark and sinister tone of the guitar and the flawless display by Geezer and Ward.  Sabbath truly have no equal and the next time someone asks you what heavy metal is, reach for your copy of “Black Sabbath” and utter not a word, because this album speaks for itself. 

Diamond Head – “Lightning To The Nations” (1980)

“Lightning to the Nations” also known as “The White Album” is the debut album by British heavy metal band Diamond Head. The album was recorded in 1979 and released on the 3^rd October 1980 through their own label Happy Face Records.  The album stands in history as possibility one of the most influential heavy metal records of all time. Speaking as a Metallica fan, the band first came to my attention, due to their cover of “Am I Evil?” which featured on the “Lighting to the Nations” album.  One can not be certain whether Diamond Head’s  would have remained in heavy metal shadows without their association with Metallica , however this union certainly helped gain the band more widespread attention, given Metallica  covered no fewer than 5 of the 7 songs from the album. To put it bluntly if Metallica fans thought these tracks were cool, the same fans would check out Diamond Head.  Conversely and perhaps unfortunately so, Diamond Head's were associated more as the inspiration to Metallica rather than composing one of the best heavy metal records of all time.  "Lightning to the Nations" combines great guitar-driven elements with epic sounding vocals and a sound unique to them and whilst Diamond Head never reached the heady heights that Metallica would achieve 10 years later, they deserve enormous praise from creating a legendary record, one that would go on to inspire the biggest heavy metal band of all time. 

Megadeth – “Rust in Peace” (1990)

“Rust In Peace” is the fourth album by Megadeth, released on September 24^th 1990.  It feels poignant and only fitting to be discussing this album, given the tragic loss of drummer Nick Menza earlier this year, appropriate then that he be remembered for playing a pivotal role in the creation of perhaps the greatest thrash metal album of them all.  It is safe to say, Megadeth was never the most stable band, disgruntlement of an ousted guitarist from Metallica, which perhaps Mustaine would never recover from, coupled with drug addiction, tragedy and a revolving line up, Megadeth were always on the cusp of creating something huge, but up until this point, the band never quite reached their peak.  Following the release of their 1988 album, “So Far, So Good, So What” drummer Chuck Behler and guitarist Jeff Young would leave the band, to be replaced by Nick Menza and an emerging guitar virtuoso, Marty Friedman, who was known as one half of the speed metal band Cacophony, who also featured Jason Becker, indeed it was the release of Friedman’s debut solo album “Dragon’s Kiss” that piqued Mustaine’s attention, remarking in his biography and I paraphrase that Mustaine was so intimidated by Friedman, it created some anxiety, that he was hiring someone technically superior to him.    Irrespective of this apparent tension, “Rust In Peace” is one of the most technically brilliant thrash albums, indeed it is the sheer technical complexity of the album that would truly define Megadeth and perhaps set a new benchmark for thrash metal standards.

“Hangar 18” and “Holy Wars… The Punishment Due”, with their continuous tempo changes, elegant neo classical inspired solos, along with Mustaine at his magnificent songwriting peak, these two songs would set the tone for the album and inspire it to go down in history as Megadeth’s apex in terms of album output.   Thematically “Rust In Peace” is centered around politics, nuclear warfare, religion, UFOs, and personal issues such as drug and alcohol addiction. “Rust In Peace” is a) an album written by Mustaine at his creative, b) it was performed by members with the technical capabilities of Menza and Freidman members, it is little surprise then that “Rust In Peace” is one of the greatest heavy metal album of all time and the best Megadeth album ever. 

Queens of the Stone Age – “Rated R” (2000)

The year 2000 was a turning point for the stoner rock genre and this had a lot to do with Josh Homme’s band Queens of the Stone Age. Referred too as trance robot music for ladies, the conception of the band was to make the desert sound more widely known and to make something that women could dance to. If you take these two goals and prop them up against QOTSA’s 2000 sophomore album “Rated R,” then there’s no denying that even this early in the band’s career, Homme could already mark this as his second greatest musical accomplishment, the first of course being Kyuss.

Homme was able to turn heads and grab attention. At the time, “Rated R” was something new for the mainstream, while for the heavy underground, those involved felt like they were finally getting recognition. That’s not to say the underground wanted this recognition, but QOTSA was arguably the catalyst for many bands like Red Fang, Mastodon, and Truckfighters to spread the stoner rock gospel and influence a generation of their own.

It’s interesting to note that the year 2000 also saw the release of Limp Bizkit’s “Chocolate Starfish and the Hot Dog Flavored Water,” a record that went on to sell millions and was at the time regarded as a would-be classic. In the meantime, that album has faded from our memory, but “Rated R” continues to mature like a fine wine. So what was it that made QOTSA a band to notice?

The album is 11 songs long and ranges from stoned riffing to catchy grooving. “Rated R” leaned in the direction of experimental rock music without neglecting the need for a strong hook. Different instruments were used and the songs were structured in such a way that they could stand alone as a hit single while simultaneously being an integral part of the album as a whole. The album’s lyrical content was for mature audiences, but that didn’t stop radio stations from playing “Feel Good Hit of the Summer,” regardless of the season. And to top it all off, Homme invited several friends from the desert – amongst which Dave Catching, Chris Goss, Mark Lanegan, and Pete Stahl – to contribute to this masterpiece. With all of these creative minds who came from the same scene, it’s no wonder “Rated R” turned out to be a template for the burgeoning stoner scene which has since then exploded.

Ghost – ‘Opus Eponymous’ (2010)

First impressions are pivotal and from the moment the eerie, mysterious swelling organ chimes of ‘Opus Eponymous’, Ghost have had thousands captivated. Their anonymity, a driving factor in their success, is pure theatre, the cold, occultish feel of Black Sabbath and the horror loving, hip swinging charisma and humour of Alice Cooper potent flavours on this hors d'oeuvre. Yet, where dark, 70s rock whetted the appetite of so many, they juxtaposed all that with the kind of melodies that made ABBA so irresistible. From the human sacrificing stadium rock of ‘Ritual’ to the poetically haunting ‘Elizabeth’ and the beguiling, lofty sounds of ‘Satan Prayer’, while it may not stand as a classic album – especially when compared to the ever increasing quality of their later releases – ‘Opus Eponymous’ provides us with a thrilling first encounter. With the gift of retrospect we can hear their naivety in some ways, this is a band still developing, still laying down the building blocks for a sound that has, today, become truly irresistible.

DECADES APART: 5 Albums 5 Different Decades

By: Aaron Pickford & Chris Bull

Decades Apart

The idea of Decades Apart is pretty simple. This year is 2016, so I’ll choose 5 different albums from 5 different decades, 1976, 1986, 1996, 2006 through to the present day.  Whilst these albums may not all be considered classics, they’re certainly amazing records.  I’ll share a little information about them and hopefully you’ll check them out if you haven’t already.  So let’s get started. 

Rainbow – “Rising” (1976)

 

“Rising” is the second studio album by the British hard rock band Rainbow, released in 1976 the album has been hailed in some quarters as the greatest heavy metal album of all time.  With only their second album, “Rising”, Ritchie Blackmore’s post Deep Purple band created one of rock music's defining records.  Despite playing a prominent role in the development and introduction of heavy metal with Deep Purple, by the mid point of the 70’s  Blackmore had quit and began to explore new possibilities in heavy music with, Rainbow.

Unlike their debut, which was performed by Blackmore, Dio and his previous band Elf “Rising” would feature a new band consisting of bassist Jimmy Bain, keyboardist Tony Carey and drummer Cozy Powell. This was viewed as the definitive line up and they would go on to record “Rising” with Deep Purple producer Martin Birch

“Tarot Woman” the opening track of the album set the tone of the album’s ambitious nature and the organic aesthetic carries throughout the tracks of side one with, “Run With the Wolf,” “Do You Close Your Eyes,” and “Lady Starstruck,” The album is perhaps known best for the albums dual eight-minute epics, which dominated side two, namely “Stargazer,” which is viewed by many as  Rainbow’s signature creation, thanks to Dio’s evocative supernatural lyrics and the rhythm and a central riff that originated on a cello. The second epic track is “A Light in the Black,” which many considered the obvious sequel to the “Stargazer” story, concluding the album after mere 33 minutes.  Unsurprisingly then, “Rising” was a critical and commercial success and voted the number one heavy metal album of all time by the readers of British magazine Kerrang!

Ozzy Osbourne – “The Ultimate Sin” (1986)

“The Ultimate Sin” is the fourth solo studio album by Ozzy Osbourne. As the saying goes, there was no rest for wicked, and that was perhaps no more apparent than the recording of this record, which was recorded shortly after Ozzy check out of rehab.  Fortunately for Osbourne his bassist/right hand man Bob Daisley (credited with writing much of his back catalogue) and guitarist Jake E. Lee had been hard at work on a new set of songs while he was in rehab, and these track would indeed form the basis of his fourth solo effort, 1986’s “The Ultimate Sin”.

Being in the Osbourne camp was not without it’s problems, indeed the recording of this album was no different. Lee, who for me is arguably the best guitarist that has ever been in his band, had demanded a revised contract before agreeing to contribute, after feeling cheated out of writing credit for 1983 album “Bark At The Moon” (Ozzy is credited as writing the whole album) and Daisley would leave the band during the sessions, with Phil Soussan hired to play his parts.

Despite Osbourne’s dissatisfaction with the record, I personally feel the album is graced by some of Jake E. Lee’s  best work, indeed it is considered by many including myself that it was him that subsequent guitarists would model themselves, with Lee including pinched harmonics for the first time, which would later become his successor’s trademark, namely Zakk Wylde.  Lee was unceremoniously sacked the following year after the “Ultimate Sin” tour ended, and Soussan — who had his own disagreement over songwriting credits with Osbourne — also exited, only for Daisley to return and the introduction of new guitarist Zakk Wylde.

Corrosion of Conformity – “Wiseblood” (1996)

“Wiseblood” is the fifth album by Corrosion of Conformity and the second album to feature Pepper Keenan on vocals, released in 1996; it would see the band on the verge of breaking into the big leagues of Rock and Metal stardom.  Indeed the band would get picked up for a coveted support slot with Metallica.  Released two years after their classic 1994 album “Deliverance”,  the tone of “Wiseblood” was set instantly with the crushing riff of “King of the Rotten”, but features a succession of superb tracks including the Grammy nominated track ‘Man Or Ash,’ which featured a guest appearance from Metallica’s James Hetfield (uncredited).  Released at the peak of the band’s popularity, the mega-stardom that the album so richly deserved never materialized

With Pepper Keenan on vocals and guitar, Woody Weatherman on lead guitar, Mike Dean on bass and founding member Reed Mullin on the drums, “Wiseblood was the second of three records they wrote and recorded together, with long time producer John Custer in the chair once again.  Following up “Deliverance” was no mean feat, but the record is strong from beginning to end, opening with the catchy ‘King Of The Rotten,’ and ending with the musically complex seven minute closer ‘Bottom Feeder (El Que Come Abajo)’ which completes itself with pig samples and jazzy sections alongside its powerful Black Sabbath inspired stoner riffs.

Stylistically, the album follows the tone of their “Blind” album with minimal trace of their hardcore roots, featuring straight up southern tinged stoner rock tracks with smatterings of variety now and again to break it up, such as the powerful semi-ballad ‘Redemption City,’ and the break neck powerhouse that is ‘Fuel,’ as well as the aforementioned instrumental track ‘Bottom Feeder (El Que Come Abajo)’

For me “Wisblood” is certainly one of the band’s best ever albums and arguably by extension one of the best rock and metal albums of the 1990s. If you like the band then you need this album, if you like Down, and don’t know COC I pity you.  Cue much excitement for the new album next year. 

Mastodon – “Blood Mountain” (2006)

“Blood Mountain “is the third full-length studio album and major label debut by Mastodon.

I guess it should come as no surprise to dudes or dudettes reading this that Mastodon are pretty much unequalled in terms of output over the last 16 years, with at least 3 classic albums to their name.  Rewind 10 years and it is safe to say there may have been a few nervous fans with the release of their third album, “Blood Mountain”, perhaps in no small part to the fact it was their first for Warner Bros Records. Rest assured, true to form with two monumental records behind them “Blood Mountain” delivered in spades.   Queer; odd; unusual; monstrous are just some of the adjectives you could use for this album, indeed coupled with their dynamic riffs and strikingly experimental approach, the band truly are at the peak of their powers.

“Blood Mountain” shoots as quick as a drawn gun with the first riff of “The Wolf Is Loose” and ends 50 minutes with “Pendulous Skin”, feeling like you have been engulfed by a tumultuous cinematic experience.  “Blood Mountain” captures the band as a free flowing symbiotic unit, a colossal swaggering beast, weaving distinct, pervasive and expressive music, virtuosic in its instrumentation, aided by a power house production job from Matt Bayles, who truly captures the unorthodox but magnificent tones from this hulking beast, augmented by a crushing mix from Rich Costey.  “Blood Mountain” is the standard of excellence on which many have attempted to duplicate, but few will equal.   Mastodon are truly architects of their own language, who like few others,  care only about what they want to write for themselves and refrain from conform to peddling out run of the mill crap for the sake of making a buck. There’s an aura around this band and at the height of their powers, no one can touch them, as this album demonstrates. 

Slomatics – “Future Echo Returns” (2016)

It seems as though 2016 is the year when the UK kicks the ass of the rest of the world in terms of heavy, sludgy, doomy musical output. Slomatics make no exception on 'Future Echo Returns' their 5th album and part 3 of their spacey trilogy that began with 'A Hocht' is my album of the year!

Even without a bassist, Slomatics manage to hammer out riffs with the weight and impact of a fleet of anvils dropped from the empire state building; 'Estronomicon' gives us a brief glimpse while 'Electric Breath' smashes the point home. Vocals from vocalist/drummer Marty Harvey are exceptional here; as they are on 'In The Grip Of Fausto'. More melodic and powerful than some of Slomatics earlier work, demonstrating how much he's come on in recent years. Things get much more mellow and ambient on 'Ritual Beginnings' with slow building guitar arpeggios that transform into drawn out single notes, chords (and even what sounds like a xylophone).

‘Rat Chariot' has the classic Slomatics feel to it. It could be the freshly bathed, more alluring but nonetheless heavyweight younger sibling of 'Beyond Acid Canyon' from 2012's 'A Hocht' album. Ex- Conan bassist/vocalist Phil Coumbe weighs in with some serious growls towards the songs lumbering conclusion. When a band's guitarist has their own signature fuzz pedal, it's a safe bet that they can cut through solid rock with their riffs; when both guitarists have an alternate version of the same pedal (you have to check out Dunwich Amplification) then prepare your eardrums for some serious, rock crushing heaviosity. This speaks volumes on penultimate track 'Supernothing' with its gigantic riffs slicing through solar systems. More superb melodies come from Harvey's epic vocals and make this one of seven standout tracks. Yes, I know what I just said.

Finally, we get somewhat of a reprise of 'Ritual Beginnings' on final track 'Into The Eternal', the slightly overdriven choral vocals and what sounds like synths prepare the scene for some killer heavy music. Have you ever heard a sludge doom band use 'whoa whoa's and 'yeah yeah's’ and thought "nah, that ain't right."? Well on this, it fucking works! The majesty of the scene Slomatics have conveyed over the 6 previous tracks (and 2 previous albums) means that actual lyrics would do the song a disservice. I mean, what would you say if you were floating through the vast emptiness of outer space? This is why it makes sense. Some satellite bleeps and spacey sounds travel through the soundscapes as well as some lead guitar work which adds an extra dimension to the whole make up of the song and makes for a glorious conclusion, not only to this album, but to the trilogy.

Slomatics riffs and Chris Fielding's epic production are a marriage made in doom heaven. The towering heaviness of the riffs and the images of the infinite, shimmering darkness of space is executed and captured perfectly. An amazing album worthy of any and all praise it will undoubtedly receive