Holy smokes! What a left turn! Straight off a cliff! Holy fuckski! LOL. If I was the ancient Egyptian god Horus I’d be pretty fucking pissed that my eye was on the cover of this dreck. Does Eldritch even know what it is? Is that what the “vision thing” is? Man probably banged a goth girl once who had it on a necklace or something. Cosmic. Anyway… what the fuck is this? Like, I’m two…

Drugs. That’s how I would describe this: Revolver with more drugs. The Indian instrumentation is ramped up, as is the songs about seemingly random shit. It sounds great, though. Production, again with the silly panning of shit, is off the chart. In amongst the madness there are “regular songs” to keep the album grounded. I’m not sure why the album seems to close with a reprise and then comes back with one more song afterward?…

I don’t really have the vocabulary to accurately and sufficiently convey the more technical details around Mahler’s work and the performance from Barbirolli and his orchestra, so I apologise if this review feels somewhat lacking. Classical, especially in this meandering, bombastic (?) style, is far outside of my wheelhouse. There is, however, a certain way that Mahler makes me feel. I think to say that there is a grandiose nature to these compositions is not…

One of life’s simple pleasures is unearthing “forgotten” gems from the past in genres that you love. Enter Dragons Of Autumn Twilight then, by Casket Of Dreams; a project that has enjoyed something of a second wind in the Covid end times of 2020 onwards. In regards to this 1998 debut however; frosty, minimal synth passages meld with more almost classical style songwriting to really whisk you away to a far away land. I’ve been…

Much more solid than the previous EP. “Walk Away” is like a shot in the arm, but “Poison Door” is probably the better song. The others on the 12″ / compiled version aren’t bad either.

Long-running but otherwise thoroughly enjoyable romp in the barber beats / vaporwave stream of musical consciousness (no doubt you were able to ascertain that from the cover art, though!). This 2022 effort from this prolific project covers a lot of different vibes but works best when at its most treacle-paced. Great chill music.

Being vaguely familiar with Alan Vega (split w/ SunnO))) & Pansonic, old Suicide stuff) I had absolutely zero fucking clue that he ever collaborated with Andrew Eldritch. It wasn’t until searching for the lineup of this “side project” that I learned of his involvement. The goth world is truly transatlantic, eh? So, Sisterhood. I read that this material was originally intended for a Sisters Of Mercy record and was only released as The Sisterhood because…

A fairly drab affair out of what I would otherwise consider a classic era of output from this unusual outfit. Neither of the songs really strike me, at least not in comparison to the other absolute belters this band was releasing in 1983. If you’re lazy, the full 12″ 4 track versions of this and the following single/EP, Walk Away / Poison, is available as a bonus disk to some versions of First and Last…

It’s interesting, because of SOM’s murky and unusual beginnings, I was expecting their commercially successful debut to be much more cohesive and brighter. Alas, their first album is a pit of depressing despair; each song – even if not super slow in pace – oozes out of the speakers like molasses. Eldritch’s baritone is used consistently here, a stark contrast to the yelped or barked Adam Ant but on crack cocaine approach of some of…

Revolver is the best Beatles album to date, chronologically. The sound is warm, even, and whilst the record is chock full of bizarre panning nonsense, the songs are for the most part absolutely excellent. Best track is probably “Eleanor Rigby”, which is iconic as we all know. The only thing that sucks about this is the cover art (like what the Jesus creeping shit is that?).

The double single of “Body Electric / Adrenochrome” bridges the gap between the distinct SOM sound and the early post punk efforts nicely. The bass is much more prominent in these tracks, and whilst the vocals are still manic rather than the sultry baritone of later years, this single is very much an enjoyable SOM release.

Sister of Mercy’s first release centres around the single “The Damage Done” and its associated songs. It’s harsh, noisy post punk but again with that rigid drum machine backbone, which stops things from getting too chaotic. It’s pretty good for what it is, but it isn’t unique and is pretty nondescript. If anything it reminds me of Nick Cave’s first band, The Birthday Party.

“Temple of Love” is much jauntier and up-beat, reminding me of the stuff you’d find on albums like Floodland. It’s a change of pace from the more morose and depressing stuff found on the previous few releases, but with that same trademark rigid drum machine sound. “Heartland” is kinda meh and the Rolling Stones cover was so unexpected for me that I honestly don’t know what to make of it.

The Reptile House is the second EP release from Sister of Mercy, at least chronologically, in early 1983. It is, truly, a masterpiece of dark rock, and reminds me of Killing Joke crossed with Christian Death. The sterile drum machine and prominent bass also reminds me of other dark 80s acts such as Big Black or even Swans (especially with the same baritone style vocals used by both bands) but whilst SOM is perhaps more…

“Alice” and “Floorshow” are both a great start, with the sound of the project in its infancy but also already possessing hallmarks which would continue throughout. They aren’t the strongest tracks by the Sisters, IMO, but the production is highly enjoyable. The re-release of the 1983 12” includes some absolutely fucking fantastic pieces of music, the cheeky “1969” but most importantly the excellent, repetitive, droning, spectral (lol) track “Phantom”, which is easily the highlight here.

A vital exploration of the early SOM singles and EPs, even if it’s missing one or two after 1983. The back to back bangers of Alice, Reptile House and Temple Of Love are reason enough to get into this thing, but the earlier material at the end is also worth checking out for completionists, even if it’s not as good as the first few releases collected here.

Whilst not hitting the heights of the first volume, Artificial Intelligence II is still a fantastic exploration of electronic music in the early to mid 90s. I have to admit that outside of Autechre (and Speedy J from vol. 1) I am not familiar with the artists here. They do however, all work under one unifying theme or banner; the bar of excellence is considerably high. There’s something about AI II that definitely feels its…

Christian Death’s Catastrophe Ballet has, IMO, one of the greatest cover art pieces of all time. I have so many questions about it, and it is also very visually striking. Unfortunately, the same cannot be said for the music. I appreciate the work of Christian Death and their impact on the scene but honestly, the apathetic vocal style of Rozz Williams (I fully understand that this is the whole point) is so disconnected to the…

Stunning piece of ancient dungeon synth (in relative terms, of course). Surprisingly well put together and orchestrated considering its age and place in the overall gestation of the genre. Fantastic stuff.

I enjoyed the group’s split release with Behrosth but on their debut full length they are almost completely falling over themselves. The various styles at play here in this concoction of “magick metal” (or whatever you want to call it) seem to sit apart from each other rather that come together to make a cohesive whole. That’s not to say that the record is bad; there are a few decent songs here, but generally the…

Absolutely fucking stunning piece of vaporwave, I shit you not. Has all the right ingredients of the genre but has them in THE perfect distillation of quantities… the wobble, the wow and flutter, the cut up nature of the various themes. Expect less in the way of mall music and more in the vein of perhaps Megadrive era game music but being played on a dusty piece of shit cassette player. IDK man I feel…

Black metal just the way I like it, fam. Fucking stinking! Yes, MK sounds like he’s drumming on an industrial-sized tub of full fat mayonnaise instead of a snare drum, but if anything this “rustic” approach to drums adds to the janky, raw nature of this uncompromising assault of the sense. 666 (what a title!) verges on the tropes of war metal ever so dangerously, but retains a smattering of icy cold riffs and precise…

I had originally mistaken this for a full length album, but this appears in fact to be a 70 minute set from Inner-Vation, mixing their own music with that of artists like Subversive, Aural Ambience and Forensics. It is a solid set; gelling beautiful ambient electronics and synthesizers with busy, non-stop “ants in your pants” style drum and bass programming. I can’t decide whether I should sit back and chill, or get up and do…

Falling firmly into the trappings of vaporwave but also being something so much more, the debut from Glaciære showcases a strong grasp on interesting and engaging songwriting. It is perhaps too easy in these circles to rely entirely on chilled nostalgic beats laced with infomercial samples, so when an artist goes above and beyond to conjure genuinely emotionally resonant music in this particular sonic palette, then they can often create something very special, as is…

Very low key, unsettling ambient music (bordering on noise with some elements). I was surprised by how restrained this was, which of course helps enormously in conjuring a sinister and unwelcoming atmosphere. It helps that this is one sold 40 minute track. There is no way to get off the ride. You just gotta make it to the end. Recommended for those who enjoy dark, unsettling soundscapes.

The sequel to the excellent D&C compilation continues in much of the same vein; showcasing a surprisingly wide variety of artists that adopt the “dungeon synth” moniker. I would say for the most part, like 80% of this stuff is really good. There are some moments towards the end where certain sounds / experiments don’t really gel all that well (there’s a song with drums for example, that just kills the vibe entirely), but for…

The award for most demented album cover ever goes to… this guy. LMAO. Seriously though, the first track on this thing is absolutely fantastic. Tangerine Dream eat your heart out! The title track is 18 minutes of absolute instrumental bliss. This would be rated much higher however if it wasn’t for the B-side where ol’ Tezza starts to lose his way in a soup of irritating noises. That first “song” though, holy fuckski; that’s some…

A great evolution from the EP which came the year before. It is a shame that this band did not continue past their debut. The cover is a bit half-arsed, but do not let it put you off. The songs from the EP reappear here in a more well-produced form; it is still frosty, and at moments remind me of Dimmu in the Enthrone… era, but this is the keyboard work’s doing. Production wise, idk,…

Came for the art, stayed for the fragile, frosted tunes. I love it when I find black metal from the 90s that I haven’t heard before. Ishtar has a cold, unforgiving atmosphere and a brittle production on Diabolical Hymns, but these three tracks unfold beautifully over a moderate 25 minute run time. Opening track “Morkrets Furste” dominates the EP but closer “Dismal Paradise” has a lot of promise too. Great stuff.

Another Beatles album that sounds like how I expected the Beatles to sound. I am now in more firmer territory (no doubt before we go off the deep end with the experimental shit haha). This one is very well produced indeed, but personally I preferred the Help! soundtrack which came not so long before this one. Whilst I find the production is more “present” and warmer here, the songs on the previous record were just…

Hibernaculum is a series of re-recordings of old “classic” Earth “tracks” in the “new” (for 2007) semi-acoustic, washed out western / Americana style Earth adopted from say 2005 onwards (or thereabouts). The songs are given a new life here, and it was the right move to put “Ouroboros Is Broken” at the start. For me, I find that track dominates the very early Earth days and it also dominates here. Hibernaculum gets more “droney” and…

Cool shit. Very meditative. It’s got that undercurrent of heavy drones / dense distortion that crops up now and then through the ritual-like folk chants. Pure “Roadburn-core” haha. I’ve had this record on my “check out” list since 2011. 15 years. That’s absurd. Anyway, this review sucks, but the record is pretty cool if you wanna fire up a medicinal cigarette.

I was very intrigued by the genre name of “crime jazz” and that’s what led me to the work of Irving Joseph. I expected smooth, dark, moody pieces that you’d get in noir movies and the likes, and whilst there are elements of that here, Murder Inc. is far jauntier than I anticipated. I feel like I’m watching an animated movie about some city slicker detectives (who are also cats, or something). Instrumentation is brilliant…

Moments of genius meets moments of autotuned garbage. I get it, that’s how it goes in hip hop. Highlight of the record has to be the production. The bass pops on this thing. Absolute props to the main man here for getting that shit locked down. Lyrically the game here is pretty strong but there are moments where I’m left uninspired for rather long passages of time. Honestly, all in all, this is pretty tight,…

As equally parts entertaining as it is pure mad fucking cringe, Donker Mag continues the Die Antwoord journey on its…”path” lol. Production is better; a fuller, fatter sound is the order of the day, and whilst Ninja’s flows still leave you with a bunch of WTF moments, they are generally of better quality here than before. Yolandi sounds great as always.

Darker and more mature than the debut demo in every possible way other than the production. In reality, I wouldn’t be surprised if the same kit was used to record and produce this as the previous demo, but the bass/treble frequencies are more present here as the compositions are fuller. That means less glaringly-obvious wobbly solo instruments, but it does mean that the lo-fi soundstage is dominated by drums, background pads and the like; resulting…

Markedly shakier and thinner on the ground (for lack of a better time) whilst compared to the demo that followed it, but Im Heidenwald Elfgaards is fucking stacked to the gills with kooky atmosphere and dusty 90s DS vibes. It’s a touch sloppy (plenty of slips on the ol’ keys) but really is no worse off for it.

The best way to listen to Trollheim. There is very little need to go anywhere else. This hour long comp pulling together the two demos Im Heidenwald Elfgaards and Ensomhet is all you could want, right? Side by side it’s easier to appreciate the slight stylistic changes between the two recordings.

What a journey! From the deepest fathoms of the oceans, to the greatest, most dizzying heights of the heavens; Global Pattern has pulled together some of the very best in the fields of ambient and electronic music to give you this beautiful and wonderful listening experience. The hours melted by with this on the stereo. Blissful!

Jelp! Now this is starting to shape up to sound more like what I expected from the Beatles. It helps (lol) that there’s several classic tunes here, including the massively (but understandably) overplayed “Yesterday”. Again, haven’t seen the movie of the same name, but as an album it flows very nicely, better than A Hard Days Night which was good but seemed like a series of unrelated vignettes rather than a cohesive whole. Help! flows…

Production on this one is still very “lo-fi” but is much smoother and not so rough around the edges. Musicianship also seems to be moving in the right direction. A lot more going on here, especially when the keys/synths get going and all sorts of magic(k) happens. Generally though, if you’ve heard Edelweiss before you’ll know what to expect with this record, but things just seem tighter, which is always nice.

The final track on Burzum’s Filosofem but in album form, amirite? Nah, to be fair, this hour long stretch of magical ambient music is far more than that. Minimalist as the compositions may be, this does not stop the atmosphere from being all-encompassing. Great for relaxation, reading, or what have you.

Appallingly bad. Not only boring and uninspired, but directionless and meandering. What a mess.

I’ve struggled to come to terms with this release for many years now. I even own the cassette, in a desperate attempt to force myself to get into it more. The truth is however, outside of a few bangers, this is generally not all that good. To be honest, a lot of the songs here are verging on just flat out bad. There are moments that drag it back from the brink, more so in…

Dumbfounded at the score for this. Mr. Wonderful showcases a more arrogant Bronson but this is easy coast hip hop, what the fuck do you expect? The production is killer with a really heavy blues influence for the most part. Tracks range from bangers stacked with bars and unreasonably catchy, dare I say poppier numbers like “City Boy Blues”, “Brand New Car” or the outstanding “Easy Rider” (“Baby Blue” is also a hell of a…

Listening to the Beatles albums chronologically, I found that Beatles For Sale was the least enjoyable of the lot thus far. It took me a little while to put my finger on it; initially things seemed like they were in their right place; that early 60s rock and/or roll sound that I have come so familiar with now after being 4 albums deep was in full effect, and the production is more grounded, with less…

There’s a lot of songs on this thing but it just flies by. I haven’t seen the movie and have no plans to so unsure how they tie in, if at all. I’m assuming this may be the reason why the songs seem a little shorter than usual? Either way, song quality is up there, as in there’s very few moments where I want to skip forward. Not as many stand outs as the previous…

Collection of various demos and misc. tracks from Epäkristus, some are great quality, some are quite raw. It is not the “necro” kinda raw either, but like a rehearsal room kinda raw, like some sort of black metal Agathocles. As almost always with collections like this, the quality is hit and miss. It’s a demo compilation though, so it is to be expected.

It’s wild to me that a band as well loved and revered as Lividity has so little in material that is actually of any substance. Perverseverance is not bad, but I feel like I have heard this done a thousand times before – by Lividity and others too – and done much better too, at that. If you like straight up brutal death with clear, modern production, then check this out. Otherwise, I’d probably skip…

Great tunes but they really suffer due to the muted and rounded production. The drums are reduced to a series of clicks and clatters, the guitars are super scooped and overcompressed and the vocals just sound like burps and farts. Yes, I am fully aware that this is brutal death metal, and in another album perhaps all of the above are plus points rather than negatives, but the sound in which this record is presented…

I am constantly blown away by how consistent Corpsegrinder-era Cannibal is throughout the late 90s and early 2000s. Bands of this prolific nature tend to either run out of steam or wander off the beaten path into experiments that either haunt them or pay off in spades. Cannibal? Nah, just straight up fucking BRUTAL death metal, fam. And I’m not talking about the subgenre. I’m talking about the meat of this thing being hard as…

Heavy, blunt, very angery and very tough hardcore. Short as fuck, but hey, we’re not writing a space opera here. Hard hitting shit that does what it is supposed to do.

Dim, dark, dismal, raw, lo-fi, miserable black metal. Tidy! Not to be confused with the “other” Sort Sind which also plays black metal, this “Sortsind” merges drab, “necro” black metal with tense atmospheric passages and troubling vocal performances to invoke a harrowing and haunting experience. Many thanks to JohnsonBruckheimer on YouTube for the recommendation.

Yo dawg I heard you liked your rhythm section panned hard left? Say no more, say no more! I suppose quality wise this is on par with Please Please Me and it certainly feels like a “part 2” to that album. The songs here though are not quite as good IMO, I really start to lose my way in the middle with shit like “Please Mr. Postman” and friggin’ “Roll Over Beethoven” (what is this,…

Has its moments of genius and inspiration, but also flounders and loses its way in other less inspired moments. As a whole, the record is an ethereal and dreamy approach to hip hop, without entering the “stoned” or zoned-out realm too much. Production is nice, but nothing super special.

Quite probably the best way these days to get your head around the Love & Hate era (with the bonus of the In All Languages DVD). I will say, as nice as it is to have Love & Hate and the In Dub session together in one set (it just kinda works), the extra DVD is cool but it’s still worth hunting down the CD version of In All Languages for all of the “rare”…

When I was a kiddie (well, teenager) still new to all of this shit, I got this CD from Earache Records’ webstore for next to nothing. Back then, I couldn’t decide if the huge 15 minute and 17 minute reworkings of tracks from Selfless was a good idea or a bad one. To be honest with you, today I am in the same boat. The “Psychofuckdub” version of “Xnoybis” absolutely does not need to be…

“Cold World” itself is absolutely incredible. One of the best stand-alone Godflesh tracks, for sure. “Nihil” is a test of the mind, body and soul, especially as it devolves further and further through its various transmutations. Oh, and that art? Total misery.

I didn’t expect much for the first record from the Beatles knowing the “roots” in American “rock and roll” (Beach Boys tae fuck) and I expected very traditional full band pop music. I was very much shocked at how much I enjoyed this thing out of the gate. I was also surprised however that I knew a few of these songs, such as Love Me Do and Misery. I also feel that this thing sounds…

Was runnign through some MF DOOM shit and was surprised to find that I hadn’t written about this one yet. I think, as with a lot of people, Madvillainy was my introduction to both Madlib and MF DOOM, and I instantly fell in love with this thing. Honestly, the production on this record makes me feel like I’m stoned without even touching the green stuff. There are so many highlights, that it would be trite…

I love how the name of this band sums up the sound here so well. Ugly as fuck metallic hardcore drenched in reverb. Vocals are nasty, riffs are disgusting. Eight minutes of stank. BOSH!

A decent selection of tunes, with some interesting ideas (nice to see a prominent return of the synthesizer elements from the earlier days). After a couple of listens though nothing really jumps out.

“Running All Over The Wicket” has the sickest bassline since “Beneath The Waves An Ocean”. Generally though, I struggle to pick stand-out songs here compared to the other FOTL full-lengths. Despite this, I find myself preferring the general tone and production (all of which is a little darker than usual). So, it’s a strange balance for me. I will always no doubt be picking an earlier release over this one, though.

The once (and possibly still) elusive companion piece to Various Failures. I never found much value in it myself, because I owned an original copy of The Burning World, but for a very long time, Forever Burned was like the missing puzzle piece for fans who only had Various Failures. You have to remember for a very long time, before all of these recent reissues, the only way to get a lot of Swans was…

Like a transitional album with many elements from Gira’s previous project, The Angels Of Light. I bought the 12″ of this at a Swans show in Cardiff in 2010 and I swear there was like 50 people there. It was crazy seeing them in the following year (We Rose / Proto-Seer era) and how much their sound and audience had developed. I was really gobsmacked! Anyway, My Father… has some incredible songs on it, namely…

An interesting mix of vibes and ideas. From lo-fi beats to the more regular dirging sounds of various instruments such as pianos and guitars and what have you, Disburden Disciple showcases the many ways in which Jarboe can creep the absolute fucking shit out of you. Tidy!

It’s clear that there has always been a streak of influence from Steve Albini in this band’s work (the man also produced an album by Falko’s previous band) but “Prescriptions” is a little too uncanny valley even for me. It’s a tidy song, though. Generally, the rest of this EP is very chilled out; there are no big moments, (as in loud/abrasive), just solid songs played at a more moderate level than some of the…

If anything, the previous two EPs and their extra noisy / unusual songs were a good litmus test for how this would unfold in the form of a full length albums. Several songs from such EPs are reprised, along with a flurry of brand new head scratchers. Honestly, some of this shit is absolutely massive; huge cascading walls of sound crafted from slabs of bass and angular guitars. On paper that sounds like something influenced…

A very long and varied selection of “just about everything left off an album” from more recent Napalm Death recording sessions. Not gonna lie, despite being fairly long, it could be a full length in of itself. There is no lack of quality here considering these are essentially just bonus tracks and “left overs”. This shit goes as hard as any of the more recent records. For once, a compilation worth checking out!

4 songs, 8 minutes, that’s what I’m talking about! Great high quality studio tracks on a short 7” EP. Side A is probably better than Side B but this whole thing is great, with my favourite track being “The Male Gaze”.

Track 2 lets this one down considerably, otherwise this is fantastic, dusty, archaic “proto” dungeon synth. The underwhelmingly-titled “Outro” gets very spacy, where the first and final tracks are far more involving, like a cross between early Mortiis and a Sega Mega Drive video game.

Bosh! Is this reel lyfe? Or is this juste phantasee? I’ve kinda unintentionally managed to avoid the whole “keller synth” movement so I’m massively unfamiliar with the style. All I know is that this sounds like a strange mix between like, 8-bit or video game music, and dungeon synth style keyboard pieces. Oh, and a touch of bad black metal on top! Honestly, this cauldron of a cacophonous creation is actually quite endearing.

After the strange Polymers EP I did not have high hopes for the Man vs. Melody EP. I was therefore very pleasantly surprised by how good it was. “Future Child Embarrassment Matrix” and “He is Not a Hymn” are some of the heaviest FOTL tracks I’ve heard, particularly the former which reminds me of Blackjazz-era Shining of all things. The latter has that Every Time I Die / Daughters kinda anxious heaviness; again not something…

Polymers Are Forever is a short EP from FOTL, released a few years after the previous record and shortly before the band recorded their third album. The first thing of note here is the sheer drop in production quality compared to the first two albums. The Plot Against Common Sense has a similar muffled production but the tracks here seem like demos, if anything. That also seems to make them more experimental, I’d say. FOTL…

This is far from a bad album, but is Candlemass in name only. Leif (bass) is the only remaining member since the previous record, and this album was only put out under the Candlemass name because the label refused to continue with the Abstrakt Algebra project. As I said though, this is far from bad. It is actually pretty good “stoner” doom; the riff styles are drastically different to the rest of the band’s discography,…

Things come together very nicely on America Must Be Destroyed, which is the perfect distillation of the styles present on both Hell-O and Scumdogs Of The Universe. At first, America Must Be Destroyed feels like it’s a rawer album, but the reality is that the production, whilst uncompromising, is very well put together. The drums and bass clank away beautifully, the guitars are razor sharp and Oderus sounds brilliant. There are sillier moments (this is…

Messy, muddy grind of the gory variety – the same is the case for both bands. Neuropathia are here in their pre-rock’n’roll forms, with subterranean demo-tape quality gore being the order of the day. Mixomatosis has a bit more variety, at least in the sonic palette, but is far messier than their split mates.

It’s hard to shake the disappointment with this one. Beherit returning to their black metal style? Sign me the fuck up! Right? Right!? Unfortunately, Engram not only fails to ignite the spark from the original mystical days of old, but doesn’t really offer anything new in regards to modern black metal either. It fails on both fronts. Throw in a sterile, Watain-ass production, and yeah, this isn’t a winner. Don’t get me wrong, there are…

An improvement in every possible way from Hell-O. Scumdogs of the Universe has a prominent bass backbone; the rhythm section of this thing is tight as fuck, and the production is very similar to a lot of crossover thrash stuff from that era. Whilst leaning far more metal than their previous effort, Gwar’s Scumdogs… is of course far more than just a “crossover” album. There are some absolute classics here, the intro hat trick culminating…

Great shit. Sounds like Impaled Nazarene (perhaps a bit obviously once you know who’s involved here) but a bit more “straight up” – there’s less nonsense here, let’s just put it that way. Also reminds me of Beherit and Blasphemy in its own way. Great little 7” EP.

I know little of Future Of The Left’s music and have only really been into them because of some friends who enjoy their stuff. This has given me a somewhat lopsided “casual” fandom of the band, where I’m familiar with songs rather than albums (excluding Travels with Myself and Another – that thing fucking rules). Curses is of no exception. If anything tbh, it’s “quirky” late 00s artwork style put me off – but more…

Ahead of its time in that it sounds like generic AI generated muck. Patient Number 9 came a good year or so before Suno etc. was made available to the public, so kudos I guess, to the Ozzy machine for grinding out something completely fake before the rest of us could. No number of guest features is saving this artificial crap.

Overproduced, autotuned to fuck garbage. Fuck Elton John, fuck Post Malone, fuck Ozzy and his gang of yes men (oh, and fuck Sharon Osbourne). This is a musical abortion.

Scream unfortunately suffers the same fate as Black Rain, only without the Korn sound. It’s got a heavy “old man tries to stay relevant” sound (insert Steve Buscemi with a skateboard here), and is sadly fairly redundant and without any particular highlight. If I had to pick one, it would be “Soul Sucker” because the chorus is so catchy. Production wise, it’s very thick and dense; heavy on the bass and treble is not skimped…

How can something that came out in 2007 smack this hard of nu metal influence? Hahaha Black Rain sounds like someone in Ozzy’s management team heard Korn’s See You On The Other Side or NIN’s With Teeth and decided incorporating those elements into his music was a good idea or something. Seriously though, this makes the record feel enormously out of touch. The whole thing feels like a series of bad Rob Zombie b-sides with…

Ozzy Osbourne doesn’t owe us anything, and to be fair, he can do whatever he likes. However, was this really necessary? Outside of the firecracker rendition of “21st Century Schizoid Man” and the hilarious version of “Fire” (Paedofinder General did it better), this album is a total self-wankfest and a chore to get through. The cover of Mott The Hoople’s “All The Young Dudes” (famously written by David Bowie) even has fucking Ian Hunter on…

Down To Earth is the first Ozzy album that I was around for “in real time”. I remember this coming out. My friend Mark had it on CD, and the videos for “Gets Me Through” and “Dreamer” were all over the TV. Honestly, I fucking hated it at the time hahaha Colour me surprised, though! It took what, 23 years for me to finally appreciate this! This is another “later” Ozzy album that I’ve enjoyed…

Chronologically, Ozzmosis has been one of my favourite Ozzy albums. This surprised me, because the transition to “modern” “grunge” was forced by the label, and not an organic shift (you can find earlier demos with a different producer where the same songs sound a lot more like No More Tears). I think I can safely say, for the first time ever, thank absolute fuck for label interference! No More Tears was a fucking snooze fest. …

It is perhaps hard to justify the fervour that this album drums up, without placing yourself back at its time of release. Nowadays, fans of this kind of music have been exposed to all kinds of slow and disgusting death metal, but that’s not to say that Infester does not still stand head and shoulders over the rest of it. Notice that I’ve not used the terms “doom” or “death doom”; the Infester full-length is…

A cool live album from the RR era of Ozzy’s solo career (as is probably very much indicative by the title and album cover and you don’t need me to remind you of this!). In all, the set is pretty solid and the sound is really clear but still has that “obvious” raw live bite to it. There wasn’t much worth here for me outside of a really cool live set featuring our man Randy,…

Cold Winter Blades is a cool little EP that’s sitting on the boundary of Darken’s fairly savage “solo” Graveland work and the more triumphant and orchestral incarnation that the band would become with Thunderbolts Of The Gods or Hour Of Ragnarok. I don’t know if it’s just me, but the drums here seem absolutely overpowering, but that’s my only criticism really. Otherwise this is solid Graveland stuff.

As fun as it is to hear the very origins of Gwar (at least in regards to full length albums) and how the monstrous characters involved transitioned into this outfit from past project(s), I find myself not enjoying this record as much as I thought I would. Hell-O seems a bit unsteady on its feet. It’s not that the band perhaps are not clear on what they want yet; no band makes this kind of…

Incredibly, consistent black metal with a raw and honest production. Song structures are generally long and quite progressive, which is nice to hear when it comes to rawer more rehearsal room feel stuff like this.

Based and mince-pilled.  MxMxMx got the fatter sound, but Ziplock got that tight groove. Winner winner, (vegan) chickan dinner.

Really struggled with this one; bored me to fucking tears, I won’t lie. At first it’s very obvious that Zakk Wylde is on the scene; the guitar are far busier, riffing left right and center, with friggin’ squealies here and there too. As a whole though, this is a further dive towards the commercial angle experimented with on the previous album. Biiiig fucking AOR / stadium rock is the order of the day, with hideous…

Don’t let the shit-tier art put you off; this is a decent listen. Sometimes, things get lost in the reeds in production terms, but from a songwriting perspective this is pretty good. The duelling guitars (not in the Iron Maiden sense haha) keep the songs interesting, as does the interspersed dapplings of keyboard. The vocals and drums are quite “OK”, but nothing to write home about. Worth checking out if you are off the beaten…

On a first listen of this record, I couldn’t get over the “wall of sound” production. The album has however, grown on me. It is a feverish and chaotic, intense and over the top. Only such a wild and in your face production could house such a barrage of different sounds, right? The highlight of most of this record for me is the vocal performances, which range from impressive to completely feral.

Ahhh my life! Stamp on my nuts and throw me in front of a train. This shit is fucking CLASS. The mince stomps on this fucking thing are RIDICULOUS. The drums sound like homemade bullets made from melted down bin lids. The guitars sound like they are made by poor sap wearing a hat with a Hyperemesis patch, who was pushed – along with a crate full of Agathocles vinyl – into the machine from…

Bubbling analog gorenoise to melt the skin off your face and the eyes out of your sockets.

I got this CD for pennies (it was one of the reissues with the white jewel case and it had the tracklist that included Anal Cunt – for some reason there appears to be multiple versions of this compilation with different tracks, even different covers by different bands! I guess a band like Cathedral has an emergency stash of various Sabbath covers to break out in times of need hahaha). Now, a band like Sleep,…