This week’s Heavy Music HQ reviews include releases from Avantasia, Brainstorm, Chemicide, The Dead And Living, Dirkschneider, Grima, Havukrunnu, Hirax, Iron Jaw, Nachtblut, The Residents, Vacuous and Year Of The Cobra.
The ratings are on a 5-star scale.
Avantasia – Here Be Dragons (Napalm)
Tobias Sammet (Edguy) has composed a new Avantasia album, the band’s tenth overall and first for Napalm Records. As always, there’s a star-studded lineup of guests that bring the soaring power metal compositions to life. Many have appeared on previous Avantasia albums, while others are new to the party.
Adrienne Cowan (Seven Spires) and Sammet shine on the catchy “Avalon,” while Helloween’s Michael Kiske shows his pipes on the bombastic “The Moorlands At Twilight.” The title track, featuring Geoff Tate (ex-Queensryche) is the album’s most epic song, clocking in at nearly nine minutes. Other guests on the album include Tommy Karevik (Kamelot), Ronnie Atkins (Pretty Maids), Bob Catley (Magnum), Kenny Leckremo (H.E.A.T.) and Roy Khan (Conception). Avantasia’s formula is well-established, and Here Be Dragons doesn’t deviate from it, but plenty of really good songs and top-notch performances make it another in the long line of enjoyable Avantasia albums.
Rating: 4
(Chad Bowar)
Brainstorm – Plague Of Rats (Reigning Phoenix)
It’s a big week for German power metal. Brainstorm, who have been around since the late ’80s, have a new album Plague Of Rats. It’s their 14th studio record, and first for bassist Jim Ramses (Paralysis, On Thorns I Lay). Vocalist Andy B. Franck has fronted the band for about a quarter century, and as always sings with both power and emotion.
The album explores Indian religions and mythology, and incorporates some of those influences alongside the potent power metal, such as on “The Shepherd Girl (Gitavoginda).” The songs are focused and compact, with only one exceeding five minutes. A couple of guests add even more diversity to the proceedings. Leaves Eyes’ Elina Siirala appears on the punchy “Your Soul That Lingers In Me,” while her band mate Alexander Krull lends his harsh vocals to “From Hell.” With Plague Of Rats, Brainstorm sound as energetic and vital as ever.
Rating: 3.5
(Chad Bowar)
Chemicide – Violence Prevails (Listenable)
Boasting four full-length albums and an EP already under their (bullet) belts, Costa Rican act Chemicide have been making a racket for a while. New album Violence Prevails sticks to the blueprint, but then thrash’s self-referential nature is often one of its biggest selling points to grizzled metallers. Their fifth LP doesn’t offer any surprises; see the Slayerized riffs of “Red Giant,” while the title track’s akin to an unholy mash-up of early Sepultura and Kreator with Paul Baloff out front. And two-minute cuts like “Chokehold” are as fast and furious as you’d expect.
The production is raw, and there’s plenty of energy to substitute for the lack of new ideas. The covers that close the album represent a curious dichotomy. Tackling a Metallica track seems par for the course, but it’s curiously a steroidal take on their recent “72 Seasons” rather than an ‘80s classic. Meanwhile, a blistering (naturally) version of Discharge’s “Hear Nothing, Say Nothing” serves as a bonus track. Lyrically, Violence Prevails tackles topics like corruption, senseless violence and poverty in the group’s homeland. It’s suitable fodder for a thrash act, and a fitting accompaniment to their musical fury.
Rating: 3.5
(Brendan Crabb)
The Dead And Living – Damage (Rexius)
Swedish goth rock outfit The Dead And Living have come back from their hiatus to bring us Damage, a short and sweet EP that marks a new turning point for the band. A stark difference from their 2019 album The Author’s Curse, this EP offers a more somber and bleak outlook.
Though the EP’s total runtime clocks in just shy of twenty minutes, Damage has enough emotion behind it to make it feel like a whole album. With vocals reminiscent of early Marilyn Manson, it makes tracks like “Magma Heart” all the more impactful. Though their latest release is short, The Dead And Living have shown just a teaser of what their latest steps are moving forward.
Rating: 3.5
(Dalton Husher)
Dirkschneider – Balls To The Wall Reloaded (Reigning Phoenix)
Balls To The Wall is one of the classic albums of the ’80s, with the title track a constant presence on MTV in that era. It was Accept’s breakthrough, and went gold in the U.S. Now, 40 plus years later, the band’s former vocalist Udo Dirkschneider brought together some all-star vocalists to re-record the album.
Balls To The Wall Reloaded includes some singers who were performing back when the album was originally released, such as Saxon’s Biff Byford (“London Leatherboys”), Twisted Sister’s Dee Snider (“Losers and Winners”) and Doro Pesch (“Winter Dreams”). Younger singers like Sabaton’s Joakim Broden (“Balls To The Wall”) and Danko Jones (“Turn Me On”) also appear. The arrangements are pretty faithful to the originals, though the production is modern. It’s interesting to hear different singers alongside Dirkschneider on these classic songs, and while a fun listen, isn’t exactly essential.
Rating: 3
(Chad Bowar)
Grima – Nightside (Napalm)
Grima‘s sound is the soundtrack of the darkest corners of the wilderness, asleep in the snow, grief, and majesty. They paint this dark and ominous splendour with a majestic and oppressive pagan poeticism. Nightside, Grima’s sixth studio album, is more than just a collection of songs. It’s a celebration of their tenth anniversary, a milestone that they mark with a spellbinding and dramatically intense musical journey.
Nightside is both haunting and poetic. The opening moments of “Flight of the Silver Storm” combine melancholy and awe, funeral-tinged melodic doom metal and atmospheric black metal, creating one of the most captivating moments of metal music this year. This moment officially opens the album’s sonic gates to a new expanse of darkness. This mesmerizing symphony continues until the end, with each track offering captivating moments that keep you engaged and absorbed. Nightside carries Grima’s attempt to reach a significant point in the composition, and while it may not be unique, it is pretty magical.
Rating: 4
(Arash Khosronejad)
Havukrunnu – Tavastland (Svart)
Finnish foursome Havukruunu‘s fourth proper album is Tavastland, continuing in the grandiosity of their well-established pagan black metal. They follow up their best album to date, 2020’s Uinuos Syömein Sota. Lead track “Havukruunu Ja Kuolematon Laulunhenki” is equally heavy as it is vast in scope. The black metal dirges create an excellent juxtaposition with the epic group vocals and the guitar solos add a bit of a chef’s kiss to help round out this complex and creative opening onslaught.
The album’s title track also manages to scratch the itch for Hammerheart-era Bathory in an authentic way bringing forth heaviness and camaraderie with the band as they frequently group together for musical explorations. This album is exactly what you want from pagan black metal; you get an equal share of what makes this genre so great with enough general bombast to keep you coming back for more. Tavastland is Havukruunu’s most accessible album to date.
Rating: 4
(Tom Campagna)
Hirax – Faster Than Death (Armageddon)
For the sixth time in their very long career, Hirax, helmed by the legendary Katon W. de Pena, have released a new album chock full of neck breaking thrash titled Faster Than Death. This album is a “blink and you’ll miss it” affair with 9 tracks clocking in just under 25 minutes and played at warp speed. Opener “Drill Into The Brain” sets the tone with classic SoCal crossover riffing as they give into their hardcore punk roots which eventually transition to more thrashing of yesteryear.
de Pena is a powerful vocalist who is as much a member of Hirax as he is a fanatic about the genre as a whole and on the album’s title track that is as evident as ever. Shouted lyrics and the melody he gives into while shouting “Faster Than Death” is front and center. Faster Than Death is a thrashing good time for the sake of having a thrashing good time and if that’s what Hirax sought out to do, then mission accomplished.
Rating: 3.5
(Tom Campagna)
Iron Jaw – Cursed (No Life ‘Til Metal)
Iron Jaw were formed in Dallas, TX less than a decade ago, but the experience of its members goes back much further than that. For example drummer Randy Cook used to play with Rotting Corpse (amongst other bands) and vocalist Todd Pack had spent time behind the drum-kit of Hallow’s Eve.
So it should come as no surprise that sophomore album Cursed has a distinct 1980s feel to it with classic Judas Priest being a prime point of reference. The album has several good riffs and the vocals are indeed great but taken as a whole the album and its production sound rather tame. Thankfully there are songs such as “Pyromancer” and “Sands of Time” to keep your head nodding and your metal faith almost unscathed.
Rating: 3
(Chris Galea)
Nachtblut – Todschick (Napalm)
Five years after their last full-length, the German dark metal outfit Nachtblut unveil their seventh album Todshick. That translates to “dark chic.” The band’s trademark gothic metal sound is fully intact, and this time around they add a little retro spice to the mix, with some ’80s style synths. That’s especially evident on “Manchmal Kommen Sie Wieder.”
Cinematic atmosphere is front and center on opener “Von Hass Getrieben,” while guitars are higher in the mix on songs like “Kinder Des Zorns” and the title track. Askeroth’s distinctive harsh and spoken word vocals contrast the accessible melodies. Closer “Schneller Als Der Tod” brings a little twang to the proceedings at the beginning and end. There’s plenty of variety on Todschick.
Rating: 3.5
(Chad Bowar)
The Residents – Doctor Dark (Cherry Red)
The anonymous art rock collective The Residents have been around for more than 50 years, releasing dozens of albums. Doctor Dark is their first album in nearly five years. The storyline of this modern opera combines a character inspired by Dr. Jack Kevorkian and the ’80s court case where heavy metal was blamed for driving two teenagers to a suicide pact.
Musically the album is extremely varied, with elements of metal, industrial, pop, classical and more. It’s a very cinematic, creative and complex record, with tracks like “Metal Madness” on the heavier end of the spectrum and songs such as “Maggot Remembers” less intense and more avant-garde. The Residents are an acquired taste, and longtime fans will find themselves immersed in the storyline and eclectic songs. Those new to the party may find Doctor Dark a bit enigmatic, especially since it clocks in at 75 minutes, but for those who embrace the experimental, it should hit the spot nicely.
Rating: 3.5
(Chad Bowar)
Vacuous – In His Blood (Relapse)
The most chilling parts of Vacuous’ In His Blood are when gothic-sounding riffs echo out in anguish. This is not a time for serenity, but for the inescapable feeling that there’s a unsightly presence waiting to strike. With this being a death metal album, the blow is inevitable. “Hunger” and “Public Humiliation” articulate this in a way that distinguishes In His Blood.
The title track is a striking opener, channeling a multitude of wrath into under three minutes. “Flesh Parade” does the same, though they make major strides in finding the catchier side of death metal with “Contraband.” Vacuous have stated they want every record of theirs to be distinct, a trait that is in their favor with In His Blood.
Rating: 4
(Dan Marsicano)
Year Of The Cobra – Year Of The Cobra (Prophecy)
Year Of The Cobra, the Seattle band’s third full-length, is a very groovy listen that has a sludgy edge to it. The songs are grimy and feature a good amount of distortion. This shows a great reliance on being catchy to capture the listener’s attention. There is also a doomy kind of feeling to the songs, featuring vocalist Amy Tung Barrysmith. There is similarity to the most recent Lucifer release, but with a sludgier edge. This leads to a pretty euphoric sound overall and one that certainly raises a pulse.
If there is a flaw to be found, it’s that Year Of The Cobra‘s music is relatively straightforward. The musicianship is fine and displays a heavy reliance on groove. It all adds up to a colorful recording that has lasting appeal, a rousing exercise in catchiness and has an accessible enough edge to it. All in all, this is a recommended release.
Rating: 3.5
(Adam McAuley)
