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CANDLEMASS - FROM THE 13TH SUN (1999)
This is Candlemass going full Sabbath worship, even more openly than usual. From the 13th Sun brings you some thick, fuzzy guitars, hypnotic grooves and a warm, analog heaviness that feels like a direct love letter to Black Sabbath's Master of Reality and Vol. 4. Compared to the murky experimentation of Dactylis Glomerata, this album is far more cohesive, with a clearer sense of direction and a heavier, more oppressive atmosphere.
"Tot", "Elephant Star" and "Cyclo-F" hit with a massive, stoner doom vibes, while the production gives everything a hazy, cosmic glow. From the 13th Sun is not the epic doom of the Marcolin years, but it brings you the classic Sabbath sound filtered through sci-fi themes and psychedelic textures.
It stands as one of Candlemass’s most focused and confident late‑’90s releases, A cult favorite for very good reason.
CANDLEMASS - DACTYLIS GLOMERATA (1998)
After Candlemass disbanded in 1994 and spent several years in limbo, Leif Edling started writing an album for his Abstrakt Algebra band but Leif was in financial ruins and when Music For Nations called and offered him a deal if he released the album under the name Candlemass, Leif agreed and the rest is history. So that explains why there is a completely new lineup here. leif did however contact the old band members and he got their blessing to use the name.
⭐⭐⭐⭐
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CANDLEMASS - DACTYLIS GLOMERATA (1998)
After Candlemass disbanded in 1994 and spent several years in limbo, Leif Edling started writing an album for his Abstrakt Algebra band but Leif was in financial ruins and when Music For Nations called and offered him a deal if he released the album under the name Candlemass, Leif agreed and the rest is history. So that explains why there is a completely new lineup here. leif did however contact the old band members and he got their blessing to use the name.
Dactylis Glomerata is the strange, exploratory result of that rebirth. Instead of returning to the epic doom grandeur of the Marcolin era, the album dives into murkier, more experimental territory, blending doom with psychedelic textures, progressive detours, and even hints of industrial atmosphere. The production is intentionally hazy and off‑kilter, giving the record a bleak, introspective mood that stands apart from anything the band had done before. Tracks like “Wiz" and “Dustflow” show flashes of Edling’s melodic instincts, While “I Still See the Black” feels like a return to the old Candlemass sound. Dactylis Glomerata, named after a flower that Leif Edling is allergic to, ultimately feels like a tranistional work. A creative reset after years of turmoil, and a stepping stone toward the more focused heaviness of From the 13th Sun.
⭐⭐⭐
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CANDLEMASS - CHAPTER VI (1992)
With Messiah gone and Tomas Vikström stepping in, Chapter VI marks a sharp stylistic shift. The album leans into a heavier, more aggressive sound. Still doom, but infused with a muscular, almost power‑metal edge. The production is punchier, the tempos more varied, and the riffs more direct. "The Dying Illusion", "Julie Laughs No More" and "Where the Runes Still Speak" stand out as seminal moments.
Tomas Vikström was recruited from the rather soft rock band Talk of the Town, So there were some skepticism towards him as Messiah Marcolin's replacement but as soon as Tomas opened his mouth and started singing, damn he blew us all away. People may call me insane but his performance here pretty much tops everything Messiah did for the band.
While it lacks the epic doom atmosphere of the Marcolin era, Chapter VI has its own identity: darker, earthier, and more immediate. It’s an underrated chapter in the band’s evolution, even if it divided fans at the time.
⭐⭐⭐⭐⭐
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CANDLEMASS - TALES OF CREATION (1989)
Tales of Creation feels like the final chapter of Candlemass’s first great era since it's their last album featuring Messiah Marcolin (at least for now) and it's also the last Candlemass record of the '80s.
Tales of Creation feels like the final chapter of Candlemass’s first great era since it's their last album featuring Messiah Marcolin (at least for now) and it's also the last Candlemass record of the '80s.
Tales of Creation is a return to the epic, mystical atmosphere of Epicus and Nightfall, but with a more refined sense of drama. Messiah Marcolin delivers one of his most commanding performances, shifting between operatic grandeur and mournful restraint. The album blends crushing doom riffs with ethereal interludes, giving it a dreamlike flow that sets it apart from the more monolithic Ancient Dreams. "Dark Reflections", "Under the Oak" (re‑imagined and heavier than ever), and the title track show a band at peak compositional strength. "Into the Unfathomed Tower" is something of a rare oddity since it's instrumental and really fast, calling it a speed metal track wouldn't be a lie. Tales of Creation is a majestic, emotionally rich record that closes the classic lineup’s first run with real dignity.
⭐⭐⭐⭐⭐
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CANDLEMASS - ANCIENT DREAMS (1988)
Candlemass is back once again. It's 1988 and Candlemass released their third studio album Ancient Dreams. With the same "classic" lineup as on Nightfall (Marcolin, Björkman, Johansson, Edling, Lindh). Ancient Dreams feels more vocal driven than on the first two albums and vocalist Messiah Marcolin never misses an opportunity to throw in a soul-crushing vibrato. Ancient Dreams is less melodic compared to Nightfall, it's more straightforward in it's approach. For me, the highlights of Ancient Dreams are "Mirror Mirror", "Darkness in Paradise" and "Bearer of Pain".
I guess four stars is perhaps a little low for such an epic album. Ancient Dreams is an album that most bands can only dream of creating. But to the incredible high standards of Candlemass I think that it's overall a little weaker compared to bands earlier work. Although songs like "A Cry From The Crypt" "Incarnation of Evil" are good songs, they are a bit weaker than those on the first two albums.
The album end's with two covers. Epistle no. 81 is cover of 18th century composer Carl-Michael Bellman. I wonder why they recorded the Black Sabbath Medley? It feels unnecesary because I rather spend my time listening to Candlemass own material.
Despite that, Ancient Dreams is a must for every fan of doom metal. Darkness has fallen in paradise!!!
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⭐⭐⭐⭐
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CANDLEMASS - NIGHTFALL (1987)
Candlemass who had a turbulent year after the release of the masterpiece Epicus Doomicus Metallicus. First they got dropped by the record company due to bad sales and then vocalist Johan Längqvist decided not to continue with the band. Out with Klas Bergwall, Mats Ekström and Johan Längqvist and in came Lars Johansson, Jan Lindh and Messiah Marcolin.
Despite the big changes in the band the sound was almost intact from the debut. As Leif Edling were the main songwriter. Edling wanted to name the album Gothic Stone but newcomer Messiah Marcolin came up with Nightfall and the rest is history so to say.
The vocals are perhaps the biggest difference from the debut. Messiah goes a little higher and is a little more operatic in his delivery. Songs like "The Well of Souls", "At the Gallows End", "Samarithan", "Dark Are the Veils of Death" and "Bewitched" are all classic doom metal songs.
I personally think that Nightfall is one of the defining moments in doom metal history. It might not be as groundbreaking as Epicus Doomicus Metallicus but in terms of quality, it don't get better than this. Definitely top five of all the albums that originates from this small country of Sweden.
I personally think that Nightfall is one of the defining moments in doom metal history. It might not be as groundbreaking as Epicus Doomicus Metallicus but in terms of quality, it don't get better than this. Definitely top five of all the albums that originates from this small country of Sweden.
⭐⭐⭐⭐⭐
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CANDLEMASS - EPICUS DOOMICUS METALLICUS (1986)
Candlemass debut album Epicus Doomicus Metallicus started the epic doom metal genre.
Candlemass listened a lot to Black Sabbath and Trouble back then when they recorded this album. But they stripped down the bluesy psychedelic sound of Sabbath and created a more epic and metallic style here on their 1986 debut.
Back when they recorded the album it was unclear who was going to do the vocals, the band took in Johan Längqvist as a guest vocalist and what a great choice that was. Johan has this feeling of despair in his voice, Perfectly matching Candlemass gloomy music. A voice that would to most band be absolutely irreplaceable. Strangely enough he decided to part ways with Candlemass after this excellent debut, Candlemass then recruited Messiah Marcolin and the rest is history. Maybe Messiah had a better stage presence, but I prefer Johan's voice.
Right from the get go, "Solitude" sets the tone with its slow, mournful crawl, immediately defining the album’s bleak atmosphere. "Demons Gate," "Crystal Ball," and "Black Stone Wielder" deliver the core of the record’s crushing, riff‑driven identity. The closer, "A Sorcerer’s Pledge," stands as the album’s defining epic, hinting at the grandeur Candlemass had perfected.
Right from the get go, "Solitude" sets the tone with its slow, mournful crawl, immediately defining the album’s bleak atmosphere. "Demons Gate," "Crystal Ball," and "Black Stone Wielder" deliver the core of the record’s crushing, riff‑driven identity. The closer, "A Sorcerer’s Pledge," stands as the album’s defining epic, hinting at the grandeur Candlemass had perfected.
I personally think that Epicus Doomicus Metallicus is the best metal album from Sweden, I also rank it as the best doom metal album of all time. There's just no weak points on Epicus Doomicus Metallicus.
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CARNIVORE - RETALIATION (Review by: Aaron DiDonato)⭐⭐⭐⭐⭐
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Wow. Words of warning: SKIP THE FIRST TRACK. It’s called “Jack Daniel’s and Pizza.” Just trust me. You DO NOT want to hear this track (notice I do not refer to it as a song). I love this band. They sound like a combination of every New York metal/punk band. This band makes their influences obvious, they sound like a tremendous mixture of Overkill, Nuclear Assault, Minor Threat, Bad Brains, Motorhead, and Venom, with a tad of Black Sabbath and Iron Maiden.
The singer actually mentions listening to Black Sabbath in the second track, “Angry Neurotic Catholics”. The singing is really bad ass sounding, kind of a mix of Cronos (Venom) and Henry Rollins (Black Flag). The album has a few low points, like the chorus of “Race War”, but not many. This album has very punky lyrics, usually not straying from the everyday happenings of teenagers, politics, and prejudism. An overall very good record, I suggest this album for any fan of thrash and punk, and most fans of thrash in general.
⭐⭐⭐
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CARNIVORE - CARNIVORE
Carnivore was mostly known for Peter Steele's (Type O Negative) participation in the band. Carnivore was from New York and that can be heard throughout their music. The New York-scene always had a punkier approach to thrash. I'm thinking of bands like Anthrax, S.O.D., Nuclear Assault and Overkill. Carnivore is a part of that good 'ol tradition and in 1985 Carnivore was quite early when it comes to New York thrash metal. But Carnivores sound was much more primitive and dirty. Like a punkier Venom.
They really mixes it all up here on their debut, hardcore, doom metal, thrash, speed, punk, and heavy metal all into one barbaric piece of vinyl.
With lyrics of male supremacy, sex, nuclear holocaust, death and destruction Carnivore's debut-album was nothing for the weak-hearted. The music itself aren't anything special really, it's just standard mid-eighties thrash but Carnivore had some personality and who doesn't like an album with lyrics that are so extreme that it gets hilarious and Peter Steele's rabid voice surely add's some effect to it. Like when Peter shouts "I Love to eat pussy", haha.
Over the top? Hell yeah!
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⭐⭐⭐
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CELTIC FROST - MONOTHEIST (2006)
This is Swiss pioneers Celtic Frost sixth and final studio album. Originally, Celtic Frost disbanded after 1990's Vanity/Nemesis and now a decade later they have reunited.
Celtic Frost took their time with Monotheist and worked on it for four years before releasing it in 2006. Celtic Frost could have done it the safe way by trying to recreate the grandeur of To Mega Therion or the pummeling ferociousness of Morbid Tales but that was never the way that Celtic Frost did things. They always changed and usurped new ideas into their music, Genious at times, disastrous at other times. Monotheist is not a thrash metal album, Sure it has its faster moments but the album leans more towards some sort of gothic doom metal. The album is just so dark, depressing and soul crushingly evil.It's a very atmospheric album with tons of dark themes.
This album is so heavy, modern in style and yet so unique. As a thrash metal fan and a big fan of the bands past I struggle at times to wrap my head around this monstrous release. It's not a particularly "true" album in terms of sounding old school, no this is a very modern sounding record and that usually means bad but I think that this album transcends metal traditions. This is an album that parts the sea, literally. Some traditionalists might never give this album a fair chance and I usually belong to that camp but this is just pure darkness and it is such a monstrous creation that it's hard not to like it.
Celtic Frost left us with one last landmark of innovation and heaviness, just like they did at the beginning of their career. I'm glad to say that Celtic Frost are still significant and relevant in this modern dage. Monotheist is nothing short of a triumphant goodbye.
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CELTIC FROST - VANITY/NEMESIS (1990)
Blesed is the Black even has two power ballads in Out of the Grave and Another life. Both songs are dark and gloomy. But the real gem on this album is the song 6669. It's the fastest song on the album and definitely the most ripping one with captivating riffs and a memorable chorus.
Unfortunately the album is quite underproduced and it sounds like a demotape at times with it's dry guitar tone. But as far as the songwriting goes Blessed is the Black is a top notch-album. I especially like the theatrical voice of Jay Clark. He fits the diverse music perfectly with his diverse voice. He cries, he sings and he screams and it all sounds great.
The lyrics are evil and over the top and even surpassing it and entering the realm of ridiculousness with songs like Iron Dick and McDonaldland Massacre. Which is sad and somewhat annoying when the rest of the material is so strong and serious. But that is minor issues. I think that Blessed is the Black is a terrific thrash metal album and a must if you like old fashioned power / thrash.
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CRO-MAGS - THE AGE OF QUARREL (1987)
Thrash Metal in New York was always quite different than the music that came out of all the other American cities. Ever since the mid eighties the hardcore scene had a huge influence on the thrash metal sound. In no other area you can feel the close ties between the genres like you can in New York. Thrash bands like Anthrax, Nuclear Assault, Overkill and Carnivore all had a punkier edge compared to your typical Bay Area band. In the mid eighties a movement called NYHC (New York Hardcore) exploded and bands like Agnostic Front, Murphy's Law, Reagan Youth and of course Cro-Mags emerged. These days Cro-Mags might be most known for their Hare Krishna background but when The Age of Quarrel was released it was one of the earliest examples of Crossover punk.
If we hail Black Flag as the epitome of DIY ethics, Minor Threat as the inventors of the straight edge movement, and the Bad Brains for their unmatched energy, then we can add the Cro-Mags to this list as the source of hardcore’s relentless quest for heaviness, for the hard image, the gritty urban toughness which inspired an entire genre.
The Age of Quarrel also stands the test of time, there are no semi-death metal growling here, no silly S.O.D.-humor, no breakdowns where the vocalist goes emo and absolutely no melodies, it's just straight ahead streetwise Crossover hardcore of the most compelling kind. An iconic album from an era when crossover weren't gimmicky.
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CRYPTIC SLAUGHTER - MONEY TALKS (1987)
Crossover-legends Cryptic Slaughter's second album came out in 1987. It was a bit more refined than it's predecessor "Convicted". The vocals are shouted in typical snotty hardcore-antics, Bill Crooks seems to be in a hurry to deliver all his social and political messages, haha. I would say that Cryptic Slaughter is closer to hardcore than thrash but hey, this is a fusion even if it's a smaller one. I might not be a huge crossover fan but Cryptic Slaughter delivers a violent message and Scott Peterson's drumming is without being technical as intense as the genre allows. Money Talks is brutal, noisy, messy and there is even blast beats on this album. Indeed very influental for the upcoming grindcore movement or any type of extreme metal. Money Talks is perhaps their most appreciated album amongst thrash metal fans and a legendary one in the field of crossover thrash. If you're looking for something with over the top-drumming and youthful yet aggressive punk-infused thrash, Cryptic Slaughter is for you.
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CRYPTIC SLAUGHTER - CONVICTED (1986)
Cryptic Slaughter was quite early with their style and they are today remembered as one of the most important bands of the crossover genre. Concivted is their debut album and it's leaning more towards hardcore than thrash, with many of the typical hardcore aesthetics, the album is set at a high pace and the drumming is extremely fast almost over-powering. The vocals are shouted fast in a typical hardcore fashion and the lyrics are often about political- or social issues. The music isn't super tight but they make up for it with some raging youthful anger. The album has a good production overall, all instruments can be heard clearly. These guys were only teenagers when they recorded Convicted, so the band matured a bit during the following years and peaked with 1987's "Money Talks". A lot of todays grindcore bands owes a lot to Cryptic Slaughter and this album has it's place in the history of both the punk and metal genres. They were simply ahead of their time. But at the same time this isn't anything I would go for as a thrash metal fan as it leans more towards the hardcore punk style. But it can and will satisfy all fans of the crossover-genre.
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CRYSTAL PRIDE (SWE) - CRYSTAL PRIDE (1984)
Oh, was this a drastic style change or what? Hadn't it been for the furios attack of epic heavy metal Crystal Pride unleashed in form of a 7" in 1982, I would call this a nice album. Now it's mainly a dissapointment.
This is straight, mid paced hard rock rooted in the 70's. There are actually plenty of nice riffs and hooks, it's just very hard not to think about the single and fantazise about what this album could have been.
Still, "Rock'n'Roll Gun", "Let You Go" and the extremely catchy "Knocked Out" (also released as a 12") are fine songs worthy of a spin or two.
The track that reminds the most of the first single is the closing "Flight of Heart", that has a bone crunching main riff and an outstanding chorus. Great, a little more of that wouldn't have hurt.
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CYCLONE - BRUTAL DESTRUCTION (1986)
I used to believe that the belgian blue was the heaviest thing that originate from Belgium, but I was wrong, Cyclone arose from Belgium with an album named Brutal Destruction, which was released in 1986 by Roadrunner Records. This album passed people by rather unnoticed, they where just belgians, not a hyped thrash band from San Francisco. Anyhow, their sound is similar to Slayer's early work. Cyclone's speciality are streaming and galloping guitars.
Guido Gevels vocals are rough but sometimes shrieking, the Paul Baloff-type (Exodus). Add a rough production, that aren't messy as some albums at the time intended to be. And you've got Cyclone. My favourite tracks are "Prelude to the end", "Fall under his command" & "Fighting the fatal". Cyclone's didn't end up in the hall of fame, mainly because of their quite typical thrash for the period but you'll not get disappointed. The belgians exceeded my expectations. Fall under my command and buy Brutal Destruction today!
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⭐⭐⭐⭐
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CELTIC FROST - VANITY/NEMESIS (1990)
After the career ending 'Cold Lake' album, It was time for Celtic Frost put the pieces back together again. If you're unfamiliar with Cold Lake, Then let me tell you, Celtic Frost went from being one of the most evil sounding bands on the planet. Like a European version of Slayer of sorts and then they released the glammed up Cold Lake record with dolled up out photos with the band wearing make-up and shit. It was just disastrous.
So Celtic Frost ruined a lot of their legacy with that one, So needed to redirect their course to be able to save what was left of the bands reputation. They started this by kicking out poser extraoirdinaire Oliver Amberg and they recruited some dude with three first names, Curt Victor Bryant. So the big question then remains. Did Celtic Frost get their shit back together?
No, Not exactly. For me this is more of a Cold Lake part II than a return to To Mega Therion. The music itself is a bit late 80's American styled thrash, It certainly lacks the darkness of classics like To Mega Therion and Into The Pandemonium.
The band might have dumped the worst dolled up glam aesthetics but the album is way too influenced by that type of light 80's rock with dudes in turqouise shirts, white pants and sailing boots. Not saying that that is the aesthetics here but there's some strange 80's pop influence here that just sounds dated, perhaps so even on the release date of this record. It doesn't help that the band recorded lousy covers of Bryan Ferry and how they slaughtered David Bowie's Heroes.
But Vanity / Nemesis ain't as bad as Cold Lake, We got to give them that. The thing that annoys me the most on the record is actually what usually separates them from the crowd and that's Tom G. Warrior's vocals, or Thomas Gabriel Fischer as he is known here. His singing just don't fit this record at all. Vanity was perhaps Celtic Frost's biggest enemy. They had ideas of blending heaviness with superficiality and it blends like water and oil.
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⭐⭐
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CELTIC FROST - COLD LAKE (1988)
Celtic Frost (or should I say Celtic Sisters?) released the album Cold Lake in 1988 and what a disaster it was. It was of epic proportions. At the time of this release one could claim that they were the most beloved extreme metal band in Europe together with Venom, Kreator, Destruction and Sodom. So it came as a chock when you saw the band dolled up on the backcover of the LP. It looked like the band had turned into Mötley Crüe or something.
Celtic Frost was always an experimental band that brought in non metal influences to their sound but no one expected them to go mainstream and basically try to become a hair metal band. Which was just a terrible idea from the start when you got a frontman like Tom G. Warrior. Cold Lake sounds like a sluggish variant of what Mötley Crüe or Twisted Sister. Don't get me wrong I like those bands to some degree but I wouldn't call myself a Cold Lake Fan. The drumming is generic just like any other hair metal band at the era. The best thing about this album is actually the guitars and the riffing, Cherry Orchards have some cool yet basic riffs in it. The album is slow and repetitive and at times it's heavy enough to bang your head to.
The vocals doesn't fit into a glam album since Tom G. Warrior has quite a hoarse voice. Overall I would say that the vocals are the weak point of Cold Lake. An album with song titles like "Seduce me tonight", "Juices like wine" and "Dance Sleazy" is evil. and I'm not talking about grim pure satanic evil. No this is the "Lets try to fit in by playing softer music and wearing lipstick and try to become idols for teenage girls"-evil. I just don't understand what they aimed for here, They just alienated the fans that were already into the band. I never want to go swimming in the cold lake again.
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CELTIC FROST - iNTO THE PANDEMONIUM (1987)
You can still hear that it's Celtic Frost but it's a new and updated Frost we hear on Into the Pandemonium. The rawness and the hellish grunts and screams har been removed. The guitars has been tuned brighter and the old and dark Celtic Frost sound had been tweaked.
⭐
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CELTIC FROST - iNTO THE PANDEMONIUM (1987)
Tom G. Warrior and the frosted flakes were never afraid of exploring new grounds, The previous record never sounding like the next one and that's the case here as well. This record might be the most similar to the previous one in their career but there's also a lot of new ideas brought in here. Which you can hear on the very first track of the album, The Wall of Voodoo cover titled Mexican Radio.
I guess that they started to lose fans here, but it wasn't until Cold Lake that their reputation was completely ruined.Just like on To Mega Therion, They have some female vocals. Sung in french on the track Tristesses De La Lune. A rather shitty track to be honest.
The lyrical theme are also wierder than ever before, just read the "Mexican Radio" lyrics or "I won't "dance", some real insipid lyrics that shouldn't be on a Celtic Frost record. Mesmerized is another popular Frost tune, but the real gem is Babylon Fell (Jade Serpent). It's one of the best songs they ever recorded and I think they never reached those levels again as a band.
Into The Pandemonium is generally considered a classic but I never understood the greatness of this record, for me this is pretty average, mostly because of we can already see some of the 'Cold Lake' ideas being brought in here. Overall Celtic Frost still sounds good here, but the experimental songs are worthless. So much that it has a big impact on my rating of this record. A few songs are still great, but overall this is not the classic it's made out to be.
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CELTIC FROST - TO MEGA THERION (1985)
⭐⭐⭐
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CELTIC FROST - TO MEGA THERION (1985)
If there ever was a soundtrack for descending to the very depths of hell, To Mega Therion would have been it. From the divine intro of Innocence and Wrath to the last hammering riffs in Necromantial screams, this is a rip ride of evil aggression and majestic dark atmospheres stirred into one legendary LP.
After the success with Morbid Tales and the Emperor's Return EP. Celtic Frost managed to pull off a majestic leap into the dark unknown. They explored grounds were no one had ventured before them. They brought in horns, bells and operatic female vocals creating something not only unique but also extremely satisfying. The music ranges from slow and pounding doom metal to straight up thrash metal tempos with some help from Reed St. Mark's thunderous drumming.
To Mega Therion is such an bombastic and atmospheric album that reeks of darkness and evil. To top it all of the album has an artwork by H.R. Giger entitled Satan I with Jesus used as a slingshot. I doubt this went down very well within the christian communities back in the 80's. To Mega Therion was also a highly influential album, just listen to any modern black metal album and you can hear influences of Celtic Frost's great beast.
Personally I see this as the bands magnum opus, It's the most consistent album of their career even if I'm a huge fan of the more straightforward Morbid Tales as well. Huge battle horns bellow, Even bigger bells are chiming as Celtic Frost carved their right place in the history books with To Mega Therion. Or the great beast as it translates into.
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⭐⭐⭐⭐⭐
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CELTIC FROST - EMPEROR'S RETURN (1985)
In 1985, about two months prior to the release of their classic To Mega Therion-album, Celtic Frost released the EP Emperor's Return on Noise Records. The EP starts off with a familiar song, Circle of the Tyrants. A song that would end up in a re-worked version on the To Mega Therion album.
If you are unaware of Celtic Frost's brilliance, I must push the fact that Circle of the Tyrants is one helluva song, It's one of the best tracks the band ever wrote. The song is in a more lo-fi state here though than on To Mega Therion. Other highlights from the EP is the uptempo thrasher Morbid Tales and the doomy Dethroned Emperor. The Emperor's Return EP is pure class through and through.
Celtic Frost was an incredible band around the mid eighties. Everything was in place right from the get go. Some sort of hardcore punk dirt mixed the heaviness of prime Black Sabbath with some eighties metal mixed into one unforgetable sound. Add to that the rough vocals by Tom G. Warrior and the Robert E. Howard inspired artwork.(Made by Phil Lawvere) with a bunch of half naked women taming a demon, It don't get more metal than that.
The Emperor's Return EP manages to walk the line between primitive and intricate in a way that few others can. Emperor's Return might not be as famous as Morbid Tales or To Mega Therion but if you like those two then this is a must as well. Buy or die!
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⭐⭐⭐⭐
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CELTIC FROST - MORBID TALES (1984)
The very first release from the swiss gods Celtic Frost was an important corner stone of extreme metal, wheter it's black, thrash or death metal. Because in the early to mid eighties these lines were extremely blurry, just liked the reverb on records like these.
Out of the ashes of an equally legendary band (Hellhammer) arose Celtic Frost and they took everything that Hellhammer made good and refined it even further. Perhaps not as gritty or extreme as Hellhammer but certainly as good.
I think that Morbid Tales was a step up from Venom's Welcome to Hell and Black Metal it's also more intricate than Slayer's Show No Mercy. Morbid Tales is such an important record in the development of extreme metal. The unrelenting power of a track like "Into the Crypts of Rays" that laid the groundwork for how metal would develop over the next decades. Add to that the masterful and utterly wicked "Procreation of the Wicked".
The vocals and the production of this album is really raw and as close to 80's perfection as you can get, it really brings out the best in these songs. Morbid Tales left it's mark on upcoming generations of metal fans. Their legendary status was then cemented in 1985 with the release of the legendary To Mega Therion.
But it was here it all started, (Sorry Hellhammer fans). Morbid Tales stands as a classic alongside the greatest and most important extreme metal records of the eighties. It deserves it's place alongside classics such as Hell Awaits, Pleasure to Kill, Black Metal, Seven Churches and Don't Break the Oath.
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⭐⭐⭐⭐⭐
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CHRIS POLAND - RETURN TO METALOPOLIS (1990)
Ex. Megadeth lead guitarist Chris Poland teamed up with his brother Mark and released an instrumental album titles Return To Metalopolis in 1990. On Return to metalopolis Chris explores all his ideas that there weere no room for in Megadeth, the music itself is not so surprisingly very guitar-driven. The band is concentrating more on Chris solos than on the actual song structures and riffs. If you would erase the leadguitar this album would sound like any ordinary metal album at the time, but his skillful melodic soloing makes this album more diverse and it raises the overall standard of musicianship. Although they've got no vocalist this album made a little buzz, mostly because of Chris Poland's past participation in Megadeth.
The negative things about this album is that I do miss a vocalist, and the songs intend to be a bit too similar to each other. I'm not the biggest fan of guitar shred with progressive influences either. The positive things is that Chris Poland is one hell of a guitarist. If you are a bit openminded and likes to listen to guitar-maestros. Chris Poland is the cure. But fans of thrash metal can avoid this one.
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CORONER - GRIN (1993)
Coroner's journey ends with a smaller change of style. On Grin the chaotic thrash metal is almost gone and it's replaced by a modern well produced post-thrash sound. The music is still progressive but more leaning more towards atmospheric industrial metal. Grin is an album that feels ahead of it's time. It sounds like it could have been released yesterday. If you're really into their early technical and speedy Coroner you might end up disappointed with Grin. But if you like many of the post-thrash/groove metal 90's albums Grin is one of the better experimental semi-thrash albums.
The musicianship is at a high level and Tommy T. Baron's guitarwork is still excellent. At times Grin feels almost hypnotic, it's a haunting combination of thrash, prog, and atmosphere. Longer songs, complex lyrics, dynamic sound structures and tempo changes make the album a terrific listen for any metal fan that likes the thrash and progressive genres. One complaint though is that they lost so much of their speed on Grin. I'm glad that Coroner disbanded instead of getting lost in the grunge swamp like everybody else, that adds to their credibility. I give Grin three strong stars out of five.
........................................................................................................................................
CORONER - MENTAL VORTEX (1991)
On Mental Vortex which is Coroner's fourth album the band takes another step in their musical development. The tempo has been dropped a bit and the music draws you into some kind of dream state. The first three Coroner records all raced towards limits of speed and complexity, seemingly reaching it's zenith on "No more color". Mental Vortex is still a fast and complex album, it just takes it down a notch and the music becomes more hypnotic and dark. I don't like silly covers from bands that I take serious, so I wouldn't allow the "I Want You (She's So Heavy)-cover to be on the record if I made the decisions.
The song writing has improved and the production is ideal for an album like this. There is a much greater focus on odd time signatures and unconventional chords on "Mental Vortex" which wasn't a common place in thrash at the time but it blends in here brilliantly. Guitarist Tommy Vetterli is a guitar master, unlike many thrash guitarists his lead playing isn't purely about how fast he can shred, but more how it can add to the atmosphere and mood of the songs. There is still a red thread from album to album, this is not a giant leap towards anything new. Mental Vortex is one moody and complex piece and I'll love it!
........................................................................................................................................
CORONER - NO MORE COLOR (1989)
No more color was Coroner's third thrash assault and as always it's a smorgasbord of well executed music, but what to expect from a band that made no misstakes besides disbanding. Sure Coroner wheren't as famous as Slayer or Kreator but as far as it goes to spinechilling riff orgies Coroner is playing in the same league or above. The musicianship is absolutely splendid, not one single band can beat Coroner in musicianship. Tommy Vetterli is a guitar god, extremely fast riffs but still tight as hell. He uses a lot of different guitar techniques which makes the listening interesting no matter what. Ron Broder's pounding bass at high speed and his Tom G. Warrior (Celtic Frost)-type of singing fits perfect into the music. Drummer Marky Edelmann does also belong to the elite.
It's hard to imagine that Coroner is only a trio when listening to their songs, it's so intense that it will blow your mind. But I think that their sound is hard to describe because there are really no bands in the business that sounds like Coroner, perhaps a Celtic Frost on a higher speed can be fair but Coroner's style is more varied and technical.
Coroner has also matured a bit from their two first albums that where nothing but pure thrashing mayhem. This time they show an even more technical side and a song like Last Entertainment is a proof of their diversity, a song that sounds like nothing I've heard before, still excellent in it's majestic way. Other proofs of their endless talent is Die by my hand, Read my scars & D.O.A.. Switzerland has always delivered thrash of the highest brand like Poltergeist, Celtic Frost, Carrion, Drifter etc, but somehow often more ignored by the masses than the average German band for example. But fortunately most bands greatness can't be compared to how many albums they sold and Coroner was one of those what deserved to rule the music industry. No More Color is down to the core an excellent record and it should be an essential piece in every thrash metal-fans collection.
........................................................................................................................................
CORONER - PUNISHMENT FOR DECADENCE (1988)
In 1988 when thrash metal was at it's peak of popularity Coroner released their second album Punishment for Decadence and it belongs to the small group of albums that stand above the masses. I can't help myself, I do really admire Coroner, all their songs are so well structured and most often when bands try to be as technical as Coroner they tend to get things to blurry or their musicianship doesn't go hand in hand with their ability to handle their instruments. In some cases examples it get's unlfocused. But some bands have conquered that obstacle. But Coroner ain't no normal band.
It was hard for new bands make a name in the late eighties, only a few succeded but they where all more or less Bay Area-products like Testament, Forbidden & Vio-lence. If Coroner would have been from that area and Tommy Vetterli would have chosen to stay in the band, I'm pretty sure that Coroner would have been as popular as Slayer today, because they are musically perhaps the most talented thrash act of all time. Progressive but somehow heavier than most of the bands in the genre. You really need to hear Coroner, to understand what I'm talking about, it's some serious technical skills they are displaying.
Probably the fastest rhythm guitars you'll ever hear, but don't worry Tommy Vetterli is one of a few of guitar players in the world that can handle that kind of speed. Speaking of guitarists even the Jimi Hendrix-cover Purple Haze becomes something special, played at a higher speed as you can guess. But the real gems on this album is Masked Jackal and the instrumental Arc-Lite. And the beautiful and iconic doesn't make it worse, a true piece of art! I would like to summarize it like this; Punishment for Decadence is a ripride from the beginning to the end but it's maybe a bit weaker than their masterpiece No more color, but still it will tear apart the unbelievers.
........................................................................................................................................
CORONER - R.I.P. (1987)
After the success with their Death Cult-demo that included Celtic Frost vocalist Tom G. Warrior Coroner has finally got the chance to release their first piece of vinyl. On this LP bassplayer Ron Broder handles the vocals and his voice sounds similar to Tom Warrior's. The album starts out with a majestic piano intro and seconds later Reborn Through Hate bursts into the ears of the listener and my god what a ripping piece of thrasher that song is. Other killer songs are Spiral Dreams, R.I.P. and Coma. But let's not forget about one of the best instrumental thrash metal songs of all time; Nosferatu. Coroner's sound is real technical but still very frantic, the promises made from the Death Cult-demo is fully realized here on their debut album.
The strong guitarplay by Tommy (T. Baron) Vetterli is so unbelievable great you just can't imagine why Coroner never became the super stars of thrash that they deserved to be. But at least it lead him to join Kreator when Coroner disbanded.
Coroner was one of the greats in the underground and R.I.P. is a majestic thrash album which must have a place in every real metalheads collection. Certainly a "must have". This is the first album out of many that is given five stars here on Ruuth's Inn. There are almost no metal band on this planet that has released three (or four) so great albums in a row, perhaps Overkill (Feel the fire, Taking Over & Under the influence), Metallica (Kill 'em All, Ride the Lightning & Master of Puppets), Slayer (Show no mercy, Hell Awaits & Reign in Blood) or Kreator (Pleasure to Kill, Terrible Certainty & Extreme Aggression) are the only thrash bands that I can think of who released three full length albums of that high class. Many thrashers seems to ignore Coroner when it comes to the best bands in the genre, but if you haven't given them a serious chance you better buy R.I.P. and bang that head immediately!
........................................................................................................................................
The negative things about this album is that I do miss a vocalist, and the songs intend to be a bit too similar to each other. I'm not the biggest fan of guitar shred with progressive influences either. The positive things is that Chris Poland is one hell of a guitarist. If you are a bit openminded and likes to listen to guitar-maestros. Chris Poland is the cure. But fans of thrash metal can avoid this one.
⭐
........................................................................................................................................
CORONER - GRIN (1993)
Coroner's journey ends with a smaller change of style. On Grin the chaotic thrash metal is almost gone and it's replaced by a modern well produced post-thrash sound. The music is still progressive but more leaning more towards atmospheric industrial metal. Grin is an album that feels ahead of it's time. It sounds like it could have been released yesterday. If you're really into their early technical and speedy Coroner you might end up disappointed with Grin. But if you like many of the post-thrash/groove metal 90's albums Grin is one of the better experimental semi-thrash albums.
The musicianship is at a high level and Tommy T. Baron's guitarwork is still excellent. At times Grin feels almost hypnotic, it's a haunting combination of thrash, prog, and atmosphere. Longer songs, complex lyrics, dynamic sound structures and tempo changes make the album a terrific listen for any metal fan that likes the thrash and progressive genres. One complaint though is that they lost so much of their speed on Grin. I'm glad that Coroner disbanded instead of getting lost in the grunge swamp like everybody else, that adds to their credibility. I give Grin three strong stars out of five.
⭐⭐⭐
........................................................................................................................................
CORONER - MENTAL VORTEX (1991)
On Mental Vortex which is Coroner's fourth album the band takes another step in their musical development. The tempo has been dropped a bit and the music draws you into some kind of dream state. The first three Coroner records all raced towards limits of speed and complexity, seemingly reaching it's zenith on "No more color". Mental Vortex is still a fast and complex album, it just takes it down a notch and the music becomes more hypnotic and dark. I don't like silly covers from bands that I take serious, so I wouldn't allow the "I Want You (She's So Heavy)-cover to be on the record if I made the decisions.
The song writing has improved and the production is ideal for an album like this. There is a much greater focus on odd time signatures and unconventional chords on "Mental Vortex" which wasn't a common place in thrash at the time but it blends in here brilliantly. Guitarist Tommy Vetterli is a guitar master, unlike many thrash guitarists his lead playing isn't purely about how fast he can shred, but more how it can add to the atmosphere and mood of the songs. There is still a red thread from album to album, this is not a giant leap towards anything new. Mental Vortex is one moody and complex piece and I'll love it!
⭐⭐⭐⭐⭐
........................................................................................................................................
CORONER - NO MORE COLOR (1989)
No more color was Coroner's third thrash assault and as always it's a smorgasbord of well executed music, but what to expect from a band that made no misstakes besides disbanding. Sure Coroner wheren't as famous as Slayer or Kreator but as far as it goes to spinechilling riff orgies Coroner is playing in the same league or above. The musicianship is absolutely splendid, not one single band can beat Coroner in musicianship. Tommy Vetterli is a guitar god, extremely fast riffs but still tight as hell. He uses a lot of different guitar techniques which makes the listening interesting no matter what. Ron Broder's pounding bass at high speed and his Tom G. Warrior (Celtic Frost)-type of singing fits perfect into the music. Drummer Marky Edelmann does also belong to the elite.
Coroner has also matured a bit from their two first albums that where nothing but pure thrashing mayhem. This time they show an even more technical side and a song like Last Entertainment is a proof of their diversity, a song that sounds like nothing I've heard before, still excellent in it's majestic way. Other proofs of their endless talent is Die by my hand, Read my scars & D.O.A.. Switzerland has always delivered thrash of the highest brand like Poltergeist, Celtic Frost, Carrion, Drifter etc, but somehow often more ignored by the masses than the average German band for example. But fortunately most bands greatness can't be compared to how many albums they sold and Coroner was one of those what deserved to rule the music industry. No More Color is down to the core an excellent record and it should be an essential piece in every thrash metal-fans collection.
⭐⭐⭐⭐⭐
........................................................................................................................................
CORONER - PUNISHMENT FOR DECADENCE (1988)
In 1988 when thrash metal was at it's peak of popularity Coroner released their second album Punishment for Decadence and it belongs to the small group of albums that stand above the masses. I can't help myself, I do really admire Coroner, all their songs are so well structured and most often when bands try to be as technical as Coroner they tend to get things to blurry or their musicianship doesn't go hand in hand with their ability to handle their instruments. In some cases examples it get's unlfocused. But some bands have conquered that obstacle. But Coroner ain't no normal band.
It was hard for new bands make a name in the late eighties, only a few succeded but they where all more or less Bay Area-products like Testament, Forbidden & Vio-lence. If Coroner would have been from that area and Tommy Vetterli would have chosen to stay in the band, I'm pretty sure that Coroner would have been as popular as Slayer today, because they are musically perhaps the most talented thrash act of all time. Progressive but somehow heavier than most of the bands in the genre. You really need to hear Coroner, to understand what I'm talking about, it's some serious technical skills they are displaying.
Probably the fastest rhythm guitars you'll ever hear, but don't worry Tommy Vetterli is one of a few of guitar players in the world that can handle that kind of speed. Speaking of guitarists even the Jimi Hendrix-cover Purple Haze becomes something special, played at a higher speed as you can guess. But the real gems on this album is Masked Jackal and the instrumental Arc-Lite. And the beautiful and iconic doesn't make it worse, a true piece of art! I would like to summarize it like this; Punishment for Decadence is a ripride from the beginning to the end but it's maybe a bit weaker than their masterpiece No more color, but still it will tear apart the unbelievers.
⭐⭐⭐⭐⭐
........................................................................................................................................
CORONER - R.I.P. (1987)
After the success with their Death Cult-demo that included Celtic Frost vocalist Tom G. Warrior Coroner has finally got the chance to release their first piece of vinyl. On this LP bassplayer Ron Broder handles the vocals and his voice sounds similar to Tom Warrior's. The album starts out with a majestic piano intro and seconds later Reborn Through Hate bursts into the ears of the listener and my god what a ripping piece of thrasher that song is. Other killer songs are Spiral Dreams, R.I.P. and Coma. But let's not forget about one of the best instrumental thrash metal songs of all time; Nosferatu. Coroner's sound is real technical but still very frantic, the promises made from the Death Cult-demo is fully realized here on their debut album.
The strong guitarplay by Tommy (T. Baron) Vetterli is so unbelievable great you just can't imagine why Coroner never became the super stars of thrash that they deserved to be. But at least it lead him to join Kreator when Coroner disbanded.
Coroner was one of the greats in the underground and R.I.P. is a majestic thrash album which must have a place in every real metalheads collection. Certainly a "must have". This is the first album out of many that is given five stars here on Ruuth's Inn. There are almost no metal band on this planet that has released three (or four) so great albums in a row, perhaps Overkill (Feel the fire, Taking Over & Under the influence), Metallica (Kill 'em All, Ride the Lightning & Master of Puppets), Slayer (Show no mercy, Hell Awaits & Reign in Blood) or Kreator (Pleasure to Kill, Terrible Certainty & Extreme Aggression) are the only thrash bands that I can think of who released three full length albums of that high class. Many thrashers seems to ignore Coroner when it comes to the best bands in the genre, but if you haven't given them a serious chance you better buy R.I.P. and bang that head immediately!
⭐⭐⭐⭐⭐
........................................................................................................................................
COVEN - BLESSED IS THE BLACK (1987)
Blessed is the Black is the first out of three albums by Seattle's Coven. The band has now made a comeback under the name Coven 6669 to avoid legal battles from the numerous other Coven-bands. Back in 1987 Coven from Seattle released their debut-album Blessed is the black. The sound that Coven has can best be described as a mix between early Slayer, Blessed Death, Hallows Eve and Piledriver. Blessed is the Black is an evil thrash metal album but it has another side to it than your usual Venom/Slayer-clone. Blessed is the Black can be described as a power / thrash album with it's more mid-tempo approach and obvious flirting with the american power metal scene that was disintegrating around the time as the release of this album.Blesed is the Black even has two power ballads in Out of the Grave and Another life. Both songs are dark and gloomy. But the real gem on this album is the song 6669. It's the fastest song on the album and definitely the most ripping one with captivating riffs and a memorable chorus.
Unfortunately the album is quite underproduced and it sounds like a demotape at times with it's dry guitar tone. But as far as the songwriting goes Blessed is the Black is a top notch-album. I especially like the theatrical voice of Jay Clark. He fits the diverse music perfectly with his diverse voice. He cries, he sings and he screams and it all sounds great.
The lyrics are evil and over the top and even surpassing it and entering the realm of ridiculousness with songs like Iron Dick and McDonaldland Massacre. Which is sad and somewhat annoying when the rest of the material is so strong and serious. But that is minor issues. I think that Blessed is the Black is a terrific thrash metal album and a must if you like old fashioned power / thrash.
⭐⭐⭐⭐
........................................................................................................................................
CRO-MAGS - THE AGE OF QUARREL (1987)
Thrash Metal in New York was always quite different than the music that came out of all the other American cities. Ever since the mid eighties the hardcore scene had a huge influence on the thrash metal sound. In no other area you can feel the close ties between the genres like you can in New York. Thrash bands like Anthrax, Nuclear Assault, Overkill and Carnivore all had a punkier edge compared to your typical Bay Area band. In the mid eighties a movement called NYHC (New York Hardcore) exploded and bands like Agnostic Front, Murphy's Law, Reagan Youth and of course Cro-Mags emerged. These days Cro-Mags might be most known for their Hare Krishna background but when The Age of Quarrel was released it was one of the earliest examples of Crossover punk.
If we hail Black Flag as the epitome of DIY ethics, Minor Threat as the inventors of the straight edge movement, and the Bad Brains for their unmatched energy, then we can add the Cro-Mags to this list as the source of hardcore’s relentless quest for heaviness, for the hard image, the gritty urban toughness which inspired an entire genre.
The Age of Quarrel also stands the test of time, there are no semi-death metal growling here, no silly S.O.D.-humor, no breakdowns where the vocalist goes emo and absolutely no melodies, it's just straight ahead streetwise Crossover hardcore of the most compelling kind. An iconic album from an era when crossover weren't gimmicky.
⭐⭐⭐⭐
........................................................................................................................................
CRYPTIC SLAUGHTER - MONEY TALKS (1987)
Crossover-legends Cryptic Slaughter's second album came out in 1987. It was a bit more refined than it's predecessor "Convicted". The vocals are shouted in typical snotty hardcore-antics, Bill Crooks seems to be in a hurry to deliver all his social and political messages, haha. I would say that Cryptic Slaughter is closer to hardcore than thrash but hey, this is a fusion even if it's a smaller one. I might not be a huge crossover fan but Cryptic Slaughter delivers a violent message and Scott Peterson's drumming is without being technical as intense as the genre allows. Money Talks is brutal, noisy, messy and there is even blast beats on this album. Indeed very influental for the upcoming grindcore movement or any type of extreme metal. Money Talks is perhaps their most appreciated album amongst thrash metal fans and a legendary one in the field of crossover thrash. If you're looking for something with over the top-drumming and youthful yet aggressive punk-infused thrash, Cryptic Slaughter is for you.
⭐⭐⭐
........................................................................................................................................
CRYPTIC SLAUGHTER - CONVICTED (1986)
Cryptic Slaughter was quite early with their style and they are today remembered as one of the most important bands of the crossover genre. Concivted is their debut album and it's leaning more towards hardcore than thrash, with many of the typical hardcore aesthetics, the album is set at a high pace and the drumming is extremely fast almost over-powering. The vocals are shouted fast in a typical hardcore fashion and the lyrics are often about political- or social issues. The music isn't super tight but they make up for it with some raging youthful anger. The album has a good production overall, all instruments can be heard clearly. These guys were only teenagers when they recorded Convicted, so the band matured a bit during the following years and peaked with 1987's "Money Talks". A lot of todays grindcore bands owes a lot to Cryptic Slaughter and this album has it's place in the history of both the punk and metal genres. They were simply ahead of their time. But at the same time this isn't anything I would go for as a thrash metal fan as it leans more towards the hardcore punk style. But it can and will satisfy all fans of the crossover-genre.
⭐⭐⭐
........................................................................................................................................
CRYSTAL PRIDE (SWE) - CRYSTAL PRIDE (1984)
Oh, was this a drastic style change or what? Hadn't it been for the furios attack of epic heavy metal Crystal Pride unleashed in form of a 7" in 1982, I would call this a nice album. Now it's mainly a dissapointment.
Still, "Rock'n'Roll Gun", "Let You Go" and the extremely catchy "Knocked Out" (also released as a 12") are fine songs worthy of a spin or two.
The track that reminds the most of the first single is the closing "Flight of Heart", that has a bone crunching main riff and an outstanding chorus. Great, a little more of that wouldn't have hurt.
Although this can not match their 7" neither in heaviness nor in sonqwriting, it's still worth checking out for the average heavy metal/hard rock fan.
⭐⭐⭐
........................................................................................................................................
CYCLONE - BRUTAL DESTRUCTION (1986)
I used to believe that the belgian blue was the heaviest thing that originate from Belgium, but I was wrong, Cyclone arose from Belgium with an album named Brutal Destruction, which was released in 1986 by Roadrunner Records. This album passed people by rather unnoticed, they where just belgians, not a hyped thrash band from San Francisco. Anyhow, their sound is similar to Slayer's early work. Cyclone's speciality are streaming and galloping guitars.
Guido Gevels vocals are rough but sometimes shrieking, the Paul Baloff-type (Exodus). Add a rough production, that aren't messy as some albums at the time intended to be. And you've got Cyclone. My favourite tracks are "Prelude to the end", "Fall under his command" & "Fighting the fatal". Cyclone's didn't end up in the hall of fame, mainly because of their quite typical thrash for the period but you'll not get disappointed. The belgians exceeded my expectations. Fall under my command and buy Brutal Destruction today!
⭐⭐⭐⭐⭐
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