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						REVIEWS LIST	- M

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MAD DRAGZTER - STRONG MIND (2003)
Mad Dragzter hails from São Paulo (Brazil) and they initially went under the name Bulldozer and Dragster until just recently when they decided to go for the name Mad Dragzter after a namestruggle.

This album was released in december 2003 and it has many of the typical ingredients of a modern thrash band. It sounds almost like a typical "Gothenburg death metalband" especially in the vocal department, semi growl with other words.

Still they have their roots in the eighties thrash metal and they are quite skillful musicians but this album increases my hate towards the modern thrash metal bands that just can't keep it true to the roots. The whole band is so typical for 2003, nothing that you haven't heard before and the fact that the album is over an hour long, so the album gets quite boring after a while. Still I can guess that fans of upcomers like The Haunted would find some pleasure in this kind of thrash. This is something like an "in between"-album. It's not terrible, neither excellent. For extreme collectors only. 

⭐

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MADISON (SWE) - DIAMOND MISTRESS (1984) (Review by: Per-Ola Nilsson)

This is what became of Regent, that released a 7" in early 1984 (both tracks featured here as well).

Dan Stomberg and Conny Sundquist joined forces with Peter Fredriksson and Anders Karlsson from another local act, recruited standout vocalist Göran Edman, took the name Madison and unleashed and album full of high quality melodic metal.

It comes out like a mix of early Europe, but not as seventies oriented, with Judas Priest-esque twin guitar attacks. There is some serious soloing and harmony work going on here. The fast paced tracks are more or less the highlights here. The opening "Lay Down Your Arms" (also on the Regent-single) is pure melodic metal fury of highest class, and the title track as well as "Turn me Loose" are in the same vein. Madison also offers some nasty metal riffing in "Sneaker" and the shit-heavy "Squealer". Save for two crappy ballads, this is an excellent album throughout. Melodic, but focused and ballsy enough to avoid whimpiness.

⭐⭐⭐⭐

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MANDATOR - PERFECT PROGENY (1989) (Review by: Carlos G.)

Here's the second album by these thrashers (ex-Mysto Dysto), an overlooked band in my personal opinion. "Perfect progeny" is perhaps one of the most raging, rabid & fastest thrash metal releases ever to come from the Netherlands in the late 80s.

This album was released by Disaster Records in 1989 and I think it wasn't promoted at all as it's a pretty unknown release (even more than their debut cd "Initial Velocity"). "Perfect Progeny" is a great example of how thrash metal should be played like. Getting rid of their European thrash heritage, these guys go more for a Bay area sound than the traditional German one.

What a headbanging feast this album is my friends, if you wanna destroy your neck, I think this album will give you a hand there. Absolutely brilliant and memorable dual guitar riffing in the most raging bay-area vein (ie. Forbidden, Exodus, you know, the good shit!). Very killer vocal assault, courtesy of Mr. Marcel Verdurmen, fits just perfectly with the band's style as well as the precise & tight drumming of Walter Tjwa. Well, I guess you'd better check this out and realize how killer this album is, especially if you are looking for a non-stop headbanging session!

⭐⭐⭐⭐

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MANDATOR - INITIAL VELOCITY (1988) (Review by: Carlos G.)

Mandator was a dutch thrash metal band initially formed under the name Mysto Dysto, releasing an album titled "The Rules Have Been Disturbed" in 1986.

After the release of this album, they changed their name to Mandator, recorded a demo titled "No Aids In Hell" which led them to a deal with Disaster Records to release their first opus under the name of "Initial Velocity". "Initial Velocity" is a pretty diverse and varied album, you can find very melodic moments then aggressive, raging ones, which make this album a very interesting one. Same goes for vocals as Peter will remind you of Helloween/Queensryche in his most melodic interventions,but on the other hand, his vocals will sound like a possessed beast and will bring to your mind bands like Living Death, Paradox or Protector, just to give you a rough idea.

You can also find semi-acoustic interludes here and even a semi-ballad titled "I will be your last", where the band's musical abilites shine through with own magic. Of course, there are also a lot of cool raging thrash metal riffs, destined to make you headbang again and again, just check out the simple but effective initial riff of "Black Rose" and you'll see what I'm talking about!!, but don't be fooled, this is not the only killer one, there's a lot more typical thrash metal riffs here and there on this album!. As said before, you will find everything here, lots of speed/heavy metal influences as well but thrash metal mainly, cult Teutonic fury for those who look for something varied, fresh & raging, and of course, would be a recommended addition to any self respected thrash metaller collection!  

⭐⭐⭐⭐

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MANILLA ROAD - OUT OF THE ABYSS (1988) (Review by: Tomas Ericson)

For those of you who know Manilla Road, they've gone through many styles of heavy music: progressive hardrock, progressive metal, heavy metal, epic metal and whatever people choose to call their records.

On this 1988 record we are presented with a sort of thrash metal, mainly thanks to fast drumming and rough, sometimes screamed vocals. Even if the drumming is fast, the paces are still weird and broken in the Manilla Road fashion, thus reducing the straightforwardness which is necessary for confidently labelling the music as thrash.

The bass guitar can be heard clearly, the guitars are nothing to complain about, and Mark Shelton uses his sharp falsetto on many occasions. I prefer their earlier records up until 1983, but this is still well worth checking out if you like interesting song structures and fine musicianship. The songs that stand out are Out of the Abyss and Midnight Meat Train. 

⭐⭐⭐⭐

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MANILLA ROAD - THE DELUGE (1986)

With Mark Shelton's fantastic nasal vocals and with an epic power metal sound to go. Manilla Road became heavy metal legends. By each release Manilla Road became a little heavier and by 1986's The Deluge they could title themselves a power / thrash band.

The characteristics of Manilla Road is still very much intact here but everything sounds heavier, meaner, darker and thrashier in comparison to their earlier material. Some give the cred to Manilla Road's new drummer Randy 'The Thrasher' Foxe, for setting a different pace to their music with his attacking and slightly progressive way of playing.

The album is really intense and yet calling this a pure thrash metal record would be wrong. It's rather a Power metal album played aggressively.  I would say that I'm a big fan of early Manilla Road and their Crystal Logic is one of my favourite metal albums of all time. The thrash-period is great, but I still prefer them sounding more like an epic metal band. I like the tracks Dementia, Friction in Mass and the album's oddball Shadow in the Black, which starts off as a ballad that leads into some furious speedy riffs. If you're not acquainted with Manilla Road yet it's definitely time you go and check out their catalogue and why not start with The Deluge if you're curious of Manilla Road's thrashier mid to late eighties period. 

⭐⭐⭐⭐⭐

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MANILLA ROAD - CRYSTAL LOGIC (1983)

Manilla Road was for the longest time the best kept secret in metal. Despite a long career that stretches back to the beginning of the genre they never got the cred they deserved. Although they got an upswing in popularity after playing the Keep it true and Wacken festivals in the later stages of their career.

Crystal Logic is the moment Manilla Road when things fell in place for the band and they became a force in the metal underground. They carved out a sound so distinct, so unmistakably theirs, that it still feels untouchable decades later. If the early records hinted at something unique, Crystal Logic is the revelation: epic heavy metal forged in the American heartland, equal parts mysticism, grit, and pure underground conviction.

Mark 'The Shark' Shelton’s guitar tone is the album's spine, it's warm, grainy, and drenched in that unmistakable Manilla Road atmosphere. His riffs don’t just drive the songs; they tell

the stories. Tracks like "Necropolis" and "The Riddle Master" blend galloping rhythms

with eerie, melodic phrasing, creating a sound that sits somewhere between classic heavy

metal and American power metal, add to that a strain of epic storytelling. Shelton’s vocals, a point of division for some due to his nasal approach, ultimately become part of the band's charm. imperfect, human, but it was also a thing that set them apart, that made Manilla Road a unique listening experience.

The title track is a masterclass in pacing and mood, shifting from brooding tension to

triumphant release, while "Flaming Metal Systems" shows the band at their most aggressive and forward‑leaning. Even the slower, more atmospheric moments carry weight "The Veils of Negative Existence" feels like a ritual, a descent into myth rather than a conventional metal song.

What makes Crystal Logic so enduring is its sincerity. There’s no posturing, no trend‑chasing, no attempt to fit into whatever was going on in the NWOBHM (New Wave of British Heavy Metal) or USPM (United States Power Metal) scenes at the time. Manilla Road sound like a

band operating in their own universe, guided only by imagination, passion, and Shelton's singular vision. The production is raw but warm, giving the album a timeless, almost dreamlike quality.

In retrospect, Crystal Logic stands as one of the defining underground metal albums of the 1980s. A cornerstone of epic metal and a testament to what a band can achieve when they follow their own path with absolute conviction. It remains Manilla Road’s crowning achievement and one of the most beloved cult classics in heavy metal history.

⭐⭐⭐⭐⭐

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MANINNYA BLADE - MERCHANTS IN METAL (1986) (Review by: Per-Ola Nilsson)

Maninnya Blade's debut (and only) LP can not compete with their outstanding 7", but that is, at least partly, not their fault. I have heard a tape with rough mixes for this album, and I tell you, this album could have been much heavier, rawer and more brutal, had not the record label screwed up the mastering.

I guess most of you know the story. That is the biggest problem with "Merchants in Metal". It lacks edge and the bass is close to non-existing at places. In short terms; it lacks a thrash metal production, especially when compared to the fat sound they had on the single.

But of course fucked up mastering can't excuse bad songwriting, and to tell you the truth, this LP carries some weak tracks. It starts out rather fantastic though, with the furious thrash monster "Live Life at Speed", the shit heavy "Fireborn" (which shows some of the atmosphere the whole album was supposed to have) and the haunting "Bearer of the Ring". But then follows some unmemorable thrash metal songs.

As "Metal Pride" (great track, once again) closes the album, it turns  out to be quite an uneven affair. "Merchants in Metal" is a very good album, that could have been a lot better, but no matter how you twist and turn things, it can't quite live up to what the single promised. 

⭐⭐⭐

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MANINNYA BLADE - THE BARBARIAN / RIPPER ATTACK 7" (1984) (Review by: Per-Ola Nilsson)

Ah, this is a cult classic. For sure the heaviest swedish metal 7" from this era and also one of the best. The main riff in "The Barbarian" is so god damn heavy it is bound to crush your skull in a thousand pieces. The song is nothing below amazing.

Monotonous, doomy, soaring, epic and so utterly wicked that you get the image of four madmen dressed in spikes, leather and reversed crucifixes marching out of Hades to bring mayhem, destruction and eternal tormention in fire to all that is false. And beware as you turn this beauty around to play the b-side, cause "Ripper Attack" is a stunning powerhouse of furious rage. Imagine the intensity and rawness of Anthrax's debut album and early Exciter, just with a sound that is fatter and sharper than those bands had. A profound statement of early thrash/speed metal taken to perfection. I can not think of a song more worthy of the title "Ripper Attack".

This single is a cult item among heavy metal collectors as well as connoseurs of early thrash/speed/death. It has fetched some insane prices back in the past, but lately I have seen tendencies of the market price going down for some reason. Take the chance if you get it, because this is a single you don't want to miss in your collection. 

⭐⭐⭐⭐⭐

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MANOWAR - KINGS OF METAL (1988)

Kings of Metal opens with "Wheels of Fire" a fast, direct track that immediately sets the album’s pace and attitude.The production is more grandiose than anything Manowar had achieved up to this point, giving the guitars more weight and allowing Eric Adams vocals to hit with full force.

The album balances speed and heaviness with slower, more dramatic material without losing cohesion. "Hail and Kill" remains the standout in terms of sheer intensity, built on tight riffing and one of Adams' most powerful performances. "Heart of Steel" shows the band can pull back and deliver something more melodic without softening their overall impact. While the closing track, "Blood of the Kings" ties the record together in a great way.

What makes Kings of Metal endure is its consistency. There are no obvious weak fillers, and the band performs with a focus and quality, Something they didn’t always maintain in later years.

You can say whatever you'll like about more recent Manowar but you got to admit

that they had an amazing run during the 1980's, Kings of Metal included.

Other bands play, Manowar kill!

⭐⭐⭐⭐

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MANOWAR - FIGHTING THE WORLD (1987)
Their major‑label debut brings a cleaner, more commercial production to the Manowar sound. 

The rather commercial "Blow Your Speakers" and the anthemic "Carry On" with the rather rediculous chorus may turn off the 'truer' crowds. The same goes for the polished production.

Yet the album still delivers genuine heaviness when it needs to. "Defender" is so effective and dramatic and it brings back that powerful epicness of the first four Manowar records.

"Black Wind, Fire and Steel" is also a proof that they had no plans on selling out despite joining a major label. It hits so hard and it's one of my alltime favourite Manowar songs. With a hard hitting verse and a chorus that hits you like a morningstar in the back of your head.

Fighting the World is not as grand as as Into Glory Ride or Hail to England but it carries enough weight to stand on its own.

⭐⭐⭐⭐

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MANOWAR - SIGN OF THE HAMMER (1984)
Released the same year as Hail to England, (What an incredible year for Manowar) Sign of the Hammer is a more controlled and consistent album. The band sounds tighter, the songwriting is more disciplined, and the overall presentation is more cohesive.

"Thor (The Powerhead)" is the obvious standout track. 

but the deeper tracks show a band capable of more nuance than they’re often credited for.

"Mountains"" is one of their most overlooked songs, it's slow, melancholic, and built on strong vocal work, while “Guyana (Cult of the Damned)” proves they can handle serious subject matter without losing intensity. The title track is also excellent and the tongue-in-cheek "All men play on ten" deserves to be mentioned. 

Manowar released four powerful albums in just three years, an exceptional run by any standard. Unfortunately they wouldn’t maintain that pace, though, as the years ahead brought more sporadic releases and a level of consistency that didn’t always match this early peak.

⭐⭐⭐⭐⭐

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MANOWAR - HAIL TO ENGLAND (1984)

Hail to England is sharper, faster, cleaner and more focused than its predecessor.

The band tightens their songwriting without losing the heaviness they had just discovered.

"Blood of My Enemies" immediately establishes the atmosphere. The galopping approach, It's direct, forceful and confident.

The rest of the album maintains that intensity, with a clearer sense of structure

than anything they had done before. The production is still rough with a very audible bass

like pretty much all Manowar records. The performances cut through with more clarity

and the band sounds assured in their approach. 

Some may think that Manowar's naked and muscular approach is some sort of joke or an accident but I would say it's a deliberate direction and they execute it with conviction. So it never never feels like a gimmick. The total dedication and lack of irony is what makes Manowar such a cool and powerful band.

Hail to England is a salute to the british fans and the influential New Wave of British

Heavy metal that inspired them.

Hail! Hail! Hail!

⭐⭐⭐⭐⭐

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MANOWAR - INTO GLORY RIDE (1983)
This is the first Manowar album where the band's identity truly locks in. The guitars are heavier, the pacing is deliberate, and the overall tone is far darker than anything on the debut. The production is muddy but majestic, but it gives the album a weight that suits the material. 

The A-side of this LP is close to perfection. Warlord, Secret of Steel, Gloves of Metal and

Gates of Valhalla. Gloves of Metal is so masculine and epic that you want to grab your sword and go out on  the battlefield and lay your enemies to rest. haha

Speaking of "Gates of Valhalla" and "March for Revenge" show the band embracing long, structured compositions with confidence, and Eric Adams delivers some of his most intense early performances. He is without a doubt one of the best metal vocalists out there. He might not have the highest or cleanest falsetto but his natural singing voice is just so damn captivating.

The slower tempos and thick riffs and the pounding drums give the album a sense of gravity that sets it apart from a lot of the metal coming out of America at the time. This is my personal favourite Manowar record and remember folks, this should be played so loud that it cracks the beam! 

⭐⭐⭐⭐⭐

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MANOWAR - BATTLE HYMNS (1982)

Battle Hymns is a solid debut that shows Manowar arriving with a clear

idea of the kind of heavy metal they wanted to make. Real metal with a masculine approach wheter the topics were fantasy, war or mythology. 

The production is however on the thinner side and the mix lacks a bit of impact the material calls for, but the songwriting is in my opinion already confident.

The tracks on Battle Hymns lean on straightforward, hard‑edged metal, while "Dark Avenger" introduce a slower, more dramatic approach that gives the album its epic character. The same goes for the brilliant title-track.

Battle Hymns establishes the Manowar style from the start with strong vocals, direct riffs,

epic atmosphere and a muscular showmanship that would make most other bands shiver in their boots. Battle Hymns is one of the best debut albums in American metal history. 

⭐⭐⭐⭐⭐

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MAPLE CROSS - NEXT CHAPTER (2003)

The old finnish thrash band Maple Cross is back, they started as early as 1985 but their debut-album had to wait until 1991. Now twelve years later (2003) they are back once again with the suitable album-title "Next Chapter". 

Their sound on this album is similar to countless other new metalbands. Their music is bordering on some type of metalcore but they still remain melodic. Vocalist Marco R.J. barks, shouts and growl his way through the verses and in the choruses he sings with a more clear voice and that makes the choruses more memorable and the music more diverse, otherwise I think that I would have been bored instantly because of his annoying screams sounds a bit forced.

Maple Cross music will certainly not change the face of metal music, but for those who can't get enough of bands like The Haunted, Carnal Forge, In Flames, Witchery and more recent Invocator will probably take great pleasure in this release. Maple Cross reminds me a bit of Pantera from time to time, at least on the vocal-area and the heavy swaying groove-metal riffs. Maple Cross is a more technical band than Pantera and they manage the melodic parts quite well. The song "World wide mystery" has a strong chorus. "Simply simplicity" and "Invincibles" has some late eighties Kreator-thing going on. I'm no big fan of this type of metal, If you're interested in the band check out their debut instead. 

⭐

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MARTY FRIEDMAN - INTRODUCTION (1994)

I bought this album after being a fan of Marty Friedman's work with Megadeth. He also made some good work in Hawaii and his collaborations with Jason Becker are alright.

Marty teamed up with Megadeth-drummer Nick Menza but the result is almost so far away from thrash metal as it comes.

This is relaxing music, with no vocalist. What a total disappointment. It's been rumoured that Marty was a bit unsatisfied with playing metal music and I guess this is what he wants to do. I am fascinated by Marty's guitarplay, there is no denying his skills. But this is closer to what Gary Moore has done over the years or any other guitar shred-guy that releases boring music.

This is classic orchestral music played with electric guitars. So for real thrash fans that loves Martys work in Megadeth beware! Rating this album is hard, because this is nothing that I usually listens to. And If you are on this site looking for thrash metal, you can ignore Marty Friedman's soloproject. 

❌

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MASTER - MASTER (1988)

In 1987 after a conflict with their producer, Alik Granovskiy, Andrey Bolshakov, Kirill Pokrovskiy and Igor Molchanov all left Russian heavy metal legends Aria and formed Master instead.

Aria was one of Russias most respected and famous metal bands but when Master formed they went with a harder and faster speed / thrash sound. As a nod to their past Master decided to include two old Aria-Tracks on the album, both are played heavier and faster here.

The sound Master has created draws influences from the Moscow neighbours in Kruiz or czech thrashers Arakain. The album is very eastern european sounding and the album is sung in their native Russian language. Master's vocalist Mikhail Seryshev reminds me a bit of Scorpions frontman Klaus Meine but with a Russian accent instead of a German. The album is at times brilliant and the guitars are impressive and the vocal melodies are memorable but there are a few too many ballads and slower parts on this record. The album feels a bit schizophrenic with a few tracks being heavy thrashers and other's sounding like they could be on a hard rock album. Still Master's debut is highly recommended and it actually is one of the most sold thrash metal albums with over a million sold albums, most of them in Russia but still it's  impressive statistics for an eighties thrash band. 

⭐⭐⭐⭐

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MD.45 - THE CRAVING (1996)

If you look to the list of musicians, you might expect this to be something great as Dave Mustaine of Megadeth fame teamed up with his childhood hero vocalist Lee Ving of a band called Fear.

Bassist Kelly Lemieux from Shrine and Suicidal Tendencies / Megadeth drummer Jimmy Degrasso. First of all, Lee Ving sounds like a mix Glenn Danzig (Misfits) & Blaze Bayley (Iron Maiden) but not in a good way, it sounds terrible and false.

Mustaine's guitar wizardry isn't what you might expect either, it has it's "Youthanasia" feel to it but this sounds like the songs that couldn't make it on Youthanasia.

Some of the tracks goes down the alternative rock route. The Craving is a weird album it doesn't sound like anything I've ever heard before. One song are ok, that's Hell's Motel and of course No pain, which is the classic circus-tune, haha. A shit album, don't even look it up, if you don't want to buy my CD? :) 

❌

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MEANSTREAK - ROADKILL (1988)

Meanstreak where something as odd as an all female thrash band and they are surprisingly tight musicians, competetive but not so original though even though thrash bands with female vocalists aren't as common as in other genres.

This album was engineered by Alex Perialas (Testament, Nuclear Assault, Overkill, etc.) & Rob 'Wacko' Hunter known as the drummer in Raven. But this album hasn't the same great sound as some of the other stuff Alex Perialas worked on. I really like the songs "Snake pit", "Lost stranger" and "The congregation", they all include strong riffing and interesting songstructures.

Meanstreak where perhaps not the greatest thrash band on the face of the earth but I'm still quite impressed by this effort. Their sound has resemblence to the Joey Belladonna era of Anthrax. Joey Belladonna's girlfriend at the time where funny enough Meanstreaks guitarist Rena Sands. I don't recommend you to spend hours on eBay to find "Road kill" but if you are a real thrash metal maniac or if you find it relatively cheap, like I who bought it for 3$, then it will certainly be worth the effort.

⭐⭐

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MEDIEVAL STEEL - MEDIEVAL STEEL (1984)

Medieval Steel’s 1984 self‑titled EP is one of those rare underground releases that earns its cult status the moment the first chorus hits. It’s pure, unfiltered American epic metaL soaring vocals, triumphant melodies, and that unmistakable early‑80s sense of grandeur. This is the sound of a band swinging for the heavens and actually reaching there,

The opening track Medieval Steel is the EP’s defining statement: a slow‑building anthem that explodes into one of the most iconic choruses in US metal history. It’s earnest, dramatic, and completely unapologetic about its larger‑than‑life approach. The production is raw, but that rawness helps, it gives the music a gritty, heroic edge that polished modern recordings often lack.

Warlords keeps the momentum with galloping riffs and a battle‑ready atmosphere that feels tailor‑made for denim, leather, and raised fists. The band leans fully into the epic theme without ever sounding cheesy; instead, it feels like a lost chapter from the golden age of true metal. Think Warlord, Manowar or Virgin Steele in their prime.

The EP’s deeper cuts, Battle Beyond the Stars and Echoes, show the same commitment to melody and atmosphere. There’s no filler, every track feels like a deliberate piece of a short but powerful statement. The vocals soar, the riffs are memorable, and the songwriting is tighter than many full‑length albums of the era.

What makes this EP legendary is its purity. No trends, no compromises, no attempts to modernize. Just classic, triumphant, sword‑wielding heavy metal delivered with total conviction. It’s the musical equivalent of a Robert E. Howard saga. Heroic, larger‑than‑life, and driven by the same raw, barbaric energy that fuels his classic sword‑and‑sorcery tales.

⭐⭐⭐⭐⭐

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MEGADETH - DYSTOPIA (2016)

Dystopia marks the fifteenth studio album from Megadeth. As always it's a big happening for thrash fans world wide every time the band releases a new album and the same goes for 2016's Dystopia.

This time Dave and David has recruited new yet experienced members in Kiko Loureiro from Power Metal band Angra and Chris Adler from Lamb of God. The album kicks off in a furious tempo with The Threat is Real and the title track Dystopia. Both very solid tracks filled with fast solo duelling between Kiko and Dave but soon the band drops the tempo and the album get's tedious and somewhat uninteresting in the later parts of the album. Sure there are a lot of solid riffs and especially solos but the album definitely has it's low points too such as the terrible track The Emperor, with it's childish lyrics and banal song melodies, it feels like the nightmarish 90's all over again.

Dave has always been a fan of punk band The Fear and here the band covers their old track Foreign Policy and the whole track feels unnecessary. One thing that goes through the whole album is the dystopian theme. The lyrics are mostly about a dark dystopic future, a post-American world where U.S.A.'s failed policies has left the nation in ruins. Listening to Dave's lyrics can be a bit tiresome if you're not into the dystopian views that Dave keeps bringing up.

But the album's main problem ain't the lyrics, no It's Dave Mustaine's voice, that has aged rather terrible combined with lousy insipid song melodies. His quirky highpitched snarls are no longer what they used to be and sometimes he slips into melodic pop metal-territory like the he and the band has done frequently since the nineties.

Frankly this album isn't on par with what the band did in the eighties but I guess no one expected that either. But on the other hand there are some visceral groove and each member of the band shines as instrumentalists but the bad singing and the somewhat tedious songwriting holds the band back. Dystopia could have been a very strong EP but sometimes you'll get more than what you asked for but compared to the bands last studio album Super Collider, this is a step in the right direction and maybe we shouldn't demand more from Megadeth these days. 

⭐⭐⭐

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MEGADETH - SUPER COLLIDER (2013)

Risk was Megadeth's worst album but I think we found ourselves a serious contender in Super Collider. Dave Mustaine has returned to his pop choruses just like he did in the mid 90's. The album has definitely has a touch of mainstream radio rock over it.

I guess that Dave is tired of playing thrash metal and decided to try to cash in again and leaving his fans with a bitter taste in their mouths. After Endgame and Th1rt3en we had higher expectations on a new Megadeth album than what we're offered here.

It's not the worst album I've heard by a (former?) thrash metal band but it's definitely lacking some intensity and rage. Still lightyears above their main competitors Metallica's latest abomination Lulu though. The production is hyper-modern and Dave's voice sounds to be on autotune or something. Despite that Megadeth they regained some credibility in later years but here on Super Collider they seem a little bit too eager to trade it in for some radioplay. Avoid this album!  

⭐

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MEGADETH - TH1RT3EN (2011)

David Ellefson and Dave Mustaine has resolved their issues and Ellefson is back in the band and recording their first studio album together in ten years.

Thirteen is a continuation of what Megadeth has done lately. But the album doesn't reach the heights of Endgame entirely. The musicianship is high and the album is modern and melodic but Dave's voice is somewhat annoying and I must say it has deteriorated. His vocalstyle reminds me more of a rock vocalist than a thrash metal vocalist nowdays.

“Th1rt3een” has definitely a lot of common with Countdown to Extinction and Youthanasia. There are more hard-pounding guitars surrounded by dark melodies that resonated in those releases. It is no coincidence either that the two tracks "New World Order" and "Millennium of the Blind" was originally recorded in those days but re-recorded for this release.

It's great to hear those songs, especially “New World Order” with its great lead guitar part before the chorus and the thrashing ending of the song, but I actually like the demo-version of this song better. A grittier, raw sound fit this song perfectly, but the clean version on here has definitely lost some intensity. The song Fast Lane feels like a Peace Sells-ripoff at times.

The production and sound on Thirteen is modern without going into the industrial field. Something is wrong with thirteen, maybe Megadeth needs to focus more on riffs and speed and less on melodies. They need a shittier and more raw sound and stop trying to write so catchy choruses. It sounds a bit childish, I think. It's not the best Deth-album out there but thirteen is a quite typical Megadeth-release of lately, nothing suprising and nothing out of the ordinary. Thirteen sounds like a modern version of Youthanasia. I'm a huge fan of early Megadeth but the late Megadeth doesn't really cut it for me, it's OK but it's not even in the same universe as what Megadeth did in the eighties. 

⭐⭐

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MEGADETH - ENDGAME (2009)

I lost hope for Megadeth somewhere in the late 90's but then something changed and Megadeth started to release faster and thrashier discs. When I heard the United Abominations album I thought the new and modern Megadeth had peaked but Megadeth shows on Endgame that they had another gear left.

The intense soloing almost takes you back to the Rust in peace-days. The album was named after the conspiracy nut/theorist Alex Jones movie with the same name. Lyrically there are a few songs with conspiracy topics as well. Dave Mustaine sings quite good on this album. Not so much melodies but more straightforward which I prefer.

The thing about this album that impresses me the most are without a doubt the guitarplay. There are solos and shorter leads one after another. Chris Broderick surely does a great job on his first recordings with Megadeth. But one thing I dislike about the album is the cheesy "The Hardest Part Of Letting Go... Sealed With a Kiss" that drags the album down. I must say that Endgame is Megadeths best album since Countdown to Extinction or perhaps even Rust in Peace. Endgame is a triumph for a band that practically was dead and buried amongst thrash metal fans just a decade ago. 

⭐⭐⭐⭐

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MEGADETH - UNITED ABOMINATIONS (2007)

Megadeth are taking small steps towards greatness lately. After a terrible late 90's Megadeth has gained speed and roughness for each album release.

United Abominations is Megadeth's most politically charged album with furious lyrics about war and post 9/11 America. So expect a lot of politics and conspiracies. The album is fast and well produced. Their speediest since Rust in peace.

This album is slightly better than 2004's The System Has Failed and their best since the early 90's. Speaking of the 90's A Tout Le Monde is a re-recorded cheesy hit-ballad from 1994's Youthanasia.

I don't know why they did that, because it's almost identical to the original and it's kind of  wimpy. But the album is OK, nothing more nothing less. not as intricate or interesting as their early material but it's an OK album. The song Washington is Next sounds similar to Iron Maiden's "Wasted Years" at least the intro riffs are a bit too familiar.

It's not a superb album but it's at least great to hear Megadeth try to play thrash metal again. 
 

⭐⭐⭐

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MEGADETH - THE SYSTEM HAS FAILED (2004)

After Megadeth's last failure to return to thrash metal I had no hopes for this album whatsoever.

Especially when co-founder Dave Ellefson parted with the band. But from out of nowhere my favourite Megadeth guitarist Chris Poland returns. Jimmie Lee Sloas and Vinnie Colauita was more or less hired as studio musicians for this album. This album is Megadeth's best album in ten years (Since Youthanasia) in my opinion.

It's faster and it hasn't got 4-5 greasy ballads. But Dave Mustaine sounds a bit like he is bored when he sings on this album. The vocals are just too much pop/rock for my taste. But it's at least positive that Megadeth tries to play metal again after a decade of confusion and radio hits. Dave Mustaine tries to flirt with fans of 80's Megadeth but the song material just ain't good enough. 

⭐⭐

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MEGADETH - THE WORLD NEEDS A HERO (2001)

This was going to be Megadeth's return to their roots, Dave Mustaine was bragging about how good this album was going to be, how brutal and fast, but he forgot to mention that this is shit.

Don't get me wrong, this album is far better then their last album Risk. The intro song Disconnect are quite ok, Recipe for hate...Warhorse are nice. But this sounds more like Cryptic Writings than Rust in peace.

The song silent scorn must be one of the crappiest songs ever released by a thrash band, and the song burning bridges, my god how awful!. Moto Psycho would be ok if Dave Mustaine didn't sing so weak. Al Pitrelli did actually leave Savatage to play this type of music, well, they say that money can buy everything and that seems to be the case. but don't waste money on this album, it's terrible! The world doesn't need a hero, The world needs the old Megadeth back.

⭐

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MEGADETH - RISK (1999)

After the release of Rust in Peace in 1990, Megadeth's albums has dropped in quality by each release and with 1999's Risk, the band hit rock bottom.

After the soft pop-rock record Cryptic Writings my expectations were low, but still I was chockingly disappointed by Risk. Risk got an industrial sound, this album is absolutely nothing but a pile of shit. The so called highlights on this record is the danceable single "Crush 'em", "Breadline" & "Prince of Darkness". which all more or less are musical turds, but a little bit better than the rest of the record. In my version of Risk there is an extra CD called No risk disc that contains some of their older classics. I'll warn you, this album has nothing to do with anything ever heard before from Megadeth, this sounds more like Marylin Manson actually.

There is nothing more to say, than this is shit, Don't buy it, con't support shitty sellout metal just because of the Megadeth brand. This is hopefully the last mistake from Megadeth. But I'll forgive Mustaine and company, I'm already looking forward to a new and heavier Megadeth. This is probably the worst album that I own, and I'm still ashamed of having it in my collection, but at least I bought it before listening to it. This album isn't worth to buy even if you are a extreme Megadeth fan. Dave Mustaine needs to ask his fans for foregiveness for this shitty album. 

❌

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MEGADETH - CRYPTIC WRITINGS (1997)

Megadeth took a step to a more melodic sound in the early 90's, and they took another step with Cryptic writings. The song "Trust" is a typical radio ballad schmallad, love songs for hurting hearts, come on.

Those type of songs make me furious. There are only two songs that can be called speed/thrash metal on this album, both of them are quite ok actually. "She-wolf" and "The Disintegrators" are speedy and alright, they save the album from getting the zero star rating, "She-wolf" is fast and thrashy and look out for the twin-solo harmony in the song.

"The disintegrators" are a bit more punkish, but good. the rest of the songs are crap, I'll warn you for these songs: "Use the man", "sin" & "have cool will travel" that more or less are pop/rock songs. I can't recommend anyone this album, unless you like some cheesy love ballads and if you do, youre on the wrong site anyhow.   

⭐⭐

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MEGADETH - HIDDEN TREASURES (1995)

This is a compilation album of B-sides, covers and songs that ended up on soundtracks. 

Hidden Treasures starts out with the Alice Cooper-song "No more Mr. Nice guy" and Paranoid is the old Black Sabbath tune. Problems is a Sex Pistols-cover. There are two half decent songs on this album "Angry again" (From the last action hero-soundtrack) and "Go to hell", the rest of the album is quite useless but somewhat fun to hear Megadeth doing covers. Hidden Treasures is more of a heavy metal than a thrash album.

99 ways to die was recorded for the Beavis and Butthead-movie. This album has the early 90's Megadeth sound similar to Youthanasia and Countdown to extinction-era. If you like those two albums you could look up this one as well. But for real thrash metal fans this is of no bigger importance. 

⭐⭐⭐

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MEGADETH - YOUTHANASIA (1994)

1994 and thrash metal was dead and buried. Megadeth tried to repeat their commercial success with Countdown to Extinction by releasing an album in similar style. They made a video that shows the making of Youthanasia, that video is called "Evolver - The making of youthanasia".

If you're interested in this album, go and check that video out. This album contains a few great moments, but the speed is just not there, at least not in the rhythm guitar. The solos are a little faster.

The self-deprecating ballad A Tout le Monde was a big radio-hit, and one of Megadeth's biggest hits of all time. "I thought I knew It all" that has some great riffs in it, and Black Curtains has a few thunderous riffs also. Megadeth have also included some harmonicas by Jimmie Wood. Don't buy this album if you're not a huge Megadeth-fan, all their older albums are better then this one. This is a modern 90's heavy metal album with some minor groove metal-riffs. If you like softer metal this is an OK album but from a thrash perspective this is a record you can avoid.

⭐⭐⭐

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MEGADETH - COUNTDOWN TO EXTINCTION (1992)

One year after their legendary Rust in peace-album Metallica's self-titled black album hit the stores and totally destroyed Rust in Peace in sales.

Dave Mustaine always wanted to compete with Metallica so I would say that Metallica's unfathomable success drove Megadeth to go into a more commercial route. So in 1992 Countdown to Extinction hit the stores and it is not really a thrash album, it is more of a ordinary early 90's heavy metal album because the intense speed from the Rust in Peace-era is gone. But Countdown to Extinction is not a bad album, I think it's better than Metallica's black album because Countdown is more of a traditional metal album.

Well, what about the songs then, the simplistic Symphony of Destruction was a huge hit back in 1992 but my favourites are: Skin o' my teeth, Sweating bullets, Countdown to extinction and Ashes in your mouth. It sounds sometimes like old deth but the speed is just gone. Countdown to Extinction is not a bad album, but it's not a thrash metal album either. As a heavy metal album this is quite brilliant at times but if you see it out of a thrash metal perspective this is a smaller sellout. Both Metallica and Megadeth changed their styles in the early 90's so this is somewhat equivalent to what Metallica did on their black album. 

⭐⭐⭐

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MEGADETH - RUST IN PEACE (1990)

Two years since their last release So far, so good... so what! Megadeth recruited two new members for this album, drummer Nick Menza and guitarist Marty Friedman. That was an excellent choice because on Rust in Peace everything falls in right place for Megadeth.

The album has a crisp and sharp production and the song material here are amazing to say the least. The album starts out with two incredible tracks, Holy wars... the Punishment Due & Hangar 18, if they could have kept up that tempo during the rest of the record, Rust in peace would have been the best album of all time. but after the two first songs the quality varies a bit. especially the song Dawn Patrol which is a weak song with a sludging tempo. There is a few more great tracks worth listening to on this timeless classic, like the songs Tornado of souls, Poison was the Cure & Rust in peace... Polaris, which all are great songs.

One thing to complain a bit about is Dave Mustaine's singing is more nasal than ever and his vocals are the weak spot on this album. Rust in peace is a very melodic album yet incredible fast. The soloing and guitar duelling between Friedman and Mustaine is nothing but remarkable.  Rust in Peace is a masterpeace and an album every fan of the genre needs to have in their collection. This was also the end of Megadeth's thrash metal era, sure they wrote a few heavier songs on the following album's but this was their last true thrash metal album in many years. Rust in Peace is often considered the best Megadeth-album and who am I to disagree?  

⭐⭐⭐⭐⭐

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MEGADETH - SO FAR, SO GOOD... SO WHAT!!! (1988)

With two new members in the lineup, drummer Chuck Behler & guitarist Jeff Young, Megadeth's third album shows not so surprisingly another side of Megadeth, far more melodic than their previous albums.

The evil lyrics are also more stripped down here. The album opens up with the brilliant instrumental Into the Lungs of Hell, which leads into the more punky Set the world afire and the following Sex Pistols-cover Anarchy in the U.K.. The album breads more of a punky rebellious side of Megadeth compared to their earlier efforts. One of my favourite 'Deth songs of all time called In my darkest hour, a very sad mid-tempo song, it was written as a salute to the late Cliff Burton.

The track Liar is the album's weak point and it would have been best if they skipped it together with the somewhat useless Sex Pistols cover. Check this album out if you are into the more melodic and catchy sound, So far, So good... So what! is absolutely recommended for Megadeth-fans even though it doesn't sound like any of their other releases. It's not as fast as their earlier recordings but worth checking out. Some songs are really great, others are standard tracks but this album is definitely worth listening to. 

⭐⭐⭐⭐

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MEGADETH - PEACE SELLS... BUT WHO'S BUYING? (1986)

Dave the megalomaniac wanted to make an album that could not only compete with Metallica, but would destroy them. He wasn't happy about success, he struggled to be number one in thrash and in metal music.

So in 1986 Megadeth took big leaps forward in terms of, well everything. The bands songwriting had became more complex, more technical and almost jazzy at times. Still the band had kept some of the occult undertones from their 1985 debut Killing is my Business.

The debut suffered from under-production but that's not really the case here even if it sounds a bit dated today.

The album starts with four incredible tracks, amongst the best ones Dave ever penned. I'm not the biggest fan of Bad Omen and I Ain't Superstitious but even the sun has it's spots.

Megadeth was destined for stars and not even heavily drug abuse and band members coming and leaving could stop their way to the top. The guitarplay by Dave Mustaine and Chris Poland is exceptional here. With thousands of skillfully executed leads and interesting intricate almost jazz-like riffs. Add to that superb performances by David Ellefson and Gar Samuelson too. Peace Sells was one of those magic thrash metal albums of 1986 that made the genre popular amongst metal fans. Peace Sells was one of the greatest thrash albums of all time so there is no excuse for you to not own this piece of history, and lets not forget about the iconic artwork by Ed Repka. It doesn't get more classic than this. 

⭐⭐⭐⭐⭐

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MEGADETH - KILLING IS MY BUSINESS... AND BUSINESS IS GOOD (1985)

After an angry Dave Mustaine got kicked out of Metallica he formed Megadeth with his neighbour and bass player David Ellefson, after a short stint with Kerry King in the lineup, Megadeth recruited drummer Gar Samuelson and lead guitarist Chris Poland.

In 1985 their debut album Killing is my Business... And Business is Good is released upon the world after rather tough recording sessions when the band spent most of their money on drugs and booze instead of in the studio. But things turned out pretty well except the somewhat low budget production. Dave brought in a song that Metallica stole and renamed into The Four Horsemen, it was originally titled Mechanix and it's delivered in it's original way here, just a little faster than on Metallica's Kill 'Em All to show the world who's in charge. There are also some lyrical differences and the mid-tempo part from the Four Horsemen are not a part of the song here.

Another great track is Rattlehead, a song with some cool riffing. Looking Down the Cross is also an underestimated 'Deth classic. KIMBABIG is a strong album right through, no fillers here. One thing that unfortunately sucks is the low-budget production, the album has since been remastered but it still sounds a bit dated and if you're unlucky you might get your hands of a censored version of the album so avoid that. If you like Megadeth's follow up album Peace sells... But who's buying, you will love KIMBABIG too, because they are quite similar in style.

Dave Mustaine's singing has never been the strong side of the band, and his punkish attitude shines through here too. With the guitar duo of Mustaine and Poland, you can't get anything but greatness, Megadeth was at the time where heavily influenced by bands like Venom, Angel Witch & Diamond Head. And those bands can be heard in Megadeth's music. This album is very underestimated but if you give it time, it will grow on you. I consider this to be one of the best Megadeth releases to date even if it has a rough exterior. 

⭐⭐⭐⭐⭐

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MEKONG DELTA - DANCES OF DEATH (AND OTHER WALKING SHADOWS) (1990)

First of all I must first say that I used to complain about Wolfgang 'Keil' Borgmann's weak voice and that it was the only thing that wasn't outstanding on their earlier albums and now when he is gone and Doug Lee has taken over the microphone, there are other things to complain about.

I'm just never fully satisfied, even if I got exactly what I asked for. Doug Lee ("known" for his time in Ohio's Siren) is a slighly better vocalist if you ask me. But Dances of Death is not fully an equal to previous albums like The Music of Erich Zann and Principle of Doubt, there isn't a huge difference but some of the songwriting goes too much into classical wankery. But the production is tight though.

The first eight tracks are all compontents of the Dances of Death-track, they all range from classical guitar's to speedier numbers like Days of Betrayal and Beyond The Gates.

The final track of the album (Night on a Bare Mountain) is a instrumental thrash metal adaptation or arrangement of a classical composition, originally written by Modest Mussorgsky during the mid 19th century.

Few bands were as great as Mekong Delta when it comes to playing and composing progressive thrash. Dances of Death (And Other Walking Shadows) is a competent and well-produced album and definitely worth laying your hands on if you're a fan of progressive thrash. 

⭐⭐⭐⭐

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MEKONG DELTA - THE PRINCIPLE OF DOUBT (1989)

Mekong Delta's third release was another step towards Progressive metal-perfection. "The Principle of Doubt" sounds cleaner and more refined than their earlier albums, "The Music of Erich Zann" and "Mekong Delta".

"The Principle of Doubt" has tuned down some of the bands early thrash metal-tendencies in favor of a more progressive approach. The album is loosely based on Stephen R. Donaldson's dark fantasy trilogy "The chronicles of Thomas Covenant, The Unbeliever". As always I'm not the biggest fan of vocalist Keil who in my opinion is the weak link in Mekong Delta's music. With this type of beautiful music I think you need a singer with a more versatile voice. Keil sounds off and weak and he doesn't fulfill the bands idea of grand musical explorations.

The album leans heavily towards classical music. Think of Bach, Beethoven or similar played with distorted guitars, bass and a drums and you'll have an idea of what Mekong Delta is trying to do here. This is not for the fan of simplistic riffs and songstructures. "The Principle of Doubt" really has more to do with classical music than thrash metal. The production is sharp, the songwriting is strong and every member handles their given instrument with accuracy. Mekong Delta sounds almost like a mix between Watchtower, early Megadeth and with a healthy dose of classical music. The principle of doubt is often mentioned as the bands best album together with "The Music of Erich Zann". I can understand that, but don't go and expect hearing anything similar to Slayer or Kreator here. No Mekong Delta were the thinking man's band.

Odd, Disjointed, Progressive, Challenging, Experimental and Classical, there are many ways to describe "The Principle of Doubt" by Mekong Delta.  

⭐⭐⭐⭐

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MEKONG DELTA - THE MUSIC OF ERICH ZANN (1988)

Mekong Delta's second album is a classic album in the field of progressive metal music. Even if it wasn't more than a year ago since their debut was released Mekong Delta's sound has developed quite a bit. "The music of Erich Zann" was originally a short story by American author H.P. Lovecraft. The book is legendary and so is this album by Mekong Delta.

This is the also the last album with Vincent St. Johns more known as Reiner Kelch (Living Death) as the bands axeman. The album is filled with complexed arrangements and quirky time changes.

While this is thinking man's metal music with impressive instrumentations it never gets boring and it doesn't sound like a classical record played with guitar and bass. The base lays in the 80's german metal, somewhat similar to Living Death's music but way more technical and intricate.

 "The Music of Erich Zann" is definitely up there amongst the best prog-thrash albums competing with the best efforts from bands like Watchtower, Coroner, Toxik and Voivod. The album lacks a little bit in the vocal area I would say, without being bad. But it's a little weak at times. But what it lacks in that section the sheer musicianship will destroy all your doubt. "The Music of Erich Zann" is classic no doubt about it. 

⭐⭐⭐⭐⭐

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MEKONG DELTA - MEKONG DELTA (1987)
Mekong Delta was a murderous swamp in Vietnam but Mekong Delta was also a german prog thrash band who debuted in 1987. Their debut was slightly progressive drawing influences from classical music but at the same time it was not as progressive as what they would later developed into.

Wolfgang 'Keil' Borgmann's vocals are of the typical heavy metal-style with occasional falsetto screaming he sounds a bit like Chris Cornell of Soundgarden.

The album is varied with almost Black Sabbath-structures at times and also you get some german speed/thrash similar to Helloween, Accept, Scanner, Living Death and those type of bands. I wouldn't say that this is their best album, but it's definitely one of their thrashiest and it's an album you need to hear if you're into the german 80's metal scene. Mekong Delta was always a band that incorporated classical music into their own and made a quite original sound. Mekong Delta makes a metal version of The Hut of Baba Yaga which originally was a trippy rock song from Emerson, Lake and Palmer. Mekong Delta played under pseudonyms in the beginnings so those names aren't their real names. Mekong Delta has over the years carved their own path in metal and this was their first steps and it was a quite good start. I give this album a strong three stars, very close to getting the four star rating.  

⭐⭐⭐

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MELIAH RAGE - DEATH VALLEY DREAM (1996)

Meliah Rage has recruited two new members since their Solitary Solitude-album: bassist Bob Mayo (Ex-Wargasm) and drummer Dave Barcos. The band certainly deserves some praise because they kept going during the nineties.

But Death Valley Dream is no Pleasure to Kill exactly, Meliah Rage was a band that had more similarities to Metallica and Metal Church than the aggressive sides of the genre. Meliah Rage that once were signed to the major label Epic and they had the opportunity to make it big but the opportunity came and went and it took the band six years to get their shit together and record their third album. By then the momentum  was gone.

Death Valley Dream is a small step away from thrash even if it at times feels like a mixture between Master of Puppets and The Black Album.

Death Valley Dream is a more fluid album than the rigid Solitary Solitude.

But let's be honest here. you can hear that the nineties had arrived. The album has a lot of more mainstream rock moments or dare I call it grunge?

Anyhow I get some serious 90's Flotsam and Jetsam-vibes when listening to this album. Chunky, heavy, atmospheric, commercially viable but also a product of it's day. If you're a fan of more brutal thrash this is nothing for you, but if you're into Testaments more melodic early nineties moments with a big dose of Metallica's ballads and more melodic songs you will probably dig Death Valley Dream by Meliah Rage.  

⭐⭐

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MELIAH RAGE - SOLITARY SOLITUDE (1990)

Solitary Solitude was the second release from Boston thrashers Meliah Rage. Still signed to major label Epic, Meliah had the potential of becoming a household name in metal. They played a quite commercial version of thrash, not that angry and violent.

They had a major label backing them up and they had some talent to back it up. But as Bob Dylan used to sing; "The times they are a-changin'" and Meliah Rage's position fastly swept away when the trends in the business changed. On this album Meliah Rage went for a little chunkier sound. More like Sacred Reich or Metallica or something in that region. Perhaps Megadeth's Countdown to Extinction would be the best way to describe the sound of "Solitary Solitude".

This album is also thrashier than their first album "Kill To Survive". The power metal-tendencies from the debut has been stripped down. Instead we get some type of mid-tempo thrash here on Solitary Solitude. Something is lacking on this album though, some serious aggression and speed would perhaps do the trick. Especially the B-side of this record is kind of weak and repetitive. The album is professionally produced and it sounds good. Meliah Rage had some potential but I think Solitary Solitude is quite average. 

⭐⭐⭐

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MELIAH RAGE - KILL TO SURVIVE (1988)

Boston power / thrashers Meliah Rage got signed by Epic Records and despite being on a major label Meliah Rage didn't become known to man.

Meliah Rage toured the states to support the "Kill to survive"-album with Metal Church and Metal Church is perhaps the best way to describe Meliah Rage's sound.

Meliah Rage is a bit thrashier overall and vocalist Mike Munro doesn't sound like David Wayne or Mike Howe at all. Mike Munro got a raspy and quite ordinary voice which fits the thrashy music well. Fans of Lääz Rockit & Megadeth would probably enjoy spinning this disc too. The problem with this disc are that the songs are too similar to each other. Songs worth breaking your neck for are: Beginning of the end, Meliah Rage and Enter the darkness. The track called "Kill to survive" was removed from this album, but don't ask me why? I've heard that it has something to do with PMRC. The song "Kill to survive" was later released on their live EP called "Live kill". Meliah Rage's debut from 1988 is in my opinion their best effort, so you better look it up now if you're a fan of the power / thrash genre. 

⭐⭐⭐⭐

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MERCY - WITCHBURNER (1985) (Review by: Per-Ola Nilsson)
Doooooooooooom! Mercy really knew what they were aiming for with their second LP, cause this is by far the most extreme doom metal recorded in Sweden in the eighties. You don't get any of that typical, tasteful Sabbath-inspired riffing, epic harmonies or melancholic sing along-choruses in up tempo.

You get doom metal riffing slower and heavier than prince Lucifer himself and maliciousness in it's purest form. Some listeners, even I did, may find it too extreme at first, but after a few spins you just gotta love it in all its primitivity.

Eddy Markulin adapts the moniker of "Messiah Marcolin" for the first time on this album. After a rather unpolished effort on the first Mercy LP he now starts to show what his throat is really made of.

Side A is side doom, with three blasphemeous slow-moshers from the inner circles of Hades. Side B is side metal, with two up tempo pounders and the "Children of the Grave"-style headbanger "Judgement Day", before the album ends with the doomiest track of them all - the title cut. "Satan is crying as she burns, god is laughing while it hurts", Messiah sings. I don't know about god, but Satan must be smiling with delight at something like this. Bow to the swedish masters of Doooooooooooom!

⭐⭐⭐⭐⭐

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MERCY - MERCY (1984) (Review by: Per-Ola Nilsson)
After the rather miserable ”Swedish Metal” EP, Mercy acquired what was necessary to make their first LP un-miserable: Decent songs and a decent vocalist.

The vocalist was none other than Eddy Markulin, soon to achieve world wide fame as ”Messiah Marcolin” in a different band (Candlemass). And as for the songs, they are actually more than decent.

”Heavy Metal Warriors”, ”Tyrant”, ”Zombie” and ”Dirty Love” are all fine, NWOBHM-inspired metal stompers built around that trademark heavy Mercy-riffing, with the latter even leaning towards doom.

This was the start of a career that, despite constant member changes and complete lack of luck, was musically solid. It’s also a historical release, as it marks the first public appearance of Messiah. Recommended.

⭐⭐⭐⭐

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MERCYFUL FATE - 9 (1999)
If Dead Again was a restless beast, 9 is the beast fully unleashed. This is the heaviest, most aggressive album Mercyful Fate ever recorded. A record that feels like the band deliberately set out to prove they could still out‑evil the entire black metal scene they helped inspire.

The production is dense and punishing, with guitars that hit like a wall of blades. Shermann and Wead lock into a vicious, almost militaristic precision, crafting riffs that are both brutally direct and unmistakably Mercyful Fate in their melodic DNA. The solos are wild, expressive, and unrestrained, the kind of guitar heroics that modern metal rarely allows itself anymore.

King Diamond delivers one of his most ferocious vocal performances. He snarls, hisses, and shrieks with a venom that feels almost shocking for a band nearly two decades into its career. There’s less theatrical storytelling here and more pure occult fury. A return to the primal darkness of Melissa and Don’t Break the Oath, but filtered through the technical sophistication of the 90s lineup. The artwork is also a homage to Don't Break the Oath. 

On 9 the band pushes forward with a clarity of purpose: to make the most intense, uncompromising Mercyful Fate album possible. And they succeed. 9 stands as the strong statement of the reunion era. A record that proves the band didn’t just return; they excelled in a time period when most music publications looked down upon heavy metal music but King showed that the decade belonged to him wheter it was with his solo band or with Mercyful Fate.

⭐⭐⭐⭐

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MERCYFUL FATE - DEAD AGAIN (1998)

Dead Again is the sound of a band refusing to become its own museum piece. After the dense, labyrinthine songwriting of In the Shadows and the darker, more atmospheric Time, this album feels like Mercyful Fate rediscovering their teeth. It’s rawer, meaner, and more impulsive. 

The production is intentionally rough around the edges, giving the guitars a serrated, almost live-wire quality. Hank Shermann and Mike Wead carve out riffs that feel both classic and restless, constantly shifting shape without losing momentum. King Diamond's vocals are sharper and more aggressive than on the previous two records, as if he’s leaning back into the venom of the early '80s rather than the theatricality of his solo work.

What makes Dead Again compelling is its unpredictability. Songs twist and mutate, riffs appear and vanish, tempos lurch forward without warning. It’s not as polished as In the Shadows, nor as atmospheric as Time, but it has a feral energy those albums sometimes lacked. There’s a sense of urgency here, a band pushing against its own legacy, refusing to be comfortable.

Dead Again is an album that rewards repeated listens. Beneath the chaos lies some of the most inspired guitar interplay of the band’s reunion era, and a sense of creative freedom that feels almost rebellious. Dead Again isn’t the most accessible Mercyful Fate record and it's possibly their weakest moment despite not being bad at all. 

⭐⭐⭐

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MERCYFUL FATE - INTO THE UNKNOWN (1996)

Into the Unknown is the most melodic and accessible album of the reunited Mercyful Fate era. a record that softens some of the band’s sharper edges. It’s less frantic, less theatrical, and more song‑driven, built on strong hooks and a warmer production style. For some fans, it’s the band’s most underrated release of the ’90s.

Tracks like "The Uninvited Guest", "The Ghost of Change " and "Holy Water" show Mercyful Fate exploring a more straightforward heavy‑metal approach, with King Diamond delivering some of his most restrained and melodic vocal lines. The guitars are still tight and expressive, but the riffs lean more towards classic metal heaviness more so than the occult labyrinths of earlier albums.

The atmosphere is still there dark, mysterious, unmistakably Mercyful Fate but it’s presented with a clarity that makes the album feel almost like a bridge between the band’s underground roots and a more mainstream metal sensibility. Into the Unknown may not have the cult aura of Melissa or the dramatic punch of In the Shadows, but it stands as a confident, well‑crafted record that proves Mercyful Fate could evolve without losing their soul.

⭐⭐⭐⭐

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MERCYFUL FATE - TIME (1994)

Time is Mercyful Fate at their most atmospheric and introspective

a record that leans deeper into mood, storytelling, and eerie tension rather than the sharper,

more triumphant comeback energy of In the Shadows. The album feels colder, more haunted, and more cinematic, with King Diamond weaving some of his most evocative narratives over a backdrop of brooding riffs and spectral melodies.

Tracks like "The Mad Arab", "Witches' Dance" and "Nightmare Be Thy Name" show the band embracing a slower, more deliberate approach, letting the darkness breathe rather than rushing toward aggression. Shermann and Denner's guitar work remains intricate and expressive, but here it’s wrapped in a more subdued, almost gothic atmosphere. King’s vocals are controlled and theatrical, shifting between falsetto and whispers with a storyteller's precision.

The production is clean but shadowy, giving the album a sense of depth and space that suits its occult themes. Time may not be as immediate as the band's classic '80s work, but it rewards patience. It’s a mature, atmospheric chapter that expands the Mercyful Fate universe in a subtle but meaningful way. Time is always passing by but don't let this record pass you by.

⭐⭐⭐⭐⭐

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MERCYFUL FATE - IN THE SHADOWS (1993)

In the Shadows is one of metal's great comebacks.

A mature, confident return that proves Mercyful Fate never lost their edge.

Despite coming back in 1993 when most other metal bands were trying to copy Metallica's the

black album or trying to fit in with the Seattle sound that was so popular at the time.

Mercyful Fate returned and showed everyone that their timeless brand of metal stood

tall above whatever anyone else was doing at the time.

The album blends the atmosphere of Melissa and Don’t Break the Oath with sharper

production and more refined songwriting, showing a band that has evolved without

abandoning its core identity.

King Diamond delivers a controlled, expressive performance, shifting between falsetto

and menace with ease, while Shermann and Denner's twin‑guitar work is as intricate and

dramatic as ever. Tracks like "Egypt", "The Bell Witch" and "Is That You, Melissa?" capture

the band's signature blend of occult storytelling and melodic precision.

Clean production gives the riffs more weight and the vocals more presence, but the darkness remains intact. Even the re‑recorded "Return of the Vampire" featuring Metallica's Lars Ulrich, feels like a respectful nod to their roots rather than nostalgia.

In short, In the Shadows is a triumphant resurrection, atmospheric, focused, and worthy of

standing alongside the band's classic ’80s work.

⭐⭐⭐⭐⭐

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MERCYFUL FATE - THE BEGINNING (1987) (Compilation)
The Beginning isn’t a conventional album, It's a curated excavation of Mercyful Fate's earliest recordings, a raw snapshot of a band on the verge of reshaping heavy metal. Released in 1987, after the group had already split and King Diamond had launched his solo career,

the LP serves as both an archival release and a reminder of just how fully formed Mercyful Fate's identity was from the start. These tracks, originally scattered across early EPs and singles, reveal the band’s DNA in its purest, most unpolished state. It's also evident that Mercyful Fate had enough material to put out a third album at the time

that could rival Melissa and Don't Break the Oath. 

The first half of this LP was however released before those classic records because

Doomed by the Living Dead, A Corpse Without Soul, Nuns Have no Fun and Devil Eyes

if from their self-titled 1982 EP (see review below), Sometimes referred to as the Nuns have no fun EP. Track 5-7 is from BBC's Friday Rock Show. While the eight song is the B-side to the 'Black Funeral' single.

The sound quality is rough, but that roughness is part of the charm. You hear a band that

believed completely in what they were doing, long before the rest of the world caught up.

Hank Shermann and Michael Denner's twin‑guitar interplay is already razor‑sharp,

weaving melodies and harmonies that would influence generations of fans.

What makes The Beginning so valuable is its honesty. There’s no gloss, no studio trickery, absolutely no attempt to polish their past. Mercyful Fate were forging their right place in metal history, driven by ambition, occult atmosphere, and sheer creative force. In retrospect, this LP stands as an essential companion to Melissa and Don’t Break the Oath. A raw, unfiltered look at the foundation of one of metal's most important and influential bands.

⭐⭐⭐⭐⭐

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MERCYFUL FATE - DON'T BREAK THE OATH (1984)

If Melissa was the invocation, Don’t Break the Oath is the full ceremony. Mercyful Fate’s second album is a staggering leap forward in composition, performance, and ambition. Everything is tighter, darker, and more deliberate. They really perfected their sound here.

The opening salvo, “A Dangerous Meeting,” sets the tone immediately: intricate riffs, theatrical storytelling, and a sense of momentum that never lets up. “The Oath” stands as one of the most audacious tracks of the era, a sprawling occult epic that fuses ritualistic atmosphere with overpowering musicianship.

King Diamond’s vocals are more controlled and expressive than ever, shifting from banshee wails to sinister whispers that feels almost supernatural.

Where Melissa hinted at the future of extreme metal, Don’t Break the Oath defines it. The album’s influence on metal as a whole is impossible to overstate. Yet it never feels like a historical artifact. It’s alive, vivid and committed to its own vision.

This is Mercyful Fate at the height of their powers: theatrical without being campy, virtuosic without being indulgent, and dark without ever losing the spark of pure heavy metal traditions. It remains one of the genre’s true masterpieces.

⭐⭐⭐⭐⭐

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MERCYFUL FATE - MELISSA (1983)

Released in 1983, Melissa was Mercyful Fate's full-length debut.

at a time when most heavy metal was still flirting with the occult rather than embracing it,

Melissa arrived like a ritual dagger through the heart of convention.

Mercyful Fate weaved proto-black metal atmosphere with NWOBHM precision together

into a sound that was as unique as influential. 

King Diamond’s falsetto theatrics, Hank Shermann’s progressive riffing and the band’s willingness to stretch songs into sprawling,

multi-part epics created a sound that felt both ancient and shockingly new.

They were fans of Judas Priest and that can be heard through out the music but with a darker, more evil edge.

Evil and Curse of the Pharaos are pure brilliance. Satan's Fall an eleven minute track that doesn't get boring or ever feel stale. The title track is a magical ballad about a witch with the same name. King Diamond has the ability to blend horror and heartbreak without ever slipping into parody. At times when listening to this classic it feels more like you're in a seance than listening to a regular metal record, it has that magical feel to it. 

Mercyful Fate helped reshape metal and they were a huge inspiration for all extreme metal that followed. Melissa is one of the greatest achievements in metal even though the band would develop even further on their next record.

⭐⭐⭐⭐⭐

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MERCYFUL FATE - MERCYFUL FATE (1982)

Mercyful Fate or the Nuns Have No Fun EP was the first time Mercyful Fate got pressed on vinyl and even at this early stage the core elements of their sound are already in place. The production is raw and thin, but the performances cut through it: Hank Shermann and Michael Denner lock into riffs that feel sharper and more ambitious than most other heavy metal bands at the time, and King Diamond’s vocals are already unmistakable. His falsetto is just pure magic.

The four tracks show a band pushing beyond standard heavy‑metal structures. "A Corpse Without Soul" is the highlight, built on strong riffs and a furious opening tempo. As well as a surprisingly developed sense of melody. "Nuns Have No Fun" and "Doomed by the Living Dead" lean into the band’s darker, more provocative themes, while “Devil Eyes” shows their ability to mix speed with a more traditional metal backbone. I also love King's over the top singing on Devil Eyes. All four tracks are up there amongst the best songs the band ever wrote.

I just love how innocent they sound despite writing such occult material. Things just aren't polished and delivered in a perfect fashion. Yet the songstructures, the riffing and the soloing is nothing but remarkable. What stands out is how confident the band sounds despite the rough edges. The EP feels like a blueprint for everything that Mercyful Fate would become: the dual‑guitar interplay, the occult atmosphere and King’s vocal approach are all fully formed. It’s not as refined as Melissa or Don’t Break the Oath, but it’s a crucial listening and this might just be my favourite Mercyful Fate-release. Truly essential!

⭐⭐⭐⭐⭐

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MESHUGGAH - CONTRADICTIONS COLLAPSE (1991)

Meshuggah come from a small city (Umeå) in the north of Sweden, they debuted with an album that is somewhat regarded as a classic album from the small metal country of Sweden.

The album we're talking about here is their full-length debut Contradictions Collapse. Stylewise it was thrash metal with some groove metal tendencies. Like a mix between Sepultura, Pantera, Suicidal Tendencies and Overkill during the late 90's. And even some "...And justice for all" by Metallica-vibes going here. It has aggressive shouting vocals and a bass that is turned so high that it takes over the music.

 This might just be the first metal album from Sweden that had this new and modern groove metal sound. Musicwise they handle their instruments well but the production of this album is unbearable, especially the sound of the snare drum and the modern shouted "tough guy" vocals. This is before Meshuggah started playing this Djent bullshit, they will always be regarded as one of the bands of the first era of Swedish thrash. I think the era had better and more talented bands than Meshuggah at the time but Meshuggah managed to survive when the scene died so they forged a noteworthy career for themselves, I think that has a lot to do with the hype around "Contradictions Collapse", because people forgot or never discovered those other bands. Contradictions collapse might be a classic for some people but to me it's highly average even if the rhytmic guitars are quite amusing. 

⭐⭐

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METAL CHURCH - XI (2016)

In 2014, When vocalist Ronnie Munroe left, the future of the band was uncertain, the fans demanded and begged for the return of former vocalist Mike Howe and in 2015 the gods of second chance gave the fans what they wanted, It took 23 years but now we finally stand here with a brand new Metal Church album with one of the all-time greats at the microphone.

After the rather weak Generation Nothing we still had some concerns whether the band still got it and how well Mike Howe's voice had aged after being away from the music business for over two decades.

When Mike announced that he was back in the band, people went nuts and the anticipation for XI skyrocketed, me on the other hand tried to stay calm and grounded so I wouldn't get disappointed if the album turned out to be a mess. But to my surprise Mike Howe's voice hadn't aged a day, he really sound like he did in the eighties, incredible!.

Music-wise I was also a bit worried but when Metal Church brings their impeccable brand of power / thrash, it's just impossible to resist the band. The album starts off with a few great tracks like the Judas Priest-esque Reset, Killing Your Time with a strong chorus and the possible hit song No Tomorrow. Signal Path and Sky Falls In are pretty good tunes as well. I also need to salute Kurdt Vanderhoof, he must be considered one of the greatest songwriters of all time.

Sure, there are also some tracks that doesnt fully reach the stars, songs like Needle and Suture and Blow Your Mind are on the weaker side. Overall Metal Church brings us a very potent traditional heavy metal album here with outbursts of power and thrash metal, Some might say that XI lacks some speed and frenzied thrash moments but that was the direction the band took when Mike Howe originally joined the band.

Maybe the songwriting aren't as impactful or memorable as in the late eighties or early nineties. But a song from 2016 can't transform a whole genre in the same way as it could back then. Creating thrash metal anthems like Fake Healer, Ton of Bricks, Beyond the Black or Gods of Second Chance are almost an impossible task but I think the song No Tomorrow has a chance to become a Ton of Bricks for the new century.

Metal Church has always stayed true to the old school sound, even more so than just about any of their colleagues out there, a stance that I and so many metal fans highly respect and admire, I guess that the day when Metal Church records a completely lousy sell-out album hell is about to freeze.

I must also take the time bash the album's artwork, it looks almost grunge-like with that weathered photoshopped guitar, doesn't look so old school in my eyes but I guess we shouldn't complain too much since the band still uses their old logotype. Let's face it: There are a lot of thrash bands out there that till just lives through the respect they gained in the eighties but Metal Church have been given newfound energy and the band shows the world that you can stay true to the past and still be relevant within the modern music scene. 

⭐⭐⭐

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METAL CHURCH - GENERATION NOTHING (2013)

Yes finally a new Metal Church disc, I usually celebrate it like holidays, because everytime a new album is about to be released you instantly know that you're up for another great album. But this time something has changed. The songwriting has turned sour. Those lazy generic riffs by Van Zandt and Vanderhoof does absolutely nothing for me. Ronny Munroe seems to have taken singing lessons from Brian Johnson (AC/DC) and Udo Dirkschneider (Accept). Ronny's contrived vocals is almost a parody at times.

I have no idea what happened here but Kurdt Vanderhoof usually writes songs of epic proportions, Generation Nothing sounds like a pale copy of any generic modern soulless metal band, except for the kids of this generation seldom imitates an old fart like Brian Johnson. It's sad to see that one of my favourite bands of all time even releases this album, someone should have stopped them. There is nothing wrong with the production or so, it's mainly the songwriting and the uninspiring riffs that drags this album down the drain. Even the solos feels off target. It still has the typical Metal Church-sound somehow, the music floats around between the power, heavy and thrash genres. Damn I miss the days when Metal Church could write songs like Fake Healer, Ton of Bricks and Beyond the Black. To salt the wounds Metal Church includes a song called "Hits keeps comin'", I shake my head in disbelief because I can't see any hits here. 

⭐⭐

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METAL CHURCH - THIS PRESENT WASTELAND (2008)

Metal Church was a band who was always in forefront when it comes to those second-tier bands behind the big four of thrash. Without being a pure thrash metal band, Metal Church still was one of my favourite bands of the genre. And on their ninth studio album This Present Wasteland Metal Church continues with their characteristic mix between thrash, power and heavy metal into one strong and heavy force.

Their music is definitely based in the 80's metal scene but with a more modern and updated production to it. The album feels a bit like something that Black Sabbath with Dio would record if they went slightly thrashier in their style. It's so impressive to see that the band's sound and visions is still intact even if there is only one remaining member from those early years, Guitar phenomenon Kurdt Vanderhoof. So how strong is This present wasteland? well compared to earlier Metal Church-albums I must say that this one of their weaker albums. It's definitely not a bad album but I think it's for example not as solid as A light in the dark from 2006. I've heard that this album didn't even sell 1000 copies in it's first week in the United States. That's kind of sad even if the CD format has seen better days. This Present Wasteland is a solid metal album, without reaching those early days it will definitely satisfy most fans of the mighty Metal Church.

⭐⭐⭐

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¨

METAL CHURCH - A LIGHT IN THE DARK (2006)

The last few years prior to the release of A light in the dark Metal Church had some hard time and struggles but the band regrouped with a new lineup after David Wayne's death. In came Ronny Munroe a highly talented vocalist that reminds me a bit of David Wayne in style.

In came also guitarist Jay Reynolds to replace John Marshall and in 2006 Kirk Arrington left due to diabetes and in stepped Jeff Plate. In honor of David Wayne, Metal Church re-recorded their most famous song: Watch the children pray. The whole song gets a new meaning after that horrible car accident, May David Wayne rest in peace.

Metal Church is one of my alltime favourite metal bands so they had a lot to live up to on this album and I think the spirit of Metal Church is still intact. The album might not stand the test of time against their earlier catalogue, but I think it stands strong against their newer albums and 90% of the thrash metal that is made today. I must also say that I think Ronny Munroe does a great job trying to fill David Wayne and Mike Howe's shoes as they are two of my favourite vocalists in the whole genre. Ronny Munroe doesn't reach the same heights but he is indeed a great vocalist.

To summarize the album up I must say that A light in the dark is well produced and well performed at all levels but it lacks that incredibly high Metal Church standard. And there are no "hit" songs that absolutely destroys on this album. No "Fake Healer", "Badlands","Ton of Bricks or any "Beyond the Black". No songs that can take this album from good to incredible. But I will give this album four out of five stars as it is one of the best metal albums of 2006.  

⭐⭐⭐⭐

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METAL CHURCH - THE WEIGHT OF THE WORLD (2004)

Few bands of today master both fast and heavy riffs combined with a melodic sensitivity and vocal melodies and none does it better than Metal Church. With that in mind I always have huge expectations on every new Metal Church-release and the Weight of the World doesn't disappoint.

Their last album Masterpeace got some unfavorable reviews and vocalist David Wayne left due to creative differences. In stepped Ronny Munroe, a talented vocalist who has been in a bunch of bands since the eighties. He does a good job filling in for the rather irreplacable David Wayne. If you're not that familiar with Metal Church, don't expect some furious thrash metal, no this has it's base in heavy and power metal of the eighies with a touch of the intensity of the thrash metal genre.

Think of a slightly heavier Saxon or Riot. For us who are more familiar with Metal Church, this album is instantly recognizable, even Ronny Munroe fits the glove with a similar vocalstyle to David Wayne. The title-track "Weight of the World" is absolutely brilliant and it's my favourite track from this album.

Metal Church seventh studio album doesn't fully reach the same heights as the material they wrote ten years ago, but this is still above average as always when it comes to Metal Church. 

⭐⭐⭐

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METAL CHURCH - MASTERPEACE (1999)

Masterpeace was Metal Church's comeback, with original members David Wayne and Kurdt Vanderhoof back in the ranks.

Compared to the bands early days (Their self-titled debut and The Dark) this album might be a let-down but some of the early Metal Church-magic is still intact. With songs like "Sleeps with thunder" & "Into dust" it may seem like the nineties never happened, "Sleeps with thunder" are one of my favourite MC-songs, a killer "Kiss for the dead" are a solid number too.

The rest of the songs are a bit weak, not all of them but a few. Toys in the attic is an Aerosmith-cover, not so great but ok. Metal Church uses powerful chords and some acoustic parts as always and I love David Wayne's voice, may he rest in peace. He wasn't as diverse as Mike Howe but he is indeed a great and unique vocalist. Masterpeace was released in 1999 and I think that many bands got inspired by Metal Church's way of playing old school metal and not some (c)rap-metal that most bands seem to play today. Metal Church where one of the best bands around in eighties and they are still as valid. Maybe Masterpeace never was a masterpiece but it's still one of my favourite metal albums of the late 90's. 

⭐⭐⭐

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METAL CHURCH - HANGING IN THE BALANCE (1993)

Metal Church's fifth studio album and their third with the intact classic lineup of Howe, Wells, Marshall, Erickson and Arrington.

At first glance of the artwork you might think that they have completely sold out, but the album is much better than what the artwork suggests. Metal Church's sound has matured over the years.

If you want aggression and speed this is not the album for you but if you like som mid-tempo power / thrash with superb vocals and brilliant compositions this album is a must. The album starts out with the absolutely brilliant Gods of Second Chance. Other great songs are the ballad Waiting for a Saviour, the album really emphasises on melodies combined with some diesel smelling heavy metal. Hanging in the Balance is filled with great guitar leads and the musicianship is at a real high level. As a heavy metal album Hanging in the Balance is a five star album, but as a thrash metal it doesn't reach the fifth star for me because the lack of speed and raging thrash assaults. But as long as you're a metal fan, you need to get your hands on Hanging in the Balance by Metal Church.  

⭐⭐⭐⭐

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METAL CHURCH - THE HUMAN FACTOR (1991)

Metal Church's fourth album The Human Factor was released on the major label Epic which was owned by Sony. It's Metal Church's second album with vocalist extraordinaire Mike Howe and the bands fourth album overall. The Human Factor has some very memorable moments in songs like Date with Poverty and In Harm's Way. Maybe not the true thrash anthems similar to those from their first two albums but those two songs are extremely good metal compositions.

When Mike Howe joined the band they started to emphasize on a more traditional hard rock sound. The sense of melodies and strong choruses are the strong sides of The Human Factor and maybe it was a sign that things were changing in the metal landscape when bands went a little softer. This Mike Howe era was the bands least thrashy era and The Human Factor is more or less a traditional heavy metal album with occasional thrashing guitars. The thrash may be gone but Metal Church brings you a very powerful heavy metal with top class instrumentalization. Excellent drums and bass combined with one of the best vocalists of the genre.

The lyrics are thoughtful and depressive at times. Mike's voice is emotional and his voice cuts right through the mix, he is such a talented vocalist. The guitars are crunchy and the musicianship is high and everything feels totally professional, except the somewhat unfocused production. I would rate this album higher on the scale of heavy metal but as a thrash metal entity it definitely lacks some aggression and speed. If youre a fan of regular heavy metal this is definitely an album worth owning. It might be one of Metal Church weaker moments but it's still greater than most bands best work. I give the album three and a half stars out of five.  

⭐⭐⭐⭐

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METAL CHURCH - BLESSING IN DISGUISE (1989)

Member changes is most often not for the better, but when David Wayne and Kurdt Vanderhoof left Metal Church prior to this release it was quite clear that their sound would change, and it did to a some part.

Kurdt Vanderhoof was actually the man who once started Metal Church and he was the only original member left in the band. But they found John Marshall who does a good job here. Metal Church also recruitited Mike Howe as a vocalist and that was an excellent decision. He is one of my personal favourite vocalists, his voice is clear and smooth, very enjoyable. technically he was far superior as a vocalist compared to David Wayne or Ronny Munroe. Anyhow Blessing in disguise is Metal Church's third album and it was released in 1989. This album is worth the money just for the two songs "Badlands" and "Fake Healer" which both are amazing metal anthems, the first one is a slow song with some blistering musicianship and "Fake Healer" is heavy with a drumming part that reminds me of Diamond head's "Am I Evil?".

I think that Fake Healer is one of their best song of all time, if not the best. Anthem to the Estranged is also an incredible nine minute long track with a lot tons of emotions in it, Anthem to the Estranged is actually one of my all-time "thrash" ballads. Metal Church is perhaps no pure thrash band anymore and I'm not sure that they ever was, even though their earlier efforts leaned more towards thrash than Blessing in Disguise.

Anyhow I strongly recommend this album. Superb musicianship all over, Kirk Arrington is an extremely talented drummer and Kurdt Vanderhoof was replaced wisely, even though it's incredibly hard to replace such a respected musician. Unfortunately the album has a few weaker songs that drags the rating down, but Blessing in disguise is an underestimated album. Thrash or not, it's still one of the best metal albums of 1989 

⭐⭐⭐⭐⭐

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METAL CHURCH - THE DARK (1986)

After their superb debut, Metal Church signed up to the major label Elektra and released The Dark in 1986. The album starts out with the killer track Ton of bricks, one of Metal church's finest moments. 

The next one is Start the fire that sound like it could have been recorded by German metal legends Accept, definitely some steaming diesel smelling heavy metal going on there. The fourth song is Watch the children pray which is a sad ballad that will bring some man-tears to your eyes and it was also the big hit of the album.

A song that got a little airtime on MTV at the time being. The rest of the album is quite ok thrash without sticking out too much. If the last songs would be a bit better this album would be unforgettable. Metal Church had some Metallica-vibes going on here, but still they managed to be unique in their sound. I must mention David Wayne's voice, he can both sing like a mad dog and do a sad ballad, a real versatile singer. But lets not forget the rest of the band, Vanderhoof, Wells, Erickson and Arrington all bring their skills to the table here.

The album is very varied and it's at times dark and sad, in other tracks they sound cocky and aggressive. The Dark is great in so many ways. This is a true Metal Church classic.  

⭐⭐⭐⭐

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METAL CHURCH - METAL CHURCH (1984)

Metal Church were one of the bands that blew the underground wide open with this powerhouse of a record. They approached Atlantic Records but they got turned down, because Metal Church was too heavy. Metal Church were one of those groundbreaking bands that deserve all the credibility they can get.

I still to this day can't understand why Metal church ain't fully a household name in the metal community. Maybe it was David Wayne's whining and unique vocal style, I have no idea. They also played a more commercial type of thrash. When it wasn't as fast and heavy as Slayer and such bands. This album was released on an independent label and it sold quite well even though. Anyhow on the first side of this LP we find songs like Beyond the black, Metal Church and Gods of wrath. Three tracks of that magnitude can only mean one thing, youre listening to an album by true metal gods.

I'm not saying that the rest of the album is of low quality, no this album is magnificent in all ways. The weak part of the album must be that they recorded a Deep Purple-cover, Highway star, a song which the band could have done without. Not saying that it's bad, but it's still a cover. Kurdt Vanderhoof's guitarplay is also worth mentioning, he is an extremely talented songwriter. This album has taken the best parts from two worlds, classic heavy metal a´la Judas Priest and Accept and mixed with the roots of thrash metal. This debut album is not cheerful in any way, it's a moody dark metal album and still to this day I listen to it. A classic if there ever was one.  

⭐⭐⭐⭐⭐

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METAL MERCY - THE UNBORN CHILD (1989) (Review by: Per-Ola Nilsson)

As this sought after and very pricey record (of course, anything that has a reaper on the cover and could be called "classic power metal" by dubious dealers is expensive as shit) was released in 1989 it is slightly outside what I collect, and therefore I long ignored it. 

But when I had the chance to obtain it in a very favourable trade I of course did not hesitate. As I first put it on my turntable I got quite surprised. I had expected some sort of competent and well played, but boring crossover between technichal bay area thrash and US power metal.

Instead we get ultra heavy doom metal riffing that wears some resemblence of Candlemass, mixed up with Mercyful Fate/King Diamond-like wickedness. No wonder it's so wanted. However, I tend to be bored by this kind of metal after a while, and once all the four tracks have come to their end, I don't feel that I want more. Still, I feel confident in having it in my collection, where I have decided it will stay. For the dedicated doom/evil metal fanatic, I bet this is a real winner.

Counting mine out, there are 599 more copies out there, so happy hunting. Just don't expect to get it for less than a hundred dollars. Bands should stop putting reapers on their album cover all the time.

⭐⭐⭐

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METALLICA - HARDWIRED... TO SELF-DESTRUCT (2016)

It was eight years since Metallica released Death Magnetic and even longer since they released something worth caring about. But after the band published Hardwired, Atlas, Rise! and Moth Into Flame online, the internet went crazy once again for a the new Metallica-album and now we finally stand here with their brand new disc. Personally I didn't jump on the hype train, because most bands push their best songs out first so I was a bit discouraged as they didn't impress me that much. Sure, they are better than what the band has produced for decades, but that doesn't mean that much after Lulu and St. Anger. Hardwired... To Self-Destruct was produced by Rick Rubin and he has helped the band a lot because soundwise there isn't that much to complain about. Most tracks on the album feels like b-sides from The Black Album and the Load/Reload-era. Sure there are a lot of sharp galopping riffs, but the songs aren't necessarily hard or fast.

The songs has this 90's metallica feeling to them, with bluesy wah-wah solos from Kirk Hammett, speaking of Kirk he was left out of the writing process after his mobile with all his song ideas was stolen. My favourite tracks from this album are the three pre-release singles they promoted: Hardwired, Atlas, Rise! and Moth Into Flame. The second half of the album is definitely boring and uninspiring in so many ways, they just keep falling back on the trail they took during the early nineties, sure Hardwired... To Self-Destruct is the most metallic product the band has produced since the Black Album, but don't go and expect another masterpiece from these guys. But at least they decided to pick up the pace in the very last song Spit Out The Bone, which must be the best song on the album together with the three aforementioned singles. I also need to mention the track Murder One, which is a tribute to Lemmy Kilmister of Motörhead whom passed away earlier this year.

Metallica also recorded music videos for each and every track, which is a new take on how to get your music out through social media. Something that I think that we will see much more of in the future.

Hardwired is hardly a return to their glorious past, but rather an anthology over their career, with different songs fitting the different time periods of Metallica, there are thrashier tunes, there are heavy metal songs and there are some alternative rock moments all mixed into one quite effective album. Personally I think that this is their best album since the black one. I don't think we can ask so much more from Metallica than 2-3 thrash tracks on a brand new album, So I'm pretty content with this release.

2016 was supposed to be Metallica's big comeback and they are definitely the biggest band to come out of this genre we all love, but Hardwired...To Self-Destruct is hardly a contender for the album of the year since this is kind of mediocre compared to the new albums by Testament, Metal Church or Hobbs Angel of Death. But the Heavy Metal genre was never fair, this album will outsell 'em all by far. Sorry Metallica, but 3-4 good songs on an 80 minute long double album doesn't cut it for me. This should have been an EP.  

⭐⭐

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METALLICA - LULU (2011)

Artsy fartsy Lulu is Metallica's latest aborted fetus. It's a collaboration between Metallica and the late rock icon Lou Reed. It's just some distorted background noise over talkative vocals. It sounds like the music wasn't even written to sound good with the vocals, it's just so off. Wikipedia called this type of music for Art Rock, Experimental metal, noise rock and spoken word.

I guess it's some kind of mixture of those genres. This is the worst album I have reviewed on this site. It's absolutely a total failure and a disgrace for the whole metal community, When Metallica still tours the world as one of the big four while releasing albums that makes Justin Bieber look like a genious in comparison.

It's a disgrace and I hope that Metallica's old fans turns their back on the band for doing albums like these and on the other hand tour the world as a part of a thrash metal brigade. But Metallica left thrash metal back in 1988 and they shouldn't use the word thrash to lure fans in. I remember when St. Anger was released in 2003 and I was furious over how incredibly low Metallica had sunken but Lulu takes mediocrity to another level, I'm pretty confident saying that Lulu is the worst rock/metal album ever recorded by a professional band. Period, I've listened to progressive rock, jazz, reggae, blues, grunge and whatever came my way but no album have been as bad as this one. I have a broad mind and I like all types of rock and metal and I respect the integrity of an old rockstar like Lou Reed, but this makes Lou Reed look bad. I respect Lou Reed (R.I.P.) but my respect for Metallica is forever lost. 

❌

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METALLICA - DEATH MAGNETIC (2008)

Finally Hall of famers Metallica decided to kick producer Bob Rock the hell out of the band and I hope they'll never let him come near their music again. This time the producer is world famous Rick Rubin who produced Slayer back in the day.

Robert Trujillo is also a new addition to the band, but his importance to the bands sound is minimal. But what about the music then.

I almost skipped this one because I personally think that Metallica hasn't recorded one good album in 20 years.

This is definitely a step towards the earlier Metallica days. Not quite reaching the Black Album/Justice quality. But it can perhaps turn people into thrash metal which is good. The production is still not near perfect but it's an OK try I guess. Anything that doesn't totally suck donkey balls frrom Metallica must be seen as good omen. But it's still so clear that all the talent in Metallica went to Megadeth or died in that bus crash back in 1986. Anyhow this is Metallica's best album since the Black Album of 1991, but it's still a long way to the top if they want to rock 'n roll.  

⭐

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METALLICA - ST. ANGER (2006)

Bob Rock, the worlds worst metal producer has yet again produced a crappy album. And now he even handles the bass. It's just a bad joke.

This is how stupid Metallica think their fans are. Lets make an album without melody and guitar solos, because they are to complex for our stupid fans to handle. And don't you just love the drum sound? it sounds like they recorded the drums in the kitchen amongst all the pots. The whole album is an absolute disgrace to everything metal is and ever was. Still this album sells by the millions. Only for one reason, the Metallica-logo. over-compressed bullshit and chords and music that could have been written by any fourteen year old kid trying to play metal for the first time. I don't know why Metallica decides to make such a lousy album, It's offensive to me, when there once was so much talent in the band.

Avoid this album at all costs. This album should have been named St. Crap. 

❌

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METALLICA - S&M (1999)

Metallica is trying to be original and go their own way, my ass! Bands and guitarists like Rage, Scorpions, Uli Jon Roth, Deep Purple and Yngwie Malmsteen had already experimented with classical music. Trying to blend metal with classical music is at time like mixing oil with water.

It's almost impossible. Why Michael Kamen and the S.F. symphony orchestra agreed to do this is beyond my understanding. Maybe things would sound better if the guitar parts was written together with the orchestral parts, but taking the originals and adding classical ideas on top of it, well that doesn't work in this case.

Metallica that once where the gods of thrash metal and now this? Metallica have taken all their hit songs, (none from Kill 'em all btw) and two new songs, No leaf clover and Human, and guess what, they suck too! the intro to the album is taken from the western movie The good, the bad and the ugly but S&M is not good, it's just bad and ugly.This was released during the nineties when Metallica looked back upon their thrash years and thought of it as a joke and their 90's more mainstream sound was still more popular. This is Metallica exploring new ideas, but still remaining within their own limits. This feels more like a greatest hits album with additional background noise.  

⭐

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METALLICA - GARAGE INC. (1998)

With eleven new recordings along with all their old covers this becomes a double disc with 27 songs and all of them are covers. Metallica are covering bands like: Diamond Head, Motörhead, Misfits, Mercyful Fate, Black Sabbath, Budgie and a few others.

On the songs "Am I Evil? and "Blitzkrieg" Cliff Burton handles the bass, because those two songs was recorded back in the early eighties. I prefer disc two because of all the oldies and b-sides. songs like Helpless, Am I evil, Blitzkrieg, Breadfan & Killing time are great songs but not as great as the originals.

At least it were more classic Metallica, before James started singing so terrible. on Disc one I like Sabbra Cadabra (Which also contains riff from the song "A national Acrobat" by Black Sabbath), It's Electric, Mercyful Fate and Astronomy. There are five different recordings on this release, the first is the re-release of the 5,98$ EP from 1987, then there are the early days (1984), B-sides and One-offs from 88-91. Motörheadache (Motörhead-covers) from 1995 and the first disc which entirely contains their new covers. I think this album is better then their later studio albums, the songs are much stronger cause they were all classics to begin with, but I still don't like the idea of just releasing covers. It's a bit unnecessary when Metallica covers are all worse than the originals. As Hetfields vocals aren't that good. But It can also be a great introduction to a lot of great heavy metal bands from the 70/80's. This album is more enjoyable than S&M, ReLoad and Load. So I give it one and a half star. 

⭐⭐

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METALLICA - RE-LOAD (1997)

You might wonder why the hell I write reviews on albums like Reload when it's not thrash metal. This is because of two things, Metallica's thrashing history and to warn those kids that is considering buying this piece of crap.

Maybe you can enjoy this album if you are into Lynyrd Skynyrd or the grunge sound of the nineties or something. The songs "The unforgiven II", "Fuel" and "The Memory Remains" has been aired on MTV about a trillion times, this album is a step further away from their past and this is without a doubt their worst studio album (up to that point).

It sounds a bit like modern rock mixed with some blues and country parts, perhaps Nick Cave and the bad seeds can be a good point of reference. Feel free to listen to the songs in the middle of this album,(Better than you up to Prince charming) It's just a bunch of musical turds. I can't see why they did this album, to become more commercial? I can't see how it can be commercial to ignore their past success. Fans got angry when this album was released. Sure they did find a few new fans along the way. But to us thrash and metal fans Metallica new sound was hugely disappointing. This is nothing for thrash metal fans. 

⭐

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METALLICA - LOAD (1996)

After the incredible success with their self-titled black album Metallica went even softer. Rob Rock perhaps more known as Satan himself produced this album. And this is a continuation of the direction the band took back then.

Load is more ballad schmallads with extra cheese. This sounds more like an untalented mix between Lynyrd Skynyrd and Nick Cave with a modern production. There are no thrash metal songs on this album at all. at best some kind of heavy guitar riffing. But this album has more in common with toothless red neck country music. Still got memories of Metallica being the kings of media and their music videos King Nothing and Hero of the day playing everywhere.

It's sad to see one of the best metal bands of all time selling out. It's a shame. Please don't support 'em. If you do, you support Satan's overtake and corruption of all that is good with music. ;) 

⭐

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METALLICA - METALLICA (1991)

Metallica's selftitled black album was their first step away from the thrash metal scene and into a more commercial sound. And that was a big disappointment for thousands of thrash fans, including me.

Some of the songs on this album are just meh, but there are some bright moments too, like "Through the never", "Sad But True" & "Of Wolf and Man". which all are solid tracks. Metallica has lost a lot of their speed and the technical display since "...And Justice For All". I also happen to like the bass intro to "My Friend of Misery", Jason Newsted surely made Cliff Burton smiling down from his fluffy cloud in heaven.

But The Black album is mainly known for the slow ballads and radio hits like the rediculous Enter Sandman and the heart-breaking ballad Nothing Else Matters, which wasn't intended to end up on the album but it did and nothing was ever the same again. The song The Unforgiven has also become on of those songs that Metallica still performs, a slower tune with lots of radio-potential. Metallica changed the way people looked at metal and rock in general by this release, many people blames the grunge-movement but this album had also a major part in changing the musical landscape in the early 90's. 

⭐⭐⭐

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METALLICA - ...AND JUSTICE FOR ALL (1988)

Two years after the release of Master of Puppets and the death of Bassist Cliff Burton Metallica is back on track with Jason Newsted from Flotsam and Jetsam as their new bass player. Even though his bass seems to be turned off completely on Justice.

There were almost unrealistic expectations on Metallicas fourth release and this is still to this day the most sold thrash album ever with five million copies all over the world. On Justice we're presented with longer songs and more intricate arrangements compared to their previous three albums. Drummer Lars Ulrich who has been criticised  lately delivers some creative drumming here. Songs like Blackened, Eye of the beholder & Dyers Eve are superb tracks.

The two singles "One" & "Harvester of Sorrow" are not as brutal but they are interesting, at least "One" is as it did more or less made Metallica into superstars over a night. "One" must be the most wellknown thrash metal song of all time. Even I discovered Metallica and subsequently thrash metal as a nine year old kid when I first heard One. It was a real hit and it was played everywere, which might sound odd to newer thrash metal fans.

"...And justice for all" was the last real thrash album Metallica did, before they cut their hair, changed their style and sold their souls.  

⭐⭐⭐⭐⭐

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METALLICA - THE $5.98 EP - GARAGE DAYS RE-REVISITED (1987)

One year after Cliff Burtons tragical death Jason Newsted has been chosen to replace the irreplacable bass god. This album salute to the days when Metallica was a garage band that almost only played covers.

Helpless is a Diamond Head song, The Small Hours was released by Holocaust. The Wait was written by Killing Joke, Crash Course in Brain Surgery by Budgie and Last Caress/Green Hell is a Misfits-tune.

Cover albums are hard to rate and in my opinion it's quite useless. I guess it's made for cashing in on Metallica's early success and at the same time release something with Jason Newsted to see if he was up for the challenge. This EP is a bit harder to find then all the other Metallica-albums. Buying this album is a waste of money, If you're not a collector, but I'm a listener so for me, this is useless. All songs on this EP was later released on Metallica's Garage Inc. album. 

⭐⭐

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METALLICA - MASTER OF PUPPETS (1986)

Metallica's third album is a craftmanship seldom seen before or since, It might not be as intense or fast as their first two albums but the musicianship is on a whole other level here. The album is once again produced by the danish genious Flemming Rasmussen and as songwriters the band had matured, much thanks to the fact that Cliff Burton is given more room to work his magic.

The album starts out with a melancholic vibe that turns into some thrash battering on Battery. The second track is the title track and it was a huge success and it was most likely the best known thrash metal song at the time. The thing that should not be is a good but quite unremarkable song with chugging riffs. Welcome Home (Sanitarium) is a wonderful mid-tempo song, that appearantly borrows the intro riffs from the NWOBHM-band Bleak House. the fifth track on "Puppets" is a great and very underestimated song called Disposable Heroes, which is one of the most interesting songs on "Puppets". with brilliant drumming and fast riffs it's really an important song for the pure thrasher.

Leper Messiah has a super heavy main riff and the song was co-written by Dave Mustaine, but he didn't got credited for it. At least he claims to have wrote it a few riffs in it. In the eighties Metallica always included a instrumental song on their album and this time the band wrote the incredible Orion. Which in retrospect are the perfect testament to the unbelievable talent of Cliff Burton.

His sheer brilliance on this song always bring a tear to my eye. Sure there have been casualties in hard rock and metal history but the classical elements of Orion is on another level compared to your usual metal and hard rock songs. The last track on "Puppets" is the ravaging Damage, Inc., a song with a great guitar performance by duo Hetfield/Hammett. Hetfields singing and Metallica's lyrics has also developed over the years and Master of Puppets feels more matured compared to the bands earlier work. Shortly Master of Puppets is a classic metal album and it was one of the albums that really put thrash metal on the map back in 1986.

⭐⭐⭐⭐⭐

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METALLICA - RIDE THE LIGHTNING (1984)

One year after their brilliant debut album Metallica traveled to Copenhagen to work with Flemming Rasmussen in his Sweet Silence studios and three weeks later Metallica had recorded one of the greatest metal albums of all time.

The band displays a more mature sound here, the speed metal elements on Kill 'em All are brushed aside for a more hard hitting mid-tempo structures.

Some even claim that the sellout started here on their second album with the bands first ballad Fade to Black and the mainstream sounding Escape. But I wouldn't go so far that I would call this a sellout, it's still one of the most brutal metal albums of 1984.

The album kicks off with the most brutal song Metallica ever wrote; Fight Fire With Fire. The title-track Ride the lightning starts out with aqoustic guitars and after a short while all hell breaks loose in such a magnificent way. Ride the lightning is a killer track that almost sounds like it was written by Slayer. On the third track, For Whom the Bell Tolls Metallica takes down the tempo and Cliff Burton is allowed to show his skills. Fade to Black is as said before a ballad and then Metallica brings up the tempo in the underestimated Trapped Under Ice. Escape has a memorable chorus but I would say that it's one of the weaker moments on the album. But then Creeping Death sets a new standard in thrash, it's a remarkable track and one of the finest moments in thrash metal history.

The album ends with the instrumental H.P. Lovecraft inspired The Call of Ktulu which is one of the best instrumental songs I've ever heard. Shortly, Ride the lightning is a classic thrash metal album, even if you think that Metallica "sold out" in more recent years I cannot stress the importance of this album, both historically as it furthered the sound of thrash metal by miles, it's also well produced and really an incredible album that all fans of metal needs to listen to. For me personally this album was the first thrash metal album I bought and it mesmerized me so much that I spent decades of looking for similar kicks. Of all the thousands thrash metal albums I've listened to in my life, Ride the Lightning is the very best. 

⭐⭐⭐⭐⭐

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METALLICA - KILL 'EM ALL (1983)

Metallicas first full-length release is a true landmark in thrash metal history. Kill 'em all more or less kickstarted the whole genre and it's a huge reason why the genre became so popular in the eighties. Before Kill 'Em All Metallica's demo "No life til leather" gained some attention in the metal underground and then when the band finally released Kill 'Em All it was a game changer in metal music.

You might already be familiar with the story that Kill 'em all was originally going to be titled "Metal up your ass", but Megaforce refused that name because they thought that name wouldn't sell and I'm glad that they changed the name because Kill 'Em All is a better name.

Another important history that influenced the album quite a lot is that before recording the album Dave Mustaine was kicked out due to drug use and difficulties to get along with James and Lars. Metallica found Kirk Hammett of  Exodus and recruited him as their new axeman but still they kept much of the parts that Dave wrote and even if he left you can feel his presence on Kill 'Em All. At the time Metallica were heavily influenced by the NWOBHM-movement and traditional heavy metal bands such as Mercyful Fate, Misfits, Diamond Head, Tank, Anvil, Raven and Motörhead.The album is filled with speedy leads and a rhythm guitar sound that reminds me of the sounds of a chainsaw, but in a positive way. Add to that the worlds greatest bassist in the newcomer Cliff Burton, whom at the time didn't contribute that much to the songwriting, except his legendary bass solo (Anesthesia) - Pulling Teeth. We should also give some cred to the solid drumming by Lars Ulrich and assertive and pubertal vocals by James Hetfield.

This is Metallicas perhaps fastest and dirtiest album and it's always full speed ahead. Even though Kill 'Em All is a thrash metal album it has a lot of speed metal in it, much thanks to their NWOBHM-influences.

My favourite songs on Kill 'em all has to be Jump in the fire for the awesome main riff, Whiplash & Metal Militia for the speed and aggression. Seek and Destroy has an excellent main riff that reminds me a bit of Diamond Head's Sucking My love. Kill 'Em all is a no filler, all killer thrash metal album. A landmark album that more or less single handedly created the thrash metal genre. Kill 'Em All stands the test of time on all levels. I still considers it to be one of the best albums the genre has to offer. 

⭐⭐⭐⭐⭐

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METAL MERCY (SWE) - THE UNBORN CHILD (1989) (Review by: Per-Ola Nilsson)
As this sought after and very pricey record (of course, anything that has a reaper on the cover and could be called "classic power metal" by dubious dealers is expensive as shit) was released in 1989 it is slightly outside what I collect, and therefore I long ignored it.

But when I had the chance to obtain it in a very favourable trade I of course did not hesitate. As I first put it on my turntable I got quite surprised. I had expected some sort of competent and well played, but boring crossover between technichal bay area thrash and US power metal.

Instead we get ultra heavy doom metal riffing that wears some resemblence of Candlemass, mixed up with Mercyful Fate/King Diamond-like wickedness. No wonder it's so wanted. However, I tend to be bored by this kind of metal after a while, and once all the four tracks have come to their end, I don't feel that I want more. Still, I feel confident in having it in my collection, where I have decided it will stay. For the dedicated doom/evil metal fanatic, I bet this is a real winner.

Counting mine out, there are 599 more copies out there, so happy hunting. Just don't expect to get it for less than a hundred dollars. Bands should stop putting reapers on their album cover all the time.

⭐⭐⭐

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MEZZROW - THEN CAME THE KILLING (1990)

The underground thrash metal scene in Sweden never really took off and became mainstream, People were only interested in Europe, Candlemass and the upcoming death metal scene. But in 1990 a relatively unknown band from Nyköping released their first and only album called "Then Came the Killing".

Not many people noticed the band and they soon thereafter fell into obscurity. But in the early 2000's I got to hear this album for the first time and since then it became my favourite Swedish thrash metal album together with Agony's The first defiance, Fallen Angel's Faith Fails and Hexenhaus early albums. I still think it holds up well after hearing just about every Swedish thrash metal release there is to find out there.

Unfortunately Mezzrow never went into the studio again and their album is only remembered by a few. But that doesn't change the fact that "Then Came the Killing" is one of the best metal albums of all time from Sweden. Their thrash was very rhytmic and each track is brimming with chugging riffs, highlighted with nice leads and some Vio-Lence styled shouted chorus even if their music draws more similarities to late eighties Testament. The band's sound is more to the american counterpart than the more typical european styled thrash. Even if Scandinavia perhaps is a bit seperated from what the rest of Europe was doing at the time. Then Came The Killing is one of the best Scandinavian thrash metal albums, No doubt about it..  

⭐⭐⭐⭐

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MIDAS TOUCH - PRESAGE OF DISASTER (1989)

Thrash metal never became that big in Sweden so Midas Touch were one of a few Swedish thrash groups in the eighties and as many of their Swedish colleagues they only managed to release one album before disbanding, Midas Touch got signed by the terrific Noise label and things looked positive for the band.

Compared to the other Swedish thrash bands Midas Touch is perhaps a little more technical than bands such as Mezzrow, Fallen Angel, Raving Mad & Maninnya Blade.

The sound is very Swedish, heavily underproduced and it sounds more like typical Bay area thrash than the sound that the german bands adopted, extremely fast and it has this typical "chugga-chugga" sound that became famous in the Bay Area of San Francisco. Their sound is sometimes reminding a bit of early Testament. The vocals are modest and laidback, no real outbursts or screams what so ever. Here in Sweden Midas Touch is allmost totally forgotten just like the other Swedish bands to this date. Sweden spawned a few good bands but none of them gained more than a cult status for collectors, perhaps the quality of those Swedish bands never could compete with the major bands in the genre but they offered a bunch of solid Thrash songs who is enjoyable to listen to for a while. But the scene had no band that stood out of from the rest of the pack. If you want energetic 80's thrash for a cheap buck Midas Touch can be fulfilling for a while, but expect no originality or anything out of the ordinary.  

⭐⭐⭐

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MILITIA - THE SYBLING (1986)

In the mid 80's a speed metal band from Austin, Texas released a three track EP called the Sybling and the band was Militia.

Today it's one rare and pricey item that most collectors would trade in their soul for. It was sold on ebay for as high as 3000 dollars, that's just insane. It was only made in 100 copies but a bootleg was released in the 90's.

The style is speed metal with extremely high falsetto vocals by Mike Soliz. Perhaps one of the best and most extreme voices I've ever heard in metal.

Sounding at times like a less technical Agent Steel but with a base in the traditional US 80's heavy metal. You need to hear this album if you love some heavy speed metal with falsetto vocals. It's amazing! 

⭐⭐⭐⭐⭐

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MINDLESS SINNER - TURN ON THE POWER (1986) (Review by: Per-Ola Nilsson)

Hearing this album (and not knowing the circumstances) it’s hard to understand why on earth Mindless Sinner didn’t make it big. Cause this one, my friends, has got a huge commercial potential.

They don’t suffer from any of the common ”defects” among 80’s heavy metal bands doomed to obscurity, such as lousy vocals, heavy accent or weird songwriting.

Christer Göransson has got one hell of a voice, in fact, he is probably the best swede that ever sung heavy metal in the 80’s, sounding a bit like Bruce Dickinson. His english is also great, and the songwriting… Well, the songwriting is both varied, conventional (in a good way) and extremely catchy.

Fast burners like ”Live and Die” and ”Here She Comes Again”, as well as pounding heavy metal tracks like ”I’m Gonna Have Some Fun” and ”Standing on the Stage” should appeal to each and every fan of traditional metal.

Irresistable sing along-choruses are all over the place, and stylewise we find Mindless Sinner in the usual Judas Priest/Iron Maiden mold, with hints of early Mötley Crüe at places. As far as atmosphere and ”coolnes” go, this doesn’t match their monumental debut EP, but ”Turn on the Power” should appeal to a wider audience.

So what are the circumstances that turned the power off instead of on? Well, first off, the album was recorded in 1984, but shelved by the financially troubled Fingerprint Records until January 1986, which was a bit too late. Then, when it was finally released, the label went bankrupt, and no more than the initial pressing of 1 000 copies were made. A pity.

Luckily, this little diamond was reissued on cd by High Vaultage in 2003, with lots of bonus tracks. Highly recommended. The vinyl is very collectable. 

⭐⭐⭐⭐

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M.O.D. - U.S.A. FOR M.O.D. (1987)

M.O.D.'s debut album was released 1987 by Megaforce Records. This album have many similarities to S.O.D.'s Speak English or Die, a whole bunch of songs, humerous lyrics, Billy Milano's participation in both bands and a similar crossover style.

But it kind of ends there, this album isn't so great at all, with these lyrics it's hard to become popular to the masses:

"U.S.A. for africa, what a fucking scam", "So fuck those n*****'s charity and let them die of thirst" & "Anally inflicted death sentence A.I.D.S. That's what you get for having a penis up your ass." Do I have to mention that this album has a Parental Advisory-stamp all over it? They got one funny song called Bubblebutt. The music is typical of M.O.D., but I don't like this album at all, it's a waste of my time, crappy musicianship and some stupid inbred lyrics. It's not exactly what I'm looking for. I want serious music, no fucking joking around and being clowns with hateful ignorant lyrics. The album was produced by Alex Perialas and Scott Ian. But I still think that this is stupid music for stupid people.  

⭐

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MORDRED - VISION (1992)

Mordred was a highly skilled band when it comes down to sheer musicianship, but to me they chose the flavour of the month instead of going for a more traditional thrash metal sound.

That was what seperated Mordred from other thrash metal bands. They play some kind of Funky 90's Grunge with some minor thrash tendencies.

If like Death Angel's Act III, Napalm from New York or the other Mordred albums I can recommend this album for you. But if you're more of the traditional thrash metal fan this is too experimental, it even has a few rap metal moments. The band continued on what they started with the In This Life-album. This EP is well-produced, the musicianship is tight and strong but I'm not really interested in Funk / Thrash. The genre is today dead and buried and there is no band at all that plays this type of music today to my knowledge and I guess that it's a sign how bad the idea was. It didn't stand the test of time and neither did Mordred even if I thought their debut album was good. But Vision is another vision and not an interesting one. I guess I'm close minded. ;) 

⭐

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MORDRED - IN THIS LIFE (1991)

This is one of the strangest thrash metal albums I've ever heard, it's something as unusual as Funk and thrash metal mixed into one, the first words that comes to mind is chaos!, it must be chaos and it is! There are in fact two sides of it, I wouldn't want Slayer to try this at home, but Mordred does it very well. They are talented musicians and some songs are musically interesting but...

To cross so many unwritten rules of thrash metal can be dangerous and I think that their strive to be original is a double edged sword, first of all they have a keyboardist, well that might be OK as long as he isn't heard too much and he isn't, so we are lucky. But the vocal effects and scratching, yes you heard me SCRATCHING is where I draw my line. Sure the funky guitar and basswork is sometimes even excellent but bringing in scratching into thrash metal does NOT work.

If you're into the fusion of rap and metal you might just like this one. MORDRED's problem is that they tried to hard to create an unique sound that it just went down the drain and that's a shame because they where one of the most talented thrash bands musically.

Well that should round this up, I'll give MORDRED - In this life one star, which feels kind of unfair in both senses. They are really a great band but somehow I feel disgusted by their insanity to include that kinds of elements. If you can live with scrathing and have an open mind I can recommend that you listen to it. But for me this is a pre-cursor to Nu Metal.

⭐

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MORDRED - FOOL'S GAME (1989)

Bay area thrashers Mordred's debut-album saw the light of day in 1989, released through Noise Records. Mordred incorporated funk influences in their thrash and the result was quite revolutionary.

Even though they haven't fully developed their funk into the music yet. It has it's funky passages that's about it and some scratching which I certainly don't like. Extremely technical music.

Mordred sounds a bit like Death angel at times or the other way around, Scott Holderby's half whining vocalstyle is similar to Mark Osegueda's, but the vocals are pretty weak actually. Mordred's music is funkier than their colleagues in Death Angel.Only the additional backup vocalists are a reason enough to buy this disc. Thrashers like Chuck Billy (Testament), Ken Elkinton (Defiance) & Mike Coons (Lääz Rockit) has lend their voices to Mordred's disposal.

The song Super Freak is a Rick James cover. A song also covered by MC Hammer which a few of us unfortunately still remembers. The musicianship is brilliant but the songs doesn't feel special. Even though Mordred's quite unique style. Their music ain't as raging as Exodus or Slayer and their vocalist Scott Holderby occasionally seems to be out of place. Otherwise it's quite entertaining mid-tempo funk thrash. I think that Fool's Game is way better than the rest of their catalogue, so you should start with this album if you're curious of Mordred's music. 

⭐⭐⭐

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MORTALITY - FOR WHOM THE BOMB TOLLS (2016)

Back in the late eighties (and early nineties) Mortality recorded and released three demo tapes which unfortunately didn't lead up to a deal with any record label. Then the grunge and death metal wave came and Mortality soon folded. Fast-forward 25 years and Danne Andersson, the bands original guitarist, vocalist and songwriter sat by his computer and thought, why not put in the work and create a few thrash metal songs like back in the good 'ol days?

Instead of calling all his former members he created and recorded all the songs by himself. Wheter this will lead up to a real comeback with gigs and more albums are unclear right now. At the moment, For Whom the Bomb Tolls is only available for digital download right now, wheter it will be released on CD or vinyl is also unclear.

So how good is the reborn Mortality. Well, pretty damn good I would say. Danne has managed to capture the early 90's thrash sound perfectly. It felt like they hardly left upon listening to For Whom the Bomb Tolls. For me personally this is one of the most interesting thrash metal releases in Sweden in years. Sure the drums sound a bit mechanical but that will probably be fixed if Danne decides to recruit more real people into the project. I would describe Mortality's sound to be somewhere in the Metallica meets Sodom region. I was quite surprised by this release, first of all for hearing the band doing new material which I had no idea of just weeks ago. But also by how good thealbum is. I wouldnt put the album along-side the retro bands of today that play thrash inspired by the bands of the eighties. No, this more fresh and stylewise Mortality has more of an early nineties sound, understandably so cause they were actually there during the first wave of Swedish Thrash Metal. In short, For Whom the Bomb Tolls is a pleasant surprise. 

⭐⭐⭐

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MORTAL SIN - FACE OF DESPAIR (1989)

Mortal Sin debuted in 1987 with Mayhemic Destruction, a superb album that gathered a underground following, but being from Australia was far away from the big scenes in Europe and US. In 1989 they released this follow-up called Face of Despair.

The album was produced by Randy Burns (Megadeth, Possessed & Kreator amongst others) so this album is better produced than the predecessor. Mortal Sin toured Australia back when this was released with none other than Metallica so Mortal Sin was close to their big break but it was never fully realized. Metallica circa Puppets is also a good reference for how Face of Despair sounds. The guitars delivers some great riffing and the bass is audible and pulsating. The vocals are mid-range but a little too anonymous, calling them bad would be a strong word, but they are highly average. Vocalist Mat Maurer could mix it up more for better effect. Or perhaps a few more tempo changes would lift the album, it kind of chugs along for the most part. I think that Face of Despair is quite enjoying and a professionally made thrash album but I still prefer their debut Mayhemic Destruction to this, it just had more character. 

⭐⭐⭐⭐

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MORTAL SIN - MAYHEMIC DESTRUCTION (1987)

Kerrang magazine hailed the Aussies Mortal Sin as the next big thing in metal music after hearing their debut Mayhemic Destruction.

Mortal Sin gained a worldwide fanbase but they suffered from major changes in their lineup. Only Bassist Andy Eltichiou where left after their second release. But enough about their career now.

There are probably none that don't agree with me when I'm saying that Mayhemic Destruction is the highlight of Mortal Sin's career. They where probably very much inspired by the early days of Metallica and Slayer. Mat Maurer's vocals are very diverse, something like Chuck Billy (Testament) meets Eric A.K (Flotsam and Jetsam) but leaning towards the later with his half whining singing. The whole album is varied. My favourite tracks is the violent "Mayhemic Destruction" where Mat Maurer sings surprisingly aggressive compared to the rest of the album. The typical ripping thrasher "Blood, Death, Hatred" needs to be mentioned too. Fuck AC/DC!, Mortal Sin where the kings of hard rock and metal in Australia.

⭐⭐⭐⭐⭐

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MOTÖRHEAD - ANOTHER PERFECT DAY (1983)
Another Perfect Day is Motörhead at their most misunderstood. A strange, shimmering detour where the band didn’t lose their identity so much as twist it into a new shape. With Brian “Robbo” Robertson stepping in on guitar, the album trades some of the band’s usual grit for melody, color, and a sense of almost psychedelic heaviness. It’s still Motörhead, but refracted through a different lens. Lots of the criticism came from how "Robbo" looked and acted on stage, his style was more post-punk than heavy metal and that rubbed a lot of people wrong way.

The first thing that hits you when listening to Another Perfect Day is the guitar tone. Robertson doesn’t play like Fast Eddie Clarke, and he doesn’t try to. His leads are fluid, expressive, and drenched in effects, giving the songs a unique atmosphere that no other Motörhead record has. Lemmy’s bass still growls like a tank engine, Philthy’s drumming is as loose and wild as ever, but the guitar cries and slides instead of pummeling you like they used to. That contrast creates a tension that defines the whole album.

“Back at the Funny Farm” and “Shine” show how well this lineup could work when everything clicks. Fast, sharp, and full of hooks. “Dancing on Your Grave” brings a darker, more emotional edge, while “I Got Mine” leans into a melodic swagger that would’ve been unthinkable on earlier records. Even the deeper cuts have a strange charm, as if the band is exploring territory they never dared touch before or after. Without selling out or becoming weak in any way. It's just a different touch to the usual Motörhead formula.

It's just Motörhead expanding, stretching, experimenting and they do it with conviction. The tension within the band at the time is well‑documented, but on record it translates into a kind of restless creativity. It’s messy, it’s moody, it’s unpredictable, and that’s exactly why it stands out.

Another Perfect Day isn’t the template for what Motörhead “should” sound like. It’s the exception. The beautiful, eccentric outlier in a catalogue built on consistency. And for many listeners, that’s precisely what makes it one of their most fascinating records.

⭐⭐⭐⭐

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MOTÖRHEAD - iRON FIST (1982)

Iron Fist (1982) is Motörhead doing what Motörhead does best: loud, fast, and absolutely unwilling to clean up for anyone. Coming right after the world‑shaking Ace of Spades, it doesn’t try to reinvent anything, it just barrels forward with the same filthy momentum, only this time with more chaos under the hood.

The title track is the album’s spine: a sharp, snarling burst of speed that proves the band still had fire to spare. Much of the record follows that template. Short, punchy songs built on Lemmy’s distorted bass roar and Fast Eddie Clarke’s ragged, blues‑soaked riffing. The production is thinner than it should be, and the band themselves weren’t happy with how it turned out, but that roughness ends up giving the album a kind of feral charm.

There’s no polish here, no grand concept, no attempt to chase trends. Just Motörhead in a volatile moment, blasting through songs like “Speedfreak,” “Loser,” and “Heart of Stone” with the attitude of a band that would rather crash and burn than slow down. It’s messy, it’s uneven and I could have done without a few tracks, but it’s alive, dirty and raw and that’s the whole point.

If you want a clean, refined follow‑up to Ace of Spades, this isn’t it. If you want Motörhead sounding like a bar fight set to tape, Iron Fist delivers exactly that. While other bands progressed or regressed, Motörhead stayed the same for whatever that's worth. 

⭐⭐⭐⭐

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MOTÖRHEAD - ACE OF SPADES (1980)

Ace of Spades is where Motörhead became an iconic band. The title track is so iconic that it overshadowed everything else that they ever did, but the deeper cuts prove how fully the band had crystallized their identity. 

Everything is faster, tighter, and more confident. The production is brighter and more powerful, giving Lemmy’s bass a cutting presence and letting the band’s speed hit with full force. Everything is louder than everything else to quote the band itself. 

"Love Me Like a Reptile", "Shoot You in the Back", "The Chase Is Better Than the Catch" and "We Are the Road Crew" form a run of songs that define the Motörhead ethos: danger, humor, speed, and absolute commitment to the moment. The band plays like they’re trying to outrun death itself, and the chemistry between Lemmy, Clarke, and Taylor is at its peak. Ace of Spades isn’t just a classic Motörhead album, it’s one of the defining documents of heavy music, a record that captures the band’s essence with such clarity that it became a cultural shorthand for speed, rebellion, and volume. Wheter this is rock n' roll or heavy metal doesn't matter, it's an iconic moment in heavy music and Motörhead should be praised for breaking barriers just about when NWOBHM was about to take hold on the British isles.

⭐⭐⭐⭐

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MOTÖRHEAD - BOMBER (1979)

Released just months after Overkill, Bomber is darker, tighter, and more cynical, the sound of a band sharpening their weapons. The songwriting is more focused, the riffs more metallic, and the themes are darker.

Lemmy’s lyrics turn toward corruption, war, and moral decay, and the band plays with a kind of grim determination. The title track is a grinding, unstoppable machine, one of the band’s most cold‑blooded riffs, and "Dead Men Tell No Tales" opens the album with a sense of fatalism that sets the tone. "Stone Dead Forever" and "Sweet Revenge" show Motörhead slowing down just enough to hit harder, letting the weight of the riffs land. The production is cleaner than Overkill, but the attitude is nastier, a combination that gives the album a steel‑plated edge. If Overkill is the explosion, Bomber is the shrapnel: sharper, more controlled, and aimed directly at whomever dares listening. 

⭐⭐⭐⭐

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MOTÖRHEAD - OVERKILL (1979)

Overkill is the ignition point, the moment Motörhead discovers the exact chemical mixture that makes them dangerous. The title track is practically a genre‑defining event: Philthy Animal Taylor’s double‑kick assault is so relentless it feels like the floor dropping out from under the listener, a rhythmic breakthrough that would echo through thrash metal’s entire future.

Lemmy’s bass is distorted into a snarling, blown‑out roar, and Fast Eddie Clarke’s guitar cuts through the chaos with ragged precision. What makes the album hit so hard is its sense of momentum, songs like "Stay Clean", "No Class" and "Metropolis" move with a swagger that’s half punk, half outlaw rock ’n’ roll, but heavier and meaner than either.

The production is raw, but that rawness plays into the album’s identity: it sounds like a band playing too loud for the room, too fast for the era, and too committed to their own vision to care. Overkill is the moment when everything fell in place for Motörhead. Overkill is raw, loud, and alive. It's the sound of Motörhead stepping into their true skin. You must also remember that this is 1979 and at the time there was practically no heavier band on the planet than Motörhead.

⭐⭐⭐⭐

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MOTÖRHEAD - MOTÖRHEAD (1977)

Motörhead’s 1977 debut is an early embryo of what was about to come. Recorded after years of setbacks, lineup chaos, and industry indifference, the album hits like a last stand even though it was their first. Raw, dirty, and absolutely feral. It doesn’t have the precision or iconic status of their later classics, but it has something just as important: tons of attitude.

The production is rough to the point of distortion, but that roughness becomes part of the identity. Lemmy’s bass is already a weapon, blown‑out and snarling, thumping along with a tone that barely resembles a traditional bass guitar. “Motörhead,” “Vibrator,” and “Lost Johnny” show the band’s early formula taking shape: blues roots played at unsafe speeds, punk energy before punk had fully exploded, and a sense of danger that no other band could fake.

The first two aforementioned songs were originally Hawkwind songs that Lemmy brought with him to his new band after being fired.

What stands out most is the hunger. Every track feels like the band is fighting for its life, pushing through limitations with sheer force of will. Philthy Animal Taylor’s drumming is loose and frantic, Fast Eddie Clarke’s guitar work is sharp and unpolished, and Lemmy’s voice already sounds like gravel soaked in whiskey and spite.

The debut isn’t refined, and it isn’t meant to be. It’s a declaration. A blueprint for everything Motörhead would become. It captures the moment the band stopped trying to fit into the rock scene and instead bulldozed their own path. Loud, fast, and unapologetically ugly in all the right ways. 

This is far from my favourite Motörhead record but it's pretty damn chaotic for 1977.

⭐⭐⭐

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MUTILATOR - INTO THE STRANGE (1988)

Mutilator's debut was a noisy death / thrash affair but their second effort offered something quite different. The death metal tendencies were dropped for a more traditional thrash sound. The band started to write longer and more intricate songs but at the same time the songs ended up not as intense as on their debut album Immortal Force.

Soundwise we are getting close to what Testament did after their The Legacy. More mainstream thrash with lots of good melodic leads and solos. But unfortunately this is not as competent as Testament's work. I usually like when early bands drop their blackened thrash sound for a cleaner late eighties sound. Just like Kreator, Sodom, Sepultura did to name a few. But Into The Strange wasn't as good as the those bands albums and it couldn't even top their own debut album Immortal Force.

One thing that is quite odd is that Kleber no longer is the bands lead vocalist. Their now deceased vocalist Alexander 'Magoo' Magu took over the microphone. The change ain't a big change but Alexander Magu has a little more laidback style of singing.

Alexander Magu reminds me of Max Cavalera with a dose of Chuck Billy. Into the Strange also suffered quite a lot of a muddy underproduced sound. I prefer their debut Immortal Force to Into The Strange mostly because of the intensity of that album. Into the Strange is not a bad album but compared to other releases from 1988 it falls rather short. 

⭐⭐⭐

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MUTILATOR - IMMORTAL FORCE (1987)

The famous Brazilian label Cogumelo are famous for spawning just about every extreme metal band from Brazil back in the eighties. Sepultura, Overdose, Vulcano, Attomica and Sarcofago all released material on the label.

A slightly more anonymous band called Mutilator was also signed to the label and they released two albums in the late eighties. The first one being Immortal Force from 1987.

It was released one year after Cogumelo released Sepultura's Morbid Visions on the same label. Stylewise Mutilator has a lot in common with early Sepultura. Especially when sharing the label and both being from Brazil as well as both playing some type of Death / Thrash in the beginning. Kleber, Mutilator's vocalist even sounds like Max Cavalera. Immortal Force is a barbaric release and it feels as raw as sushi, it's underproduced but still it manages to capture the essence of what Mutilator was. The album has a very thunderous feel yet it's kind of a monumental record. Mutilator later toned down the death metal side of their sound just like Sodom, Kreator and Sepultura did but here on their debut so the early works of those three bands are somewhat similar to what Mutilator is doing here on Immortal Force.

Recommended for fans of early Sepultura and Kreator. Some primitive barbarism can never go wrong so go and check out the underrated Mutilator now! 

⭐⭐⭐⭐

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