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A new slab of modern thrash metal today. Mutant, who formed just back in '04 and with a discography consisting of a mere 2 EP's, these guys are pretty fresh in the game. This does not seem to be a hindrance for the Brits in Mutant.
Kicking at high speed, with the feel of many modern thrash bands this may seem a bit "normal" at a cassual first listen, but all the details make this album so much more than just another thrash revival disc. The riffing has a fair amount of melodic qualities, and structurally this EP has a fair deal of progressive influences.
The guitars are about 60% Thrash revival riffing, 30% melodic/technical thrash riffing and 10% awesome solos. this is all you need to know.
The vocals range from classical shouts, to a more guttural growling (unlike about everything else i've put up to review here). They are well exceuted, and fit the music well. thumbs up.
The drums have their moments, and have a few proggy moments. mostly in bass/snare patterns, but steady as a rock, and varying the patterns a fair deal. no complaints here.
Apart from in the basssolos, you can't hear the bass all that much. it's just below the guitars in unison, not doing all that many licks, but when you hear it, they are good, and a pleasant surprise. decent day at the office.
This piece of music is defiantly something of the better stuff to come out in the last few years. it should be checked out. 8.5/10.
Instruments: 3000$
Recording at studio: 1000$
Album artwork: 5$
Album of the year, all years: Priceless
The most well known underground metal act of all history. This is the history of British diamond head. A story of obvious passion for music, and writing all the riffs that exist in todays metal world. The sad part about writing every good riff, and being underground is that everybody steal your stuff, and take the praise for your work. Those who did, include large names of thrash such as Metallica, Megadeth, Exodus and Kreator.
Opening the album is the title track, The first of many riff-monsters to come. Said riffs tend to have a bluesy feel to them, such as the chorus, and the solo part. This does not say that it is boring and structured, this is full energy ahead old-school heavy metal, apart from the vocals, that get a bit melancholic in the verses.
Upping the speed, the second track, The Prince, is one where the bass makes it's presence more than known. Underneath the rhythm focused guitar riffing, (of a motörhead-ish quality) the bass spew out melodic licks, rolls and markings.
The use of keyboard in the intro is interesting, as very few bands used electric keys in 1980, and even fewer metal bands did the same.
"Sucking my love" comes of as one of the weaker tracks on the album. The first half lacks a bit in the riffing department COMPARED to the rest of the album. The second part is a calmer part with pretty good solos, and a couple having sexual intercourse in the background. This one is not the song you listen to first.
But now. Here comes the song that everybody knows, but nobody knows who wrote. The Metallica cover that people know is nothing compared to the original. The mood of the opening march, the fierceness of the solo, the raw energy of the riff. Nothing of that is carried on in the Metallica cover of "Am I Evil". The vailing vocals that convey the feeling of an abandoned kid, who seek vengeance on the world, this can't be redone.
Not only did the guys in Diamond head manage to write one of the greatest songs of all time, but they also perform it so "right". A perfect example of how to give a song energy, even in studio. That is what makes this song so extraordinary.
Changing the focus away from the raw, energetic proto-thrash madness that is "Am I Evil", "Sweet and innocent" has more thee feel of 70's rhythm-rock, along with a catchy chorus, that has most people singing along. The choir adds to the feeling of "grandness", that the riff inspires.
"It's electric" has a riff that could easily be a commercial hair-metal band, that there would spring up so all too many of, later in the decade. The simple, catchy chorus makes this one of the songs that would act as inspiration for bands to come. the riffing in the rest of the song is decent, and it is a good track overall.
Ending the album on a high note is the intense "helpless". Energetic riffing, a prominent bass, and the best, and most interesting vocal performance of the album. This is all that is needed to know. The song is bad-ass. listen to it!
The songs are generally very varied, and changes happen all the time. interest is never lost, and energy is high through almost all parts.
The final point i have to make, is that this album is such a pioneer of thrash, the riffs may have bluesy qualities, but the style is close to the old-school of thrash.
If you are a fan of Megadeth or Metallica, listen actively for riffs that sound familliar, you're bound to find quite a few.
Godlike riffs all the way, good bassmanship, and strong vocals, put together in great songwriting, this is a well earned 9.5/10.
"It sounds like we're actually in hell!"
Thus starts the most energetic album in recorded history.
Ravens debut from 81' then kicks of with a powerful riff, a falsetto shout of "ALRIIIIGHT!" and a high-speed riff with both blues and thrash qualities to it. This is indicative of what the album is about. Blues riffs, with a, then, innovative thrashing edge, that no one else had. "Hell Patroll" was probably some of the most brutal music out there at the time. It's sudden changes, barrage of riffs, and intense rasping falsetto screams leaves the listener with no way of not headbanging at maximum speed. The falsettos of Mr.Gallagher is also shown to be of highest quality when i comes to lung capacity, as near the end of the song, all the instruments pause, as the vocalist holds a high falsetto for something that seems like an eternity.
The next song is one of the best songs on the album. "don't need your money" has a catchy melodic speed/thrash riff, and some of the most sing-along friendly chorus on the album. The guitar is also hyperactive in providing little melodic licks everywhere. these little shreds are the little boost that gives the song "that little extra" to make it truly great.
The two next songs are the bluesy "over the top" and the acoustic, one minute, piece "39-40". around the 30 second mark of the song, there is a passage of chords,(Here) later directly copied by Metallica on their mega-hit "Nothing else matters". This could of course be totally random, as certain combinations of chords sound good, but the fact that Metallica was opening band for Raven around 83 (PROOF!) would suggest that it stuck, and resurfaced during the writing of the black album, almost 10 years later.
The next song also suffered a simmilar fate. The intro and chorus riff was copied by the Humorous World of Warcraft band: L70ETC (now probably named L80ETC) on their popular song: I am Murloc (Comparisition)
Nobodies hero is another high speed song, with a catchy chorus and a bluesy bass line.
Next up is a cover of the band "Sweet", or actually, two covers in one song, namely Hellraiser/action. The songs are very fitting for raven to cover, as the style of music of these songs, clearly was a great influence on the band, and the vocals really suit the style of Gallagher, who does his best performance of the album on this track. The interweaving of the tracks are also very seamless, and if one does not know the originals, it is hard to tell where one song ends, and the next one begin.
"Lambs to the slaughter" is another high speed track, with some of the best drum markings on the album. but this one drowns slightly among the other high speed songs.
Finally, "Tyrant of the airwaves" is a relatively mid-paced song with a nice build-up, and the most impressive use of guitar licks on the album. The vocals is relatively low, and in the mid-range, except for a couple of dramatic screams. This song has a strong feel of focus and streamlining, and is rather indicative of how raven would evolve on the sub-sequent albums. This one would slip nicely into their third album: All for One.
This sums it up as one of the strongest releases of NWOBHM and a deserved 9.5/10
