2009

After their debut brought kudos galore (not least being hailed as one of Century Media’s biggest selling debut’s ever), SS were left facing the daunting proposition of ‘the second album’. But much like the way they dealt with the early pressure, they don’t seem to do self-doubt.

Dirge Within are an impressive outfit before you’ve even considered their music. Featuring ex-Soil guitarist Sean Glass, not to mention a host of other stalwarts of the metal circuit, you’d expect something more than the ordinary. Pleasingly far from customary, their debut is a beast with a fearful array of weapons; from huge, stomping riffs and searing solos to blistering drums and a stirring range of vocal attacks. Add the ability to throw in melody, dynamics, and cool arrangements and you have a monster to reckon with.

Following the intense, brooding darkness and technical brilliance of 06’s ‘Artefact Of Madness’, Agamoth and his fellow henchmen return with another lesson in fear-mongery. ‘Godfather In Black’ is another spine-tingling exercise in extreme black metal oppression featuring labyrinthian arrangements, scorching guitar work, intense drums with a ludicrous beats-per-minute ratio, and lyrical concepts best left to interpretation. Abgott profess their music to be “The musical translation of the darkness and evil that dwells inside every human being”.

Slamming to ‘The Final Countdown’ at the White Ice school disco at age 13 would be most people’s resounding memory of Europe and their by-the-numbers hair rock, and there’s no doubting whatsoever it was the band’s finest hour. 23 years later, and with studio album number eight, it’s to their credit that they’ve not changed their style too much. ‘The Beast’ and ‘Mojito Girl’ are a couple of ballsy rockers at least, if a little flaccid, but most of the tracks are decent, pedestrian rock crooners with a plush production, and crowned by the recognisable warbling of Tempest.

While their debut ‘The Way Of The Fist’ was generally dismissed upon release as a gimmick-ridden fan-pleaser so transparent it wouldn’t recognise itself on an HMV rack, FFDP have been confounding the disbelievers with a sharp rise in popularity and album sales, not to mention delivering on the live circuit. Their sophomore though, albeit similar in design, is a superior proposition with greater ambition and a steadfast attention on the hot and cold, fast and slow approach of their debut, mixing up proceedings to a fine balance.

Dubbed as single-handedly reviving 80’s Bay Area-style thrash in the UK with the killer ‘Enter The Grave’ in 07, Evile attempt to up the ante with their sophomore, and boy do they succeed. ‘Infected Nations’ is a monster second helping of awesome bulldozing riffs, shredding solos and roaring vocals, an exquisite metallic frenzy which should be lapped up by anyone who knows anything about a decent thrash record.

Considering their impressive longevity, Blackie Lawless and his spandex-clad henchmen always seem up for it, no matter what the trend-setting genre dictators are saying. ‘Babylon’ is quite the surprise and possibly their best effort in years. It’s awesome to hear they’re still embracing their roots with recalcitrant ease, and with the re-emergence of stone-washed hair rock in recent years, it should hold them in good stead. Opener ‘Crazy’ is a genuine classic W.A.S.P.

Sixth studio album in (not including cover albums) and Connecticut’s favourite hardcore beefcakes balance their left jab covers of ‘For The Lions’ with the ferocious right hook of ‘Hatebreed’. Not only do they sound more monstrous than before, but the immediate colossal beatdown-driven themes of this record will do nothing but thrill the fuck out of the pit dwellers.

Whether all-round demi-god Peter Tägtgren still has a passion for Hypocrisy amongst all his other knob-twiddling duties is apparent; you couldn’t write an album like this if your soul wasn’t in it. But with that said, it still sounds like there’s something missing from this by-the-numbers effort. There’s no doubting the quality always bound to a Hypocrisy release, but it’s too plodding, formulaic and ordinary to get seriously excited about.

Equally incredible at displaying their mathcore diet, as they are at showing off their groove platters, ATT treat their scoffers to nothing but violently tasty tunes, not to mention applause, which is what they get in abundance for this frustratingly short EP (pretty much the only gripe you can throw at it).