Week 51: Running Wild - Genesis (The Making and the Fall of Man)

The artist: Running Wild are a power/traditional metal band from Germany who had written many great albums. Although Rock 'n' Rolf, the main man of the band stuck to what he was familiar with, it's hard to not appreciate all the great songs he's written throughout the years. Even during the later days where the band was losing inspiration and hired a drummer under a pseudonym named Angelo Sasso, Rolf still managed to write some excellent songs. Siberian Winter and The Ghost from The Brotherhood and Return of the Dragon and Ballad of William Kidd from The Rivalry should ensure that. Rolf would declare retirement of the band in 2009 but has recently announced a return along with a new album coming out in April named Shadowmaker.

The album: Black Hand Inn is the 1994 album from Running Wild which follows the same similar style to Pile of Skulls. These releases were less raw than their predecessors and had a more polished feel to them. Not that it's a bad thing or anything since it breathed some fresh air in their music. Like Pile of Skulls, there were many fast songs found throughout the album. Black Hand Inn even kicks off the record in a similar way to Pile of Skulls where it build up with an intro track and them BAM, you're launched into a speed metal craze. With essentials like The Privateer and even some gems with Fight the Fire of Hate, The Phantom of Black Hand Hill and Powder & Iron, you can forget the babbling from Allmusic who actually gave this album 1.5 stars and acknowledge great effort from this release.

The song: Genesis (The Making and the Fall of Man) starts off with a spoken verse explaining the events of the 12th planet from over 400,000 years ago, based on Zecharia Sitchin's work on ancient astronauts. Zecharia Sitchin's efforts weren't looked upon well for mistranslations, flawed methodology and a few other things but Rock 'n' Rolf saw something from it and made a 15 minute song dedicating to Sitchin's series. Even if the lyrical theme will irk you, it's hard to deny the greatness of the band's talents. Rock 'n' Rolf assisted with Thilo Hermann on guitars make some really good performance. Rock 'n' Rolf does make a huge domination with the song (well, it is his band) with his vocals and telling the band which direction to take throughout. With the climatic changes around six minutes in and ten minutes in, you can see a lot was done for this song and damn, that very riff at 10:40 is one hell of a headbanger and a good use of the galloping. Several high and mighty solos are found throughout the song and even though the beginning verse adds a few minutes to the song before it even began, Genesis (The Making and the Fall of Man) is one song of great attention that will last through all 15 minutes of its duration.

Manilla Road to the World - Part 15: Grindhouse (Playground of the Damned)

This is where we reach the end for the Manilla Road spinoff for Monday Metal Treasures. Playground of the Damned is Manilla Road's most recent album that came out last Summer (July on vinyl, August for CD). For the latest Manilla Road release, Playground of the Damned feels more laid back after following a couple of concept albums from the band since the reunion. Although there is a lyrical theme throughout the record, this feels like it has more freedom than its predecessors. Fifteen albums on and the 'Road are still as great as ever. When you have some really dark tracks like Into the Maelström, Grindhouse and Abattoir de la Mort and the anthem of Brethren of the Hammer, you can tell the band is still in great shape after all these years.

Grindhouse starts off with some acoustic guitars which is rather ironic to have considering the lyrical theme of the song. The intro is rather lengthy when the light intro is turned heavier and then eventually into the darkness. Not only do the riffs have a whole new flavour of dark, there is a sense of familiarity from Gates of Fire (think The Fall of Illiam). Although the overall sound production from Manilla Road can turn listeners off (hopefully not whoever has followed this to the end), from someone who's adapted to the oddities, the drums do sound rather thin here which is a shame but it doesn't knock the awesomeness of the song. When you have a song with evil lines such as "Welcome to the mind of a madman / Welcome to the house of pain / Inside this nightmare of slaughter / The reaper always knows your name", it's easy to love the brutality of the Grindhouse. The song ends off with a lengthy solo that elaborates a lot and makes a great way to conclude this grim song. Overall, Grindhouse is downright dark but that's the overall atmosphere of Playground of the Damned and it fits perfectly. The inclusion of this secures a top 10 spot for this album for the best of heavy metal in 2011.

Week 50: Hammers of Misfortune - The Trial and the Grave

The artist: Hammers of Misfortune kick ass! Yes, that's how this post should start off considering the awesomeness of this band that sadly finds itself criminally overlooked. Founded by John Cobbett, former guitarist of Slough Feg and Ludicra, his band provides an excellent mixture of vocals from both genders. The band have also explored in several subgenres of metal. The main focuses have been traditional and progressive metal but there were strong black metal and folk music elements on the debut album named The Bastard. You wouldn't think the same band would also release an album with strong 70s prog rock elements but the signature characters of the band, particularly with the co-operation with male and female vocals (which may I add makes this band quite a gem), define this band in several styles. Out of all the bands featured on Monday Metal Treasures, this is one of the most highly recommended artists.

The album: The August Engine is Hammers of Misfortune's second album and moves away from the black metal elements that were present in The Bastard. This record has a stronger traditional metal feel but the album is still highly progressive and some tracks are even thrashy. The instrumental track The August Engine, Pt. 1 is technical ecstasy by quickly switching back and forth with acoustic guitars and the full driving force of the band and the song makes a sudden end for the following track Rainfall that manages to make an odd transition that actually works. More complex work is shown later on with The August Engine, Pt. 2 where the second half finds itself gradually moving to acoustic movements and back. And to think all of these tracks together make a concept album. I could go on all day about The August Engine but the point is, this album is damn good and should be some of the best 45 minutes you'll hear from heavy metal!

The song: The Trial and the Grave is the final song on The August Engine. Out of all the songs featured on Monday Metal Treasures, the lyrics for this song are quite possibly the ones that stand out the most. Yes, you could say the lyrics actually go above the music here but that's not to say the musicianship is short of excellence. You have some very doomy guitars from Mike Scalzi and John Cobbett who make the best impressions at the start and the finale section. The band tones down to make way for the strong vocals from Janis Tanaka (sorry, no Scalzi here).

The song goes through a long depressive route showing no happiness anywhere in sight. If anything, this shows the visions of a ghost seeing the sad ending of a woman who is sentenced for death and followed by the barristers cutting the body into pieces. It's a horrible thought and if it were sung by a death metal band, they'd take this as a joke and laugh at it but not Hammers of Misfortune who put real emotion to their music. The last verse just shows how sad the ex-life of someone was by explaining how no-one acknowledged the woman and that everyone completely forgot about her. The finale shows some slow movements from the guitarists and while this part may seem to drag, it has a purpose to take its time since if the lyrics were unsettling, why should the music make it easier for you?

Overall, The Trial and the Grave is a very depressive song. You'd have to come up with something a whole lot sadder (and not done in some emo bullshit way) to make this song look like Helloween in comparison. This song is by far one of the saddest songs metal has ever experienced and is a prime example of excellent female vocals in heavy metal and if there's one band that should make their way to the top over the next decade, it's this unique bunch.

Manilla Road to the World - Part 14: Chromaphobia (After Midnight Live)

For once, a live album is covered on the whole of Monday Metal Treasures with After Midnight Live. The reason this is being covered is because the whole album consists of never before heard on any of Manilla Road's albums. After Midnight Live is a live album recorded from KMUW radio back in 1979. The tapes that recorded the show from Rick Fisher, the drummer of the band at the time, were discovered a few years ago. The tapes were handed to Mark Shelton and he fixed the sound as much as he could to put out an adequate release for it. The sound production is still raw and loses its quality here and there but this is to be expected when taken from cassettes. However, for a 30 year old tape, the results turned out rather well.

Chromaphobia is the first track the band play on the show and is the strongest point of the album. This song contains the rocking feel from Mark of the Beast. The vibe comes from the riffs and Mark Shelton's vocals that make it sound a lost track from the said album... As if it wasn't lost enough already from being buried for 20 years. The song makes an elaborate intro that feels like it stands within Black Sabbath and Motörhead. The verses tone down the guitars and gives off the spacey feel which is what Invasion and Mark of the Beast would corporate after the initial recording. Mark Shelton states the song is about being a metalhead in the future and receiving the grief for being a dedicated metal fan, having long hair, etc. This isn't a favourite song of the Shark's but it's still a damn good way to kick off a live recording from the early days of the band.

Manilla Road to the World - Part 13: Blood Eagle (Voyager)

Voyager is where Manilla Road take yet another very interesting turn for their music. Voyager is an entire album dedicated to vikings. This may not be your typical "viking metal" band but Mark Shelton does a fine tribute to the Norse mythology even if hundreds of other metal bands had beaten to him already. Voyager is yet another record that's full of doomy riffs and Mark Shelton even shows his roughest and lowest pitched vocals out of everything he's done, even coming close to the sound of a death metal vocalist. For an album that lasts a little over an hour, you can be sure to be on quite a journey when hearing Manilla Road's Voyager.

Blood Eagle starts with a cathedral organ which drops off the sudden dark riffing. The first section of the track could have been cut from the rest to be on its own but it adds more flavour to this very song. When the main course arrives, there is some headbanging to be done and it only steps down a bit for the chorus. The chorus even has a power metal anthem feel to it which is rather bizarre when you're throwing in fast doomy riffs with a slight hint of death metal grunts. Six minutes seem to go incredibly fast here but then again, it does accompany with the organ intro. The song takes on the vikings heading to Vineland and confronting the bishop in the name of the norse gods. They sacrifice the bishop to avenge Thor and Odin. The song may be religiously controversial but those were very tough times back then and Mark Shelton has reflected that well with this beast.

Manilla Road to the World - Part 12: The Fall of Illiam (Gates of Fire)

Gates of Fire is another concept album from Manilla Road. Instead of one big concept to focus on, Gates of Fire tells three different stories with them being based on The Frost Giant's Daughter, Virgil's Aeneid and the Spartan King Leonidas and the battle of Thermopylae. The album shows a strong variety including the album opener Riddle of Steel that has a vibe from Open the Gates era, Behind the Veil and Epitaph to the King as acoustic ballads and some challenges in terms of length with Betrayal and the whole of tracks 4-6 covering Virgil's Aeneid. There's a whole lot this album offers and you will need to give it time for both the music itself and the conceptual themes.

The Fall of Illiam stands as the longest track Manilla Road have recorded yet. With this song, Mark Shelton makes the way with an acoustic guitar with Cory Christner on the drums. Christner is quite a drummer and you will acknowledge this when the distorted doom metal guitars kicks in. The drums stand out very well and show some technical aspects to them. The first three verses use the same musical structure to them and although the flow of music usually works if it's repeated just once, the triple occurrance makes a better use of endurance as well as giving a really good feel of the sound. The song makes it way to a three minute solo and you'd think by the last minute it would start to get tedious but the solo segment doesn't feel boring nor tedious at all. Mark Shelton creates a sweet melody that would sure require a lot of memorization if this was ever played live.

The second half of the song shows yet more amazing musicianship from the band where Mark Shelton takes on another intense riff. Cory Christner shows a lot more aggression to the drums and a most of his drum kit in full use. Harvey Patrick even has his bass louder and clear in the second half. Like the earlier part of the song, this part of the song structure is repeated a few times and again gives you a lot of time to absorb the fantastic moments from the song. For a 15 minute song, time sure goes quick with this masterpiece. It's an endurance for a Manilla Road song but the band as whole made the lengthy song very effective. This is easily a top 5 contender for the best songs ever recorded by Shelton & co.

Manilla Road to the World - Part 11: Teacher (Mark of the Beast)

Mark of the Beast was originally going to be Manilla Road's second album. It was recorded in 1981 but wasn't met with satisfactory so it was left in the dark to make way for Manilla Road's Metal. It was reflected back 20 years later and picked up by Monster Records to clean up the sound production of the demos and provide an official release for the fans. For what was a bootlegged release back then, the outcome of the sound production has managed well. Mark of the Beast takes a more rock approach as opposed to metal, although there do exist some heavier songs, including a speed metal rocker. For the most part it's not in your face and feels laid back but despite the band scrapping this album in the early 80s, it has become a common favourite.

Teacher ups the tempo of the overall mood of Mark of the Beast and keeps on running throughout. The raw atmosphere of the song fits to make it feel very retro and despite it not seeing the light of day until 2002, this should be an early example of speed metal. Half way through the song takes a different turn but the pace remains. The song talks about a Christian teacher wanting to take advice from the lord about how to explain the prophecies of Eschaton. It feels like there's an attempt to escape from it all but in the end, there is sadly defeat. Overall, Teacher is one that stands out from Mark of the Beast. This doesn't reflect the overall energy of the album but it's songs like this that make you wonder how all 66 minutes of this album even got rejected.

Week 45: Argus - Durendal

The artist: Argus are a new metal band from America who fall between the traditional metal sound and epic doom metal (think Candlemass, DoomSword, etc). This month will dedicate to my best discoveries from this year and after picking up Argus' new album from the Slough Feg/Solstice show in London, I'm most grateful for seeing this album sold at the merchandise. For a doom metal band, they're very easy to get into so it's nothing too inaccessible for the most part. From what's been played for their first two albums, this band has a lot of potential and hopefully they serve more killer albums in the near-future.

The album: Boldly Stride the Doomed is Argus' second album only released this year. The album starts and ends with the same acoustic melody but in between has many doom-ish classic-esque metal numbers. With the album taking off with A Curse on the World right after the acoustic intro, the title track making some nods to traditional metal and some section changes with Fading Silver Light and the doom monster Pieces of Your Smile, you can expect Boldly Stride the Doomed to offer a lot to the listen while making it accessible (except for the challenging doom closer). This is one highlight for 2011 and we still have two months left.

The song: Once the war horns are played, the band kicks off with traditional metal-like twin guitars but with a spice of doom. The main riffs sound like something Mike Scalzi would cook up for Slough Feg. The solos are full of musical bliss with Erik Johnson and Jason Mucio passing the baton to each other. Each pass intensifies the duo on their guitar solo performances. Butch Balich on this song sounds like Hansi Kursch from Blind Guardian if he was the lead vocalist for Candlemass. He has strong emotional voices like how Johan Langquist and Messiah Marcolin executed on their representing Candlemass albums and the extreme power of his voice is something you'd expect from Hansi Kursch. The lyrics cover Roland, the paladin of Charlemagne and the legendary sword named Durendal. There is a war between the pagans and Roland swears to never back down, especially with the mighty line of "I will never go back, never retreat, rather that I meet death" Now THAT is how emotion in music should be done. Overall, Durendal is a highlight not just on the album but also for heavy metal in 2011. To have such grand guitars and a hugely powerful voice is a song that shouldn't leave your iPod anytime soon.

Manilla Road to the World - Part 10: Sands of Time (Spiral Castle)

Spiral Castle was released just a year after Atlantis Rising and this is where Hellroadie became more established with his vocals. Bryan tends to handle the higher pitch vocals whereas Mark Shelton deals with the lower and rougher vocals. This is where Manilla Road truly took a doomier direction with their music and Spiral Castle is where the doom metal elements are as big and loud as they could possibly be. They offer crunching riffs from the title track, enduring doom metal epic with Merchants of Death and... an acoustic instrumental with a middle eastern feel? Let's find out!

Sands of Time is the instrumental finale for Spiral Castle. Starting off with an acoustic guitars that gives off quite an atmosphere for the instrumental piece. There are various unusual instruments used such as the percussions that certainly don't sound like they're from the drum kit and they're very oriental. In addition to that, Manilla Road throw in some violins and these violins are very strong and passionate for this particular track and makes it as part of a character for the track. Mixing this with the other instruments makes it all for one unique piece but at the same time it makes you think of the settings from Aladdin. There's a strange progression but those 7 1/2 minutes will go quick simply because it feels very relaxing and you'd want to sink in this track after 40 minutes of epic doom chaos.

Manilla Road to the World - Part 9: Megalodon (Atlantis Rising)

Atlantis Rising is Manilla Road's comeback album after the hiatus in the early 90s. Mark Shelton reformed the band with a whole new lineup featuring Bryan "Hellroadie" Patrick on drums as well as vocals and Mark Anderson on bass. This is Bryan Patrick's debut and his contributions to the band as a vocalist only became greater after this release. Amazingly enough, Hellroadie has the exact same vocal characteristics as Mark Shelton meaning he sounds exactly like the Shark so the introduction of a second vocalist could easily slip through the crack if little to no research was done on the band.

After a 10 year break, Mark Shelton struck back the music industry with this monstrous album. The concept of the album alone instantly marks this album as heavy metal. Atlantis Rising tells the tale of the lost Atlantis re-emerging with a war between the Norse Gods and the Great Old Ones over the continent. If this isn't metal, nothing in this world is! This album comes with a few interludes but it's hard to overlook the great work of this record with the harsh opener Megalodon, the fast and aggressive Siege of Atland and rifftastic tracks including March of the Gods, Decimation and Resurrection.

Starting off with a familiar verse (think Open the Gates' opener Metal Storm), Megalodon strikes with some distorted guitars and still maintains the rough sound productions from the earlier releases but at the same time modernizes it. It's not long until Mark Shelton offers a new flavour of vocals to his music with his very harsh voice. With this combined with the introduction of the concept, you can be sure that he makes the big blue sea so brutal that you wouldn't want to touch a drop from the ocean. The solos find themselves to be the screams of the monsters coming to battle. This only marks the beginning of the return of Atlantis and you can bet the war will not get any easier later on and neither will the music.

Manilla Road to the World - Part 8: Forbidden Zone (The Circus Maximus)

The Circus Maximus can simply be described as "Manilla Road's Seventh Star". It was the side project Mark Shelton formed after disbanding Manilla Road. This was going to be labeled as a Mark Shelton solo project but after the stronger contributions from the other two bandmates, the Shark insisted this should be a band rather than a solo artist and named themselves The Circus Maximus. However, when it came to release, Black Dragon Records shoved the name Manilla Road on the album just so they'd get more sales on the record. That didn't do well, though since the album shows this was never intended to be a Manilla Road album. However, you will get a track or two where you can relate it to Mark Shelton's main band. The songs with Shelton on vocals are generally the better songs on the album. The rest don't sound that focused and seem to be contributing to something else rather than this album. This is only recommended for the hardcore fans.

Forbidden Zone has Mark Shelton as the only vocalist in this song and the atmosphere of the song is a big surprise. This sounds like it came from an album that had a mixture of The Courts of Chaos and The Deluge which isn't what you'd expect when the band had no intentions to sound like Manilla Road. The song starts off with a clean guitar intro which is something you'd expect to hear from the 'Road. There's plenty of great guitar work to be found here whether it's the leading riffs or the grand solo halfway. The mid section even takes it time to have a highly audible bass and this is a goldmine. The chorus is definitely one to sing to. It'll make you mystified but it does take you to the darkest place that no-one should dare enter. In conclusion, Forbidden Zone is the ultimate saviour for The Circus Maximus. This may have not been a great side project but at least it had a beautiful and epic song like this.

Manilla Road to the World - Part 7: From Beyond (The Courts of Chaos)

The Courts of Chaos is Manilla Road's official last release prior to splitting up in the early 90s. This album continues the thrash metal roots as found on the previous two works but not only that, you'll even hear keyboards from this release which weren't familiar in their territory until this record. The best use of them is for the appropriate named instrumental track Road to Chaos which leads the listener to full of mayhem with Dig Me No Grave, From Beyond and The Books of Skelos). The Courts of Chaos has several bizarre moments to make it stand out very well from Manilla Road's back catalogue.

From Beyond starts off with some very weird acoustic guitars that give off a sci-fi feel and rightfully so. For a song that sings about different dimensions and scientific experiments, there better be a sense of science fiction here or it wouldn't work at all. As a song that has a situation of failed experiments, the song takes the route down to chaos further and further thus Shelton intensifying with the riffs. The first riff has quite a rhythm to it but the second one goes full out thrash as the whole song goes to well, chaos. To finish it off with "No, nothing can save you from beyond" is rather evil but Manilla Road show no mercy! Overall, From Beyond is a fantastic song with some strong riffs and making its way to gradually intensify the music.

Manilla Road to the World - Part 6: Return of the Old Ones (Out of the Abyss)

Out of the Abyss continues the thrash metal roots that were incorporated in Mystification. Although the thrashy elements from Mystification worked like a charm, this record wasn't as lucky. Manilla Road may have altered the atmosphere and overall sound to make it feel refreshing, most of the songs don't tend to stick. While you have many great songs from Invasion to Mystification, there isn't a whole lot that makes Out of the Abyss memorable. This album does make it the first for where Mark Shelton works on harsher vocals and although he can provide some rough voices that add to the music, here it's not so effective. Maybe this was just working on that style and hoping the Shark could work from it later on. Out of the Abyss may not be a bad album but it certainly pales in comparison to everything else they've done (except for The Circus Maximus but that doesn't really count).

Return of the Old Ones starts with some notable drumming from Randy Foxe to show that he's not just some drummer to assist the band with them. Mark Shelton plays some rougher tones on his guitar as opposed to the previous work but still manages to play some shrieking solos. The riffs are more subtle than its predecessor but some quality guitar performance can still be picked up from here. The lyrics are based on HP Lovecraft and Cthulu but that isn't anything particularly new for the band nor is it their greatest moment of singing about said themes. Still, this is one of the better songs from an album that offers very little for the band and listeners in comparison to everything else they've done.

Week 38: Fates Warning - Pirates of the Underground

The artist: Fates Warning are one of the early examples of progressive metal, even though the early albums were more traditional/power metal than progressive metal which is what they would turn to later on. The first era is much different to the later works of Fates Warning and even the vocalists show how different they are to each other. Unfortunately, Fates Warning have produced a lot of mediocrity during the Ray Alder era but No Exit is still a fine album. As for the albums when they had John Arch, The Spectre Within and Awaken the Guardian are highly praised and rightfully so. The band as a whole have been quiet for a while now and the guitarist Jim Matheos has recently been workng with John Arch on a new band called Arch / Matheos but honestly, they should just call it Fates Warning.

The album: The Spectre Within is Fates Warning's second album. With only seven tracks, Fates Warning show a lot of potential. From Traveler in Time to the grand finale Epitaph, the songs are nothing short of excellence. To keep it short, John Arch shows a lot of passion with his singing, there are many high quality riffs and solos that show a great variety throughout and there are some magnificent intros, especially The Apparition and today's song feature Pirates of the Underground. Even the simpler intros such as Traveler in Time and Kyrie Eleison have just a clock ticking and bells ringing for the former and a chanting "Kyrie Eleison" for the latter but are still highly effective for the representing songs. From a personal view, this album easily hits the top 20 picks for heavy metal albums and it's a damn shame the John Arch era was a very brief time for Fates Warning.

The song: Happy Talk Like a Pirate Day! You were probably expecting Alestorm or Running Wild but it's not just those two bands that have written songs about pirates. Pirates of the Underground starts off with a elaborate intro section. Jim Matheos and Victor Arduini have a lot to offer with their dual guitar display with throwing a few solos around along with some catchy riffs that even have a slight thrash vibe to it. By two minutes in, only then John Arch kicks in with his shrieking vocals. Multilaying for John Arch is used to increase the effectiveness of his vocal performance. After two verse lines, the guitarist duo are back to play yet more solos that show so yet more power and to have roughly five solos in a single track with all of them being highly memorable is quite an achievement. Although the riffs are still something to wow about, the solos are even more impressive and none of the many solos show any signs of weakness. Overall, Pirates of the Underground is a solo-maniac song that only reminds every metal fan why this album gets a lot of praise. Having some speedy riffs as well as a lot of power from John Arch makes this even more of an incredible song!

Manilla Road to the World - Part 5: Children of the Night (Mystification)

Mystification is where Manilla Road take a thrashier route with their music. In 1987, many thrash metal bands were becoming big so it's understandable that you'd hear a stronger sense of thrash metal during that time. Hey, it could have been worse and they could have jumped on the hair metal bandwagon which is what almost every big band was doing at the time. The album takes a lot of inspiration from the legendary writer Edgar Allen Poe. The album went through a different track listing with the same songs on the re-issue in 2000 along with a whole new album cover which looks a lot better than the original one. Mystification is on par with The Deluge and with songs like Up from the Crypt and Valley of Unrest, you can be sure to bang your head when hearing it.

Children of the Night is the song one of the big four wish they wrote. Right away Mark Shelton is showing no messing around with this song by taking it off with some rapid pace riffs and this will make those 7 minutes listening to this song fly by without you even noticing. Of course, with that length you expect the band to take some breaks and not wear them out entirely if they were to play this song live. Roughly 3 minutes in, they introduce some clean guitars but it's not long until you're thrown right back to some heavy thrashing and this second main riff Shelton plays for this song is one hell of a headbanger. Having these two riffs played in the same song shows some interesting movements. Not only that, there are some wailing solos heard halfway through and this puts the song at its very peak. Overall, Children of the Night is one hell of a song from Manilla Road that sure as hell will pump up the live audience for putting those riffs right in their faces.

Manilla Road to the World - Part 4: Shadows in the Black (The Deluge)

The Deluge was released in 1986 and is one of the classic Manilla Road albums that are often highly praised by fans. The album proves to be a fast paced album with only clocking in at 39 minutes and having a strong factor in fast pace songs, especially with some speed/thrash metal elements. The title track is the slowest track on the album but has the strongest epic feeling out of all ten tracks. The only flaw that can be spotted from The Deluge is the interlude known as Morbid Tabernacle that doesn't really contribute anything to The Deluge. At least the other instrumental track Rest in Pieces nicely finishes off the album despite the bizarre noise right at the end. That aside, The Deluge is a brilliant album and with it being recently re-issued by Shadow Kingdom Records, now is a great time to pick it up.

Shadows in the Black starts off with a clean intro which gradually rises in intensity and then launches a heavy metal frenzy. The direction could have been a doomy song which the band experimented with for some of the previous releases but instead they take a thrashy route and this song is easily one of the fastest they've ever played. Although Mark Shelton is the only guitarist for this album, at times the song is multilayered to hear the riff and solo played together. Even so, the solos are damn fast and show how Mark Shelton can fucking shred on his guitar. It isn't just Shelton that makes the song, Scott Park has some sweet basslines and Randy Foxe does what he can to pound those drums fast to keep up with the pacing of the song. From these aspects, you can tell Shadows in the Black is a fantastic and gets you pumped up as fast as this song goes.

Manilla Road to the World - Part 3: Road of Kings (Open the Gates)

Open the Gates is the second album in Manilla Road's "classic trio". It features several songs that would become fan favourites such as Metalstorm, the title track and Witches Brew. Personally it's the weakest album in the classic trio and there's a lot of other works outside this album that strikes out better than the songs here overall. Still, it's one album that deserves to be picked up.

Road of Kings starts with a lengthy intro that should bring a lot of enjoyment to the song. What easily stikes out here is the riffs as well as the rhythmatic drumming which is well played by Randy Foxe. The intro even features a solo at around a minute in that's very short but sweet. Mark Shelton does kick in with his vocals and this has to be one of his better songs in terms of vocal performance. The echo from his vocals adds an atmosphere to the song that should clear away the doubt of what many have had troubles with when listening to Manilla Road. The vocals in general of the band may need an acquired taste but this song should be easy to settle in with such great singing performance here. Most of the album's songs are based on the legends of King Arthur and this song is one of them. This song shows the younger days of King Arthur and his future to become king someday. Overall, Road of Kings is an excellent song and one of the more accessible songs by Manilla Road to get new listeners to sink in with their music.

Manilla Road to the World - Part 2: Dreams of Eschaton/Epilogue (Crystal Logic)

Crystal Logic is Manilla Road's third album and starts to show the true style of the band moving away from the progressive rock and space rock elements that were present previously. Crystal Logic also gave the band the most recognition they ever received throughout their career with the hit song Necropolis. There was even a song that made a radio-friendly attempt which only ended up as being a song that sticks out like a sore thumb in the album and would have been better off as a bonus track. Despite that, it's still a decent song but the rest of the songs are better by far.

Crystal Logic contains tempo changing tracks such as The Riddle Master and The Ram to add a lot of interest to the songs as well as the title track that contains a thrashy feel to it and has even had the same riff used by several thrash metal bands. The absolute jawdropping moment has to be the album closer Dreams of Eschaton which happens to be today's Manilla Roadkill song. Crystal Logic is the most accessible Manilla Road album and is definitely an album worth picking. The only flaw that can be found in the whole album is the placement of Feeling Free Again.

Dreams of Eschaton is the 12 minute album closer that certainly deserves to be described as epic. The song starts off with an acoustic folk-ish intro where the lyrics speak of a vision of a nuclear apocalypse. Just after two minutes in, the song changes to heavy riffages and the lyrics describe the true chaos of the apocalypse where the antichrist will soon rise up and destroy everything. The lyrics even have a bizarre mix of Ragnarok of King Arthur but if everything is going to hell, you'd expect chaos to happen. The third section of the song at six minutes in is an instrumental section with an awesomely song that gradually fades out to the album's epilogue.

Although the epilogue track was originally an individual track (not heard on the embedded video), the song transition from Dreams of Eschaton to the ending flows so well that merging the two tracks together on the re-release makes a lot of sense. The epilogue track is somewhat scary with the piano and the screaming you hear right at the end but again, this is concluding a song that pictures the end of the world and the screams at the apocalypse are to be expected. Overall, Dreams of Eschaton is an excellent song in Crystal Logic and if the world is about to end, this should be the last song to be listened to before it all goes.

Week 30: Legend - The Golden Bell

The artist: Finishing off American traditional metal month, we have Legend, more specifically the Legend from Connecticut. They are a short lived band who only ever released one album in 1979. Despite their brief time on the road, Legend have had an influence on some of the American traditional metal bands today. The best example is Slough Feg who covered The Wizard's Vengeance on Twilight of the Idols. Whoever looked further in the cover songs by Slough Feg will have come across Legend at some point. The band split up a few years later after Ray Frigon left the band. The rest of the band felt there was no strong replacement for him and split up. Unfortunately, the frontman Kevin Nugent passed away in his sleep in 1983. If it weren't for that, he could have returned to this band and made plenty more great material for the metal world.

The album: Fröm the Fjörds is Legend's only album. Although the psychadelic rock/blues rock elements were strong, it's hard to deny this band as heavy metal considering The Destroyer, The Wizard's Vengeance and the instrumental The Confrontation. There were even a few songs about vikings and this was a time before the term viking metal even existed. You can easily tell there was a lot of Black Sabbath and Led Zeppelin influences here and while it may seem they were just another band who sounded too much like them, Legend would have further developed their musical style if Kevin Nugent was still with us. Fröm the Fjörds is an extremely rare album on CD but if you ever come across it on eBay or wherever, be sure to pick it up right away as it might be a once in a lifetime chance.

The song: The Golden Bell is the ballad of the album and for 7 minutes this song accomplishes a lot. The moment you hear the intro of the song, you know there's something magical about it. What has to be noted is Kevin Nugent's great vocal performance. He has the emotion to show what's going on through the song and there's definitely something depressing about the line "For our lives may too soon end" which could be seen as harsher in hindsight considering Kevin would pass away a few years later. The song goes in an instrumental phase where the psychadelic rock elements truly show in the album. The second half of the song continues the psychadelic phase with vocals and eventually returns to the soft side of the track to be heard once more.

The lyrics are based on Greek mythology and although many metal bands have covered Greek mythology, hearing a song about Poseidon seems rare for some reason. It's not just about Poseidon, though as it shows Hades taking over the world and the world being saved by pegasus and the golden bell at the temple. Overall, The Golden Bell has to be one of the most beautiful metal songs ever played with some greatly crafted tempo and mood changes. This is a legend that's been forgotten and wrongfully so.

Week 29 - (The Lord Weird) Slough Feg - Death Machine

The artist: (The Lord Weird) Slough Feg are one of the most well known bands from the American traditional metal scene. Mike Scalzi originally formed this band in 1990 to counteract the hair metal scene at the time and bring back the traditional heavy metal sound that was heard in Iron Maiden and Judas Priest's music. Although they didn't release a full-length album until 1996 with the self-titled debut album, Slough Feg have put out nine albums and none of them are short of greatness. Like Manilla Road, these guys are also criminally overlooked but the better availability of the newest album The Animal Spirits as well as a lot of press for it have given Slough Feg some credibility they deserve. Asides from The Animal Spirits, their albums are often more expensive than an average album but it's definitely worth paying extra for fantasic albums, especially Traveller and Down Among the Deadmen.

The album: Down Among the Deadmen is one of the more notable Slough Feg albums considering Warriors Dawn which was featured on Brutal Legend. This might sound like a stretch but Warriors Dawn could be heavy metal's ultimate answer to Bohemian Rhapsody. This song provides a two minute intro, excellent drumming and bass performance, several great sections in a single song as well as a solo frenzy. Even if Warriors Dawn isn't considered at all for Down Among the Deadmen, it is still a fantastic album, especially when the moment you hear the album opener Sky Chariots it's mandatory to listen to the rest of the album. That's not all, though as there's an excellent trilogy with Heavy Metal Monk / Fergus Mac Roich / Cauldron of Blood. This is easily a highlight in Down Among the Deadmen as the three tracks go together so well. With tracks like these as well as Troll Pack, Marauder and Death Machine, there's tons of confidence to put this album in the same ranks as metal classics such as Paranoid, Powerslave and Painkiller.

The song: Death Machine is the closer track for Down Among with the Deadmen and what better way to end this magnificent album than to go out with a bang with a speed metal number? This works in a similar way to some of the thrash metal closers such as Overkill's The Years of Decay with E.Vil N.Ever D.Ies. The speed metal frenzy doesn't start right away but the song goes wild as soon as you hear motorcycle noises. The riffs are highly ideal for the imaginary of racing on motorcycles as well as the crazy solo provided during the frenzy. The song returns to its former pace but it works to wrap it up for the album. The song's lyrics are based on the sci-fi B-movie named Deathsport taking place in the year 3000. This movie won't be familiar to many but the lyrics sure as hell have some lines that define heavy metal lyrics and makes it seem the movie is worth watching. Overall, Death Machine shows one of the greatest ways to end off a heavy metal album with a roaring speed metal track that should be defined as a metal classic.