Metallica – Ride The Lightning (Album Review)

While Metallica Killed ‘Em All with their first album, they were determined to Ride The Lightning on the second; a record that has not only stood the test of time but remains one of the greatest thrash metal albums ever recorded.

Marking a pivotal moment in the evolution of thrash metal, Metallica’s second studio album, Ride The Lightning, not only cemented the band’s legacy within the genre but showed that they were capable of a more mature and thematically deep album than was presented on their 1983 debut Kill ‘Em All. Retaining the intensity of their debut, Ride The Lightning, struck a perfect balance between speed, aggression, and intricate musicianship that would not only set them apart but would result in a collection of timeless tunes and one of the very best albums released in 1984.

Visually striking, as many of the albums within Metallica’s discography are, Ride The Lightning looks stunning on the larger vinyl canvas and while I’ve been fortunate to have owned various editions of this classic album throughout the years, all are not created equal and in some cases it comes down to the mastering, whilst others come down to the quality of the vinyl pressing; such as the less-than-impressive Blackened Recordings 2014/5 vinyl reissue (BLCKND004-1). What is pleasing, however, is that the 2016 remaster brings about greater consistency across all formats. As such, it no longer matters how you choose to listen to this classic release, but what I can say is that streamers are in for a treat for the Apple Digital Master rocks; despite it being, technically, more compressed than previous editions.

Of course, give it a listen and see for yourself as we explore the songs of this legendary release.

Fight Fire With Fire opens with a killer acoustic guitar intro that quickly erupts into one of Metallica’s most ferocious thrash metal tunes. Blending melody with aggression sees Fight Fire With Fire set a chaotic and intense tone that continues throughout the record; thereby making it the perfect album opener.

Ride The Lightning flows perfectly from Fight Fire With Fire for the guitar riff continues the non-stop assault on the senses. If you haven’t already, this title tune will encourage you to get your air guitars out for it is impossible to sit still as this legendary song is playing. However, it isn’t just the relentless riffing that’s a highlight here, for the shift between the frantic thrash riffs and the slower, doom-laden sections, demonstrates Metallica’s evolution and ability to blend tempo and mood. Ultimately, Metallica’s music doesn’t get much better than this and words seem somewhat meaningless to explain the impact of this song. Hence, you need to experience it for yourself as that’s the only way to truly appreciate and understand Metallica’s impact on not only thrash and metal, but music in general.   

For Whom The Bell Tolls is EPIC! From the tolling bell, to the slower and more methodic tempo that builds tension and atmosphere, to the musical interplay between the band, For Whom The Bell Tolls is one of the album’s most memorable moments and is, undoubtedly, one of the greatest songs Metallica ever recorded.

Fade To Black is a slight departure from their core thrash roots, but when you combine a slight country twang and a more melodic tempo you end up with a power ballad worthy of Metallica. Of course, the song ebbs and flows between the semi-acoustic and full-on electric, adding to the overall appeal and merging this new style with their thrash origins. Yes, some detest 80s power ballads, but this is no ordinary ballad for its masterful composition sets it apart from its 80s counterparts. And, if nothing else, Kirk Hammett’s closing solo seals the deal on this being one of the greatest power ballads ever recorded.

Trapped Under Ice returns the album to a faster, more chaotic pace with aggressive riffing and frantic drumming that create an overwhelming sense of urgency that perfectly mirrors the song’s theme. Trapped Under Ice may be one of the more straightforward thrash tunes on the record, that would have been perfectly suited to Kill ‘Em All, but it doesn’t let up for the entire duration.

Escape has a killer riff and rhythm with a groove that is widely appealing. That said, Escape can be best described as a quintessential album-only tune and as much as I enjoy it, I’ve always felt it wasn’t the strongest song from a vocal perspective. However, had it been an instrumental tune, it would have been exceptional.

Creeping Death is a monumental tune and a thrash masterpiece due to its relentless energy and perfect balance of storytelling, technical prowess, and visceral intensity.

The Call Of Ktulu is, without a doubt, one of the greatest songs ever recorded in all of music history. If you haven’t checked out the live performance from their legendary S&M concert, you really should because it bests this original. The Call Of Ktulu’s strengths are on full display across the song’s sprawling 8-minute runtime. Building tension with atmospheric guitar work and ominous riffs, along with a thunderous percussive element, The Call Of Ktulu isn’t easily forgotten and will compel you to play the album again because Ride The Lightning can seldom be listened to once.

Ride The Lightning is nothing if not a milestone release for Metallica and the thrash metal genre. Its combination of raw power, thematic depth, and technical brilliance set it apart from its peers and showcased Metallica’s growing ambition. It also expanded the boundaries of what thrash metal could be, incorporating new levels of complexity, emotion, and atmosphere without sacrificing the core aggression. No matter which way you look at it, Ride The Lightning was a monumental achievement in metal, and its influence can still be felt today as it’s one of the greatest thrash records ever released.

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Iron Maiden – Powerslave (Album Review)

Released in 1984, Powerslave is Iron Maiden’s fifth studio release and vocalist Bruce Dickinson’s third outing with the band. While opinions will differ, Powerslave is arguably the strongest, early-80s, release for Maiden as The Number Of The Beast and Piece Of Mind both have exceptional songs but aren’t quite the cohesive album experience that Powerslave is. If nothing else, Powerslave is the embodiment of the heavy metal genre featuring intricate compositions and powerful performances that marked a high point in the band’s career, both in terms of their musical evolution and global popularity.

As is always the case with Iron Maiden, the album artwork is exquisite. Of course, with a keen interest in Ancient Egypt, I may be a little biased, but Powerslave doesn’t disappoint in that regard for it is as bold as the music contained within. However, when you get down to the sonic elements of Maiden’s records, while the production and overall mix are generally superb, the mastering of their albums, particularly the remastered releases, has been a point of contention amongst fans. Some prefer the original releases, others the 1998 remasters. Add to that the 2015 remasters and you’ve got three quite different interpretations of the same music.

While I haven’t been fortunate enough to hear the original release, of Powerslave, those familiar with the 1998 remaster will likely agree that it’s thin, shrill, and fatiguing to listen to; particularly at higher volumes. In contrast, the 2015 remaster offers a smoother presentation with a boost to the mid and low-end while simultaneously dialling back the treble range slightly. It’s certainly an improvement, from my subjective perspective, and the good news is that this most current remaster is available not only via streaming but it has also been released on CD and Vinyl, meaning that there is consistency across the board.

Aces High opens the album superbly with an opening riff that’s not only iconic but sets the tone for the entire record. The relentless assault on the senses captures the intensity of fighter pilots during the Second World War (the subject matter of the song) and is, subsequently, musical storytelling at its very best. Add to that Bruce Dickinson’s soaring vocals and you’ve got an incredible song from start to finish.

2 Minutes To Midnight is an anti-war song that utilises the idea of the Doomsday Clock to formulate a message against hostility. While I rarely focus on literal intent and song meanings, instead preferring to appreciate the human vocal as an instrument within the mix, 2 Minutes To Midnight makes you sit up and pay attention. It also happens to be one of Maiden’s most enduring classics, one that balances melodic hooks with a heavy, ominous atmosphere. Most notable, however, is the instantly recognisable riff and duelling guitars between Adrian Smith and Dave Murray; pure genius.

Losfer Words (Big ‘Orra) may be the only instrumental track on the album, but as much as I love Dickinson’s vocal prowess, Losfer Words (Big ‘Orra) showcases Iron Maiden’s musical chops without the need for lyrics. There’s part of me that appreciates it so much that I’d love to see Maiden release a series of albums, or songs, sans lyrics for they truly offer a different perspective. As you listen to the song, you’ll no doubt appreciate the complex arrangement for each member’s contribution shines through the mix with the interplay between guitars, and Steve Harris' bass, creating a layered and intricate sound that is both powerful and melodic. It, truly, is one of Maiden’s greatest tunes.

Flash Of The Blade features a sharp, stabbing riff, with an almost frenzied tempo that is Maiden 101. While it was never going to be a highlight from the album, Flash Of The Blade is an example of a quintessential album-only tune; one that drives the album forward and ensures that it’s a memorable experience.

The Duellists, similarly to Flash Of The Blade, enhances the album but was never destined to be a standout. That said, there are some magical musical aspects to be heard throughout as the band is on fire. The Duellists, in my opinion, would have been another ideal instrumental tune as Dickinson’s vocal ultimately detracts from the performance of the band.

Back In The Village is frenetic and is one of the more aggressive songs on the album, but it isn’t great. Dickinson’s vocal performance on this number is unsuited to the song and while I can look the other way, when it comes to listening to the album in its linear structure, Back In The Village is one of the poorest songs Iron Maiden has ever recorded. That said, the duelling guitars and overall musical bed, particularly mid-song, are incredible.

Powerslave, as the title track, was always going to be the centrepiece of the album and it delivers. The instrumental section is a masterclass in Iron Maiden’s ability to build tension and atmosphere, culminating in a powerful crescendo, but it’s the guitar riff and interplay that is, again, a standout element.

Rime Of The Ancient Mariner is the album’s epic closer. Musically, it’s a journey in itself, shifting through various tempos and moods, from the eerie quiet of the middle section to the thunderous conclusion. Without a doubt, it is one of Maiden’s most ambitious compositions, but it’s a testament to their skill and creativity that they were able to pull it off. Yes, at over 13 minutes, it was never going to be released as a single, but it is single-worthy and deserving of more recognition than it often receives.

Overall, Powerslave is an incredible album that showcases Iron Maiden at the peak of their creative powers. Each track contributes to the record’s overarching sense of grandeur and adventure, making it a cohesive and immersive experience. For fans of heavy metal, Powerslave is an essential listen and it’s not only one of Maiden’s greatest releases, but it’s amongst the very best albums released in 1984.

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Diamond Head – Borrowed Time (Album Review)

Diamond Head's 1982 studio album, Borrowed Time, stands as a pivotal release in the band's discography, for it’s a musical masterpiece that further cemented their enduring legacy and influence on the metal genre; despite a shift towards more mellow compositions. While their unique blend of New Wave and British Heavy Metal resulted in Diamond Head being a core influence to the likes of Metallica, commercial success was sadly not achieved. However, as music lovers know only too well, what is successful with the masses is seldom representative of the greatest music ever recorded. 

Given the early 80s was still dominated by the vinyl record, as the predominant format of the era, it amazes me that the album didn’t see more success, for who wouldn’t have wanted to have that incredible artwork on display in their homes? Rodney Matthews certainly created a magnificent piece of visual art; one that is perfectly aligned with the music contained within and it is as fresh today as it was when first released.  

Sonically, while the band is in fine form, Borrowed Time could do with a remaster. I know, remasters are a dirty word when it comes to classic albums, but the lossless Apple Music stream, a direct counterpart to the current CD releases, is a little thin. You may need to adjust the EQ levels in order to increase the bass in both the low and midrange. Doing so gives Borrowed Time a greater sense of presence. Some fans may not be fussed by this aspect, and while EQ can indeed address some of the elements, the modern EQ settings are an all-or-nothing approach and if you don’t have access to a manual equaliser, you’ll likely agree that a remaster, by a skilled engineer, would be a better approach. That said, it’s a minor quibble and Borrowed Time is so good that I can usually look past this aspect and thoroughly enjoy the music; a selection of songs that when combined in the album format result in one of the greatest hidden gems the metal industry has ever known. 

In The Heat Of The Night opens the album with Diamond Head’s signature rhythmic heavy metal sound, killer riffs, and incredible vocals by Sean Harris. Ultimately, it’s one of Diamond Head’s greatest tunes; of course, that could be said about nearly all of the songs from Borrowed Time. 

To Heaven From Hell flows seamlessly and continues the driving rhythm while slightly increasing the aggression of the guitar riffs. The bass tracking by Colin Kimberley is fantastic, even if it is a little concealed in the mix. One thing that you’ll notice immediately is the sing-along nature of the song, for you won’t be able to help but sing along to the song’s chorus. 

Call Me is one of the greatest songs ever recorded in all of music history. If you were singing along to To Heaven From Hell, you’ll be chanting Call Me as the catchy chorus demands interaction. Harris shines even further on lead vocal, but so does the entire production as the melodic styling, coupled with the soaring musicality, ensures Call Me is nothing less than a masterpiece. 

Lightning To The Nations appeared on Diamond Head's debut album Lightning To The Nations but as solid as that original recording is, I much prefer the spit and polish that has been applied to the version on Borrowed Time. It’s simply more powerful and polished when compared to the original recording. The result is that this version sounds optimal while the original has always been closer to a demo than a fully-fledged recording.

Borrowed Time has a slightly darker tone, but that bass performance is exceptional and can be heard as an influence throughout Metallica’s first three records. Yes, dear reader, I adore the bass guitar and when it features prominently, especially as a buildup to a song, there’s nothing better.

Don't You Ever Leave Me is, arguably, the only B-side to be heard on this remarkable album. That isn’t a bad thing for it’s a solid and thoroughly enjoyable tune. What is lacking here, however, is a driving rhythm. Yes, it’s a slower-paced tune that showcases Diamond Head’s versatility as musicians, but I’d argue the tempo, and the length of the song, is the core reason why it’s not a standout. That said, that guitar and intertwining bass solo mid-song is a highlight. Hence, as I alluded to earlier, B-sides and album-only tunes aren’t always a bad thing for they offer further insight into the musicianship of an artist and quite frankly, every song need not be a hit for the album to be extraordinary. 

Am I Evil? is one of Diamond Head’s most recognisable tunes and it certainly helps when Metallica covered, and continues to perform, this classic. Metallica's rendition, as I previously declared, was bloody brilliant and if Satan has a playlist, this song would most certainly be on it. That statement can easily expand to this edition of the song and while it originally appeared on Diamond Head’s debut, Lightning To The Nations, I find myself continually gravitating towards this version on Borrowed Time as I simply prefer their second album. That said, if you’re after a rawer, more demo-styled, interpretation, the original has you covered. With a dark and brooding atmosphere, combined with truly captivating performances, Am I Evil? is not only a perfect closer, but it will encourage you to play Borrowed Time, time and time again for this is one album that can be seldom listened to only once. 

Borrowed Time, ultimately, is not only one of Diamond Head’s greatest releases, it's one of the best metal albums of all time. With a diverse range of tracks, showcasing the band’s musical prowess, this is classic metal at its very best. It really is a shame that this album didn’t receive the recognition from music lovers that it deserves, but thanks to their peers’ latching onto the album as inspiration, and covering a number of their tunes, we’re incredibly fortunate to still be able to appreciate Borrowed Time; even if it remains a niche release in music history. Of course, dear reader, if we share it as I have done here, then new listeners will be able to experience the music we know and love. So don’t be shy. Share this album with anyone who appreciates music for it may be metal-focused but Call Me, amongst others, will appeal to just about any music lover.  

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Slipknot – .5: The Gray Chapter [Special Edition] (Album Review)

Released in 2014, Slipknot's fifth studio album, .5: The Gray Chapter, marked a significant moment in the band's history. It came six years after their previous album, All Hope Is Gone, and was the first without their founding member and bassist, Paul Gray, who tragically passed away in 2010. Additionally, it was also their first album without drummer Joey Jordison, making it a crucial test for the band's ability to adapt and evolve while staying true to their signature sound. 

Alessandro Venturella would be the new bassist from this release onwards, as was Jay Weinberg on drums, but neither musician took anything away from the founding members they replaced for they not only brought their unique style to Slipknot, but they ensured that the legacy of Gray and Jordison was maintained. The result was a seamless transition that would allow the fans to embrace the music, rather than constantly contrast one performer against another.

What isn’t up for debate is the production quality of .5: The Gray Chapter for this is an incredible release with a mix and master that, especially for the genre, is the definition of perfect. While I’ve yet to pick up a physical copy of this exceptional album, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is an experience in and of itself and has to be heard firsthand in order to fully appreciate just how spectacular every aspect of this recording is. The stream is subsequently so mind-blowing that I wonder if a physical counterpart is necessary as there isn’t a single element that I would change, nor is there any aspect that I feel could be improved upon. Yes, dear reader, it is that good! 

XIX is an eerie, atmospheric opener, that sets the tone for the entire album. Even if the rest of the album had been lacklustre, XIX is about one of the best opening tracks you’re ever likely to hear, from any album, in all of recorded music history.

Sarcastrophe flows seamlessly from XIX, but it isn’t long before Slipknot’s renewed burst of energy comes blaring out of the speakers with pounding percussive elements and frantic guitars accompanied by Corey Taylor’s intense vocals. Sarcastrophe is Slipknot 101 and while it may not be the first song that you think of when looking forward to listening to .5: The Gray Chapter, it harks back to their origins and longtime fans will no doubt appreciate the rawness of the recording. 

AOV is a melodic and aggressive tune that highlights Slipknot’s dynamic and ever-evolving style. However, as exceptional as the music is on AOV, it’s Taylor’s vocal delivery that is of particular note here for the verses are poetic and the chorus is soaringly perfect. 

The Devil In I is the expected radio-friendly tune with a catchy chorus, sensational grinding guitars, and a rhythm that when turned up to 11 will collide with your soul. Yes, purists may feel these commercial-based tracks are a distraction, but just as I adore ballads, I absolutely love Slipknot’s more accessible tunes for they not only rock, but open the door for new fans to enter the fold.

Killpop showcases Slipknot’s softer side, for even the greatest headbangers need a palette cleanser from time to time. Additionally, the depth and level of detail in the soundstage of Killpop is sublime and while Slipknot's music has always been multi-layered, Killpop is a masterpiece in that regard.

Skeptic is an appropriate tribute to Gray, but it sounds a little too disjointed in places. It, subsequently, isn't one of my favourite songs from the album, but remains a worthy inclusion.

Lech is relentless and while it’s most certainly an album-only tune, .5: The Gray Chapter wouldn’t be the same without it.

Goodbye is another emotional song discussing Gray's death and the impact his passing had on the band. It’s an exceptional song with a gorgeous soundstage and vocal presentation. Its placement, mid-album, is interesting though. I would suggest it would have been better placed towards the beginning of the album or as the final track.

Nomadic is a high-energy, aggressive tune, that flows so seamlessly from Goodbye that you’d be forgiven for thinking of the two as a single song. 

The One That Kills The Least is a more melodic piece with an addictive rhythm, killer guitar licks, and more of Taylor’s exceptional vocal dexterity.  

Custer is a ferocious song with explosive energy, featuring Taylor's screaming vocals and aggressive instrumentals. It’s classic Slipknot!

Be Prepared For Hell is pure filler and should have been omitted from the album; despite leading us sonically into The Negative One.

The Negative One is a heavy, chaotic track that captures Slipknot's signature aggression and will appeal to long-time fans.

If Rain Is What You Want is an intriguing tune, but is it really a Slipknot song? I'm not sure! It sounds more like a repurposed Stone Sour tune, but that’s just me. That isn’t to say it's bad, just that I don't feel this qualifies as a Slipknot song per se. Nevertheless, it’s a haunting and atmospheric ballad that displays the musical talent within Slipknot. For those of you who collect vinyl, however, it is a rather strange way to close a Slipknot album as it’s the last song on the physical counterpart. 

Override is a dynamic, hard-hitting, track that suits Slipknot significantly better than If Rain Is What You Want. In fact, it’s one of their greatest recordings that many wouldn’t have heard, unless they checked out the Special Edition release, that is.

The Burden is a sombre closing to the Special Edition release of .5: The Gray Chapter and instead of going out with a bang, The Burden is more akin to a whimper. That isn’t to say that it’s fundamentally bad, but it isn’t the strongest song to close a Slipknot album on.

.5: The Gray Chapter is a powerful and emotional journey that explores themes of loss, grief, and rebirth. Slipknot manages to strike a balance between their familiar aggressive sound and a more melodic and introspective side. The result is that .5: The Gray Chapter is the definition of a perfect album; if it were a little shorter, that is. Had the runtime been reduced to that of a standard-length album, it would have been even stronger. Nevertheless, .5: The Gray Chapter is a testament to Slipknot's ability to evolve and grow with resilience while staying true to their roots. While it may not surpass their earlier classics, for many fans, it's a strong addition to their discography, nonetheless, and a must-listen as well as one of the best albums released in 2014.

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Iron Maiden – Killers (Album Review)

Released in 1981, Killers solidified Iron Maiden's status as heavy metal pioneers. Building on the foundation laid by their self-titled debut album, the band pushed their boundaries and continued to evolve by delivering a record that combined adrenaline-fueled energy with thought-provoking lyrics and some of the greatest riffs you’re ever likely to hear. 

It’s also Paul Di’Anno's final album, as vocalist, with Maiden and is somewhat bittersweet for as incredible as Bruce Dickinson is on the microphone, Di’Anno’s gravelly singing style was perfect for Maiden’s musical style. That said, I can’t imagine Maiden’s albums post-Killers had Di’Anno remained a member of the band. 

What has remained consistent, throughout the years, is Maiden’s album artwork and Killers is one of their very best. Eddie’s demonic grin is captivating and if the music doesn’t grab you, the artwork certainly will. 

Speaking of the music, for that is the real reason we’re here, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. There’s a tiny bit of muddiness to be heard, but it isn’t a detraction and once Wrathchild comes in, as the second track, all is forgotten for it is quite an audible treat. Yes, some may suggest that the Apple Digital Master is overly compressed, but for Maiden’s style of music, I find it to be perfectly suitable and the latest remasters have a little more heft in the mid to low end of the audio spectrum meaning that the thin sound of the legacy CD releases, from the 1998 remastering sessions, is no longer a cause for concern; unless you enjoyed that style of reproduction, that is. 

The Ides Of March is an incredibly ominous instrumental that sets the tone for the entire album with its haunting guitar melodies and riffs that help to form a foreboding atmosphere before leading into the high-octane anthem, Wrathchild.

Wrathchild kicks things off with Steve Harris' thundering basslines and Paul Di'Anno's gritty vocals. The song’s relentless rhythm, soaring guitar work, and catchy chorus have ensured that it’s a signature tune within Maiden’s back catalogue.

Murders In The Rue Morgue initially slows the tempo considerably with a focus on the melody, before launching into the dynamic metal-driven style that showcases Maiden’s ability to craft complex compositions while staying true to their signature sound. 

Another Life is a killer tune with so much musical depth that your mind will want to connect with every musical aspect, yet you’ll need to find an element to latch onto before the pace of Another Life gets away from you. This kind of frantic song isn’t likely to appeal to everyone, but as far as I’m concerned the shifting styles, throughout, are trademark Maiden; it’s part of what makes them so compelling.

Genghis Khan is the album’s second instrumental piece and while the vocalists of Maiden have always been commanding, I love Maiden sans the vocalist for their music is so emotive and you really get a sense of their instrumental power. From Clive Burr's drumming and Harris’ bass skill to the twin guitar attack of Dave Murray and Adrian Smith, you’ll be left speechless as many aspects of Maiden’s musical accompaniment are lost when lyrics are laid atop the musical bed. The result is that Genghis Khan is one of the greatest pieces of music Maiden ever recorded; a true masterpiece in every sense of the word. 

Innocent Exile flows nicely from Genghis Khan but it’s ultimately an album-only tune. A solid one, yes, but as a song on its own, it’s somewhat unremarkable. 

Killers is a true heavy metal classic that can be best described as an unforgettable sonic experience.

Prodigal Son is a departure from the album’s heavier tracks for this acoustic-driven tune offers a moment of introspection. The folk-inspired melodies and storytelling lyrics further demonstrate Maiden's versatility and while hardcore metal rockers may feel that Prodigal Son is nothing but filler, I’d go as far as suggesting that it’s one of Maiden’s greatest songs; a hidden gem!

Purgatory is a fast-paced relentless onslaught of music; a polar opposite to Prodigal Son. If nothing else, Purgatory is indicative of Maiden’s early raw sound signature. 

Drifter closes the album with a final burst of palpable energy that will compel you to play the album again, for Killers can rarely be heard a single time. 

Killers marked a significant step forward for Iron Maiden, both in terms of musical complexity and thematic depth; even though I consider their self-titled debut to be a masterpiece. Regardless, when you combine the band, Steve Harris’ driving basslines, and Paul Di'Anno's raw vocals, you get a sound that has not only influenced generations of metal bands but stands as an influential chapter in Iron Maiden’s legacy. 

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Avatar – Dance Devil Dance (Album Review)

True to its album title, Dance Devil Dance is Avatar’s most rhythmically melodic groove-based metal album to date. Some may lament the shift from the slightly heavier sound heard on their previous albums, but it’s not a difference so far removed that fans will be left out in the cold. It’s complementary, rather than contrasting, thereby making Dance Devil Dance one of the most compelling releases of 2023.

Visually striking and downright creepy, Dance Devil Dance is almost deserving of inclusion on the list of The Worst (And Most Disturbing) Album Covers Of All Time. Yet, it doesn’t make the cut as it is true to the band’s musical style and is at least more visually compelling than their 2018 release Avatar Country and Hunter Gatherer from 2020. Still, when a band has artwork as stunning as Hail The Apocalypse, you know the cover art, this time around, could have been better.

Thankfully, we don’t listen with our eyes and while cover art can either make or break an album, yes it remains that important, the music heard on Dance Devil Dance is extraordinarily good. The overall recording, mix, and mastering are some of the very best I’ve heard from the Metal genre. Metal tends to be too compressed and lacking in depth and detail. It isn’t uncommon to hear your favourite metal album as a wall of sound and while some may enjoy that, the additional space between musical elements ensures Dance Devil Dance is a sonic masterpiece. Don’t get me wrong, this is one loud recording, but for the style of music, it is utterly perfect. The drums alone are masterfully recorded and it’s the little elements such as the cymbals ringing out, rather than crunching, that make a real impact. 

While I’ve yet to pick up a physical release of this album, the Hi-Res Lossless Apple Music stream is marvellous. It isn’t an Apple Digital Master but it need not be as you’ll be in metal heaven from the very first note. Depending on how you prefer to listen to your music, you may prefer to add a little bass EQ to give the album a further earth-shattering punch; an advantage, for this music lover, even if it results in slightly reduced clarity and detail. I want to feel Dance Devil Dance in the deepest depths of my soul and the stream, with a slight adjustment, doesn’t disappoint in that regard.

Dance Devil Dance sets the tone for the album, and that opening guitar lick, which is repeated throughout, is magnificent. I only wish it had been a little more prominent in the mix, perhaps a decibel or two higher. Regardless, Dance Devil Dance is an epic opener and I simply adore Johannes Eckerström’s vocal dexterity as he’s got incredible control over it and when he hits the high notes, I'm reminded of the great Ronnie James Dio. 

Chimp Mosh Pit gets the groove going and while it may not be a standout, it holds the album together perfectly and sometimes that is all that’s required. That said, the mid-song musical solo, by the entire band, is off-the-charts good. It will, subsequently, be interesting to see how fans react to Chimp Mosh Pit when played live as I have a feeling it has the potential to be more powerful live than via the studio recording. 

Valley Of Disease has an interesting grinding opening element that works remarkably well. The unrelenting rhythmic core of Valley Of Disease has a tribal feel that is going to make this a fan favourite.  

On The Beach shouldn’t work, particularly with the seagull entrance, but it somehow does. Another aspect that doesn’t seem as though it should work, on paper, is the vocal shift. Yes, it has the potential to take you out of the album experience, especially if you don’t like the vocal style, but the more I listen to On The Beach, the more I get it. It works. It shouldn’t. But that’s okay because Avatar are pushing their, and our, creative boundaries and the correlations in varied styles are ultimately a highlight of their recordings. 

Do You Feel In Control? returns us to a more traditional metal approach and while Do You Feel In Control? is a solid tune, it’s ultimately album filler.

Gotta Wanna Riot is the GREATEST SONG Avatar has ever recorded. It might even be my favourite metal song of all time. The ba-ba-ba-ba lyric element is what gets me every time for it’s The Beach Boys meets Avatar and I love it! Additionally, Eckerström’s vocal delivery throughout is masterful and the band are on fire. Gotta Wanna Riot is going to be a stadium-filling tune; no doubt! 

The Dirt I’m Buried In is groove metal 101 and is a great followup to Gotta Wanna Riot. A special note needs to be given for the guitar work on this track. It isn’t pushing the limits of what’s possible, but damn it’s got an addictive rhythm that will have you pulling out your air guitar.

Clouds Dipped In Chrome is thunderous and will appeal to old-school metal fans. It does, however, feel a little out-of-place in the tracking of the record. I probably would have positioned it closer to the start of the album, or before the closing track Violence No Matter What, but that is just a subjective preference. Regardless, it’s a solid tune, even though I feel it is unlikely to become a standout amongst fans.

Hazmat Suit has a drilling rhythm that integrates perfectly with my soul, especially during the chorus. The drumming and guitar work here is exceptional and is as much a tip of the hat to the performance of the band as it is to the Mixing Engineer and co-Producer Jay Ruston. 

Train gets you going then slows things down. It’s great when music isn’t predictable. You’ll hear a little David Bowie, Tom Waits, and Nick Cave influence throughout, further showcasing Eckerström’s vocal capabilities, particularly in the lighter regions of the recording. In fact, it’s the more melodic alternative rock styling as opposed to the metal elements, that are the highlight of Train. Although, I do wish that the song would have ended on a metal curve as the shift to the closing tune, Violence No Matter What, is a little sharper than I’d ideally like to hear.  

Violence No Matter What (Duet With Lzzy Hale) is a great closer and it’s wonderful to hear Lzzy Hale on this duet, but she’s a little too recessed in the mix. Her vocal growl,  mixed with her higher pitch, is deserving of a slight bump in volume. Granted, it’s an Avatar album and while I’ll praise the mix in every other way, on Dance Devil Dance, I truly feel that this was a missed opportunity. I also would have excluded the dropping of the drumsticks at the end as I don’t feel it works. Regardless, as I originally stated, it’s a great closer and when looking past these aspects, it encourages me to play the album again.

Dance Devil Dance is not only a great metal album, but it’s also a great album in general and is deserving of its position as one of the best albums released in 2023. With its melodic groove-based styling, it will appeal to a broad range of listeners; many of whom wouldn’t give music from within the metal genre a second thought. While its accessibility may perturb hardcore metal fans, I say the more the merrier, so if you like Dance Devil Dance as much as I do, please consider sharing this review with everyone you know or at the very least send them a link to the album so they can experience it for themselves. 

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Iron Maiden – Iron Maiden (Self-Titled Album Review)

Released in 1980, Iron Maiden, the self-titled debut from the English Heavy Metal masters launched onto the music scene with a take-no-prisoners style that was complemented by pure talent. If nothing else, Iron Maiden offers fans a collection of songs that have become classics of the Metal genre. 

Voicing classic Maiden was Paul Di’Anno, an incredible vocalist who would also go on to record their second album Killers before being exiled for extensive substance abuse. Despite that, Di’Anno set the stage for Iron Maiden as he approached these studio recordings with a sense of energy and flow that Bruce Dickinson, and later Blaze Bayley, were able to build upon; that unique Iron Maiden sound! Yes, Maiden’s unique qualities should also be attributed to the musicality of the band and Steve Harris’ ultimate vision, but metal bands are often successful as a result of their lead vocalists.

Speaking of Maiden's sound, there’s been so many variants, with regards to the mastering of their albums, that it often comes down to personal preference as to which subjectively sounds better. I’ve heard the 1998 remaster and while I didn’t think it was bad at the time, once I heard the Apple Digital Master, from the 2015 reissue program, I was blown away as it sounds how I imagine Iron Maiden should sound. You know, the sound you hear in your head when the music isn’t playing. It is subjective, but at that moment I knew that that was the way I wanted to appreciate all of Iron Maiden’s music going forward. Yes, I’ve heard grumbles about this particular mastering. The usual stuff, such as it being dynamically compressed further than it needs to be. While I may not disagree with that sentiment, I prefer to listen with my ears and they tell me that it simply sounds right. 

The (Hi-Res) Lossless edition, on Apple Music, is the perfect representation of this self-titled debut and has the added bonus of being able to be heard whenever and wherever I may be. Therefore, even if the vinyl counterpart is comparable, or superior, it need not apply for it limits where and when Maiden can be appreciated. 

Perhaps most notable, however, is that despite the rawer production of the debut, the mastering has been undertaken so well that it puts a little spit and polish on the album, resulting in a pleasurable listen that is largely void of the shrillness that is found on prior releases. Don’t get me wrong, the rough around the edges feel to the album is most certainly retained, it’s just a little more presentable and permits listening at ear-bleeding levels; just the way Iron Maiden should always be heard. 

The only disappointment with this latest reissue is that it, again, omits Sanctuary; a simply epic Iron Maiden tune. Yes, the track listing now resembles the original release, but it also means that the studio recording of Sanctuary is unavailable to stream with the only recordings being those that were performed live. This omission is a +1 for physical media collectors. However, the most recent Studio Collection CD and Vinyl reissues also omit Sanctuary, so you’ll need to seek out a previous release to attain this tune if you don’t already own a copy.

Prowler launches the record with an iconic riff and sees Di’Anno in fine form while all other musical aspects set the tone for the entire album. The mid-song solo, and Harris’ bass lines, really take Prowler to the next level, resulting in one of their greatest recordings. 

Remember Tomorrow slows the tempo a little, until the song builds that is. Nevertheless, one of the greatest aspects of Remember Tomorrow is the exquisite introduction that reappears throughout the verses. Yes, it may not be a stadium-filling tune, but Remember Tomorrow is one of my all-time favourite Maiden songs. 

Running Free was Maiden’s debut single and there’s a bit of a punk vibe to it. Truth be told, I’m not sure it was lead single material. It’s a solid tune, and perhaps I’ve simply heard it too many times over the years, but despite some thoroughly enjoyable killer grooves, it doesn’t set the world on fire from my perspective. 

Phantom Of The Opera has a moodiness that is incredibly addictive. Seriously, every note of this 7-minute-plus epic is a master stroke. Di’Anno‘s vocals could have been stronger, but all musical aspects are perfect as they transition throughout the various stages of the song. What an EPIC piece of music!

Transylvania has a spy-flick vibe to it with some killer rhythms and licks thrown in for good measure. A great instrumental-only tune!

Strange World flows seamlessly from Transylvania and maintains the melody-driven sonic themes of the prior track. While there’s no doubt that many Maiden fans love their heavier tunes, I, for one, adore these slower tempos as I feel they perform them with nothing less than pure perfection. Di’Anno‘s vocal on Strange World, in particular, showcases his vocal chops like no other song on the album does. He’s an absolute pleasure to listen to. 

Charlotte The Harlot is one of Maiden’s most underrated tunes and has an interesting interplay between the musicians. Depending on the instrument you prefer, you’ll find a unique rhythm to attach yourself to.  

Iron Maiden closes out this self-titled debut masterfully, while also encouraging repeat playing of the album, and is most certainly worthy of the title track moniker. 

Overall, Iron Maiden is a musical masterstroke and is a debut that has not only stood the test of time but is as relevant to the Iron Maiden story as any other album in their extensive back catalogue. It is, without a doubt, one of the best albums released in 1980 and is amongst the greatest Metal albums of all time; a timeless classic!

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