Review: Originally featured on the soundtrack to The Hangover II (of all movies), 'Black Hell' from Misfits mastermind and all round evil Elvis curmudgeon Glenn Danzig finally comes to vinyl for its first time ever in both 12" format and in the form of this limited orange splattered 7" (just in time for spooky season). Featuring 'Thirteen' on the flipside (originally appearing on Danzig 6:66 Satans Child whilst made abundantly more popular by Johnny Cash's cover version), this is a perfect little slice of sultry, macabre wax to get the Halloween ghouls doing their best hoedown.
Review: Lemmy's referential 'Nothing Else Matters' first surfaced on his 2001 record Metallic Assault, which heard the royal funereal Motorhead frontman dedicate an entire fin de mille moment to key works by his fellow metalheads, Metallica. While Metallica's original nihilist anthem had a rousing, Nordic godlike feel, shaded by James Hetfield's sturdy mid register, Lemmy's version counteracts its courageous existentialism with a gruff bass-baritone, as though to drag the original song, along with its life-affirming potential, back down into the hellpit. Lemmy appears as ever on bass, with vocals by Jon Oliva (Savatage), guitar by Bob Balch (Fu Manchu), and drums by Gregg Bissonette.
Review: Th eighth full-length from former Misfits horror-crooner Glenn Danzig's solo project/band served as their first LP to not carry a number, following 777: I Luciferi which angled itself as the closing work of that initial seven volume sequence. Originally released in 2004, Circle Of Snakes continues the descent of Danzig into a rawer, more abrasive form of metallic leaning gothic hard rock, with a notable lowering of vocals in the mix in order to elevate the churning jaggedness of the instrumental rumble. Continuing to eschew the more industrial programming of previous Danzig entries and echoing the stripped back approach of 'Danzig 1' and the increased heaviness of the aforementioned Luciferi, the album would also mark the first appearance of Tommy Victor of Prong on guitars, helping to aid the audible malevolence and ultimately leading to one of the strongest contributions to Danzig's latter day 21st century output.
Review: Released first round time in 2002, Danzig's 777: I Luciferi is a step away from the programmed industrial influences of the two albums that preceded it in favour of a return to the metallic, rawer sound that helped Glenn Danzig stand apart from his horror shadowed punk beginnings. Now, more than 20 years on, this reissue is a reminder of Luciferi as a high watermark in the later work of one of the most controversial figures in metal, punk and hard rock.
Review: The long-gestating follow up to 1992's initial instalment, Black Aria II would finally arrive in 2006 after years of discussion from Misfits/Samhain horror-punk visionary Glenn Danzig, and further his exploration into the cavernous realms of modern classical dark ambience. Conceptually based around Lillith, the first wife of Adam, the material here is far more minimalist and starker than its gothic predecessor, while utilising a more varied array of instruments on top of the pre-established organ and strings, with more Eastern sonic influences to conjure a mercurial vision independent of the preceding volume. Complete with eerie chimes, chants and esoteric lamentations, the project marks one of Danzig's most intriguing works when compared to, say, his Elvis covers compilations, and offers a transportive, biblical, haunting narrative delivered almost exclusively via instrumental atmospherics and insidious gloom.
Review: Danzig and Misfits mastermind Glenn Danzig stepped out solo for this superb cassette release that has had fans fawning. It's a suitably spectacular sequel to the first part of the Black Aria series that was originally released in 2006 and is seen as one of his most audacious ever works. It finds Danzig extends his band's already ambitious, classically-themed project with this time the infamous Lilith, the first wife of Adam, as the main theme. The cover is a super one that features an illustration by the well known Marvel comic artist Bill Sienkiewicz. All in all, a vital reissue of a metal classic.
Review: With the recent news that industrial legends Ministry would call it quits following one final full-length set for release in 2026, mastermind Al Jourgensen first aims to right some of his own projects' self-perceived wrongs on The Squirrely Years Revisited. As it wouldn't be until 1986's sophomore effort Twitch and 1988's legendary follow up The Land Of Rape & Honey that their abrasive style would truly take shape, their Depeche Mode-indebted synth-pop leaning debut LP With Sympathy is all but forgotten, even eschewed from live setlists by this point in their career. Initially bowing to label pressure to aim for more accessible songwriting as well as being pushed to sing with a more "English" cadence, this revisited collection largely consists of material originally featured on With Sympathy, along with re-recordings of the 1985 single '(Every Day Is) Halloween', and rarities such as 'Same Old Madness' and 'I'll Do Anything For You', with the intent, clarified by Jourgensen in an official statement as - "Since I hated my early stuff for decades, I decided to take ownership of it and do it right."
Michael Schenker - "War Pigs" (feat Tim Ripper Owens)
Icarus Witch - "Falling Off The Edge Of The World"
Steel Prophet - "Neon Knights"
Agent Steel - "Hole In The Sky"
Ministry - "Iron Man"
100 Homo DJs - "Supernaut"
Carmine Appice & Vinny Appice - "The Mob Rules" (live)
Review: First released almost two decades ago, when it was trailed as a "true metal" tribute, Evil Lives features an impressive array of artists delivering killer covers of songs by the band that arguably started the metal movement, Black Country legends Black Sabbath. Given the quality of bands and solo artists involved, there's plenty to set the pulse racing (and ears ringing), with highlights including a raw, redlined stomp through 'Supernaut' by 100 Homo DJs, Ministry's breathless, riff-powered romp through 'Iron Man', an infectious and predictably anthemic take on metal singalong 'Paranoid' courtesy of Vince Neil and George Lynch, a deliciously psychedelic and relatively slow motion 'Black Sabbath' cover by Iced Earth and a typically atmospheric live recording of 'The Mob Rules' by Carmine and Vinny Appice.
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