Archive for doom metal

Great Metal Albums of 1987: Dream Death- Journey Into Mystery

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , on May 15, 2022 by 80smetalman

Here’s another album my sister passed onto me, probably because she wasn’t impressed with it. After my Wrath post, she stated on Facebook that the album was given to her to review for her college newspaper and she disliked it so much that she said the band should have paid her to listen to it. Dawn was never into thrash so that is enough circumstantial evidence to suggest that she didn’t like Dream Death’s “Journey Into Mystery” album.

What I found was cool about the record when I took it out to play was that it was blue. I never saw a record coloured other than black before then so I really liked the light blue see through record. If it wasn’t so much trouble, I would go up into my attic and get it for all to see. In addition, when reading the credits on the album, it has the usual ‘Special Thanks’ part but it also has a ‘No Thanks’ section. Making that list was the band’s high school in Pennsylvania, trends and trendy people, conformists and other wankers. I could agree with the band on all of those. Now onto the album.

Doom metal wasn’t a term back in 1987 so Dream Death could be credited as being a pioneer of the sub-genre. “Journey Into Mystery” is a unique blend of doom and thrash. The album comes rocking out with the more thrash, “Back From the Dead” and then goes more doom with “The Elder Race.” The slower power chords are almost hypnotic in some places on that track.

Track three, “Bitterness and Hatred,” has a Suicidal Tendencies feel to it. It starts out doom metal and going mid tempo metal and then back to doom for the chorus but thrash speed in the middle before slowing down to the doom metal conclusion. This was something Suicidal Tendencies did with their first two albums and Dream Death do a good job on this track. The changes keep one interested. However, “Black Edifice” sounds like it wants to go off at 800 mph but the band manage to keep it reigned in and give you a more doom metal track. It does follow the formula set down by its predecessor where they speed it up in the middle. It’s the first song to have a really cool guitar solo.

Side two does start off with some powerful thrash only slowing down to catch its breath between verses and taking off again. “Divine In Agony” is a good way to kick off the second half of the album as the three remaining tracks are all strong tracks. “Hear My Screams” has a horror movie type intro before going more thrash. They go more thrash with this one but the doom metal returns on “Sealed in Blood.” This has a Black Sabbath type intro and then when it kicks up, it doesn’t go thrash. This track could be a blueprint for future doom metal merchants to take from. It has a cool guitar solo backed up by a cool rhythm section.

The album closes out with my favourite track on the album, “Dream Death.” This is a great thrash song and because I wasn’t sure about the record after the first few listens, it was this track that kept me coming back to it. It starts mid-paced but quickly increases its speed. The steady rhythm between the first and second verses and before the guitar solo make a good headbang. However, it does slow down to give a cool doom metal bridge. The track punctuates what the band was attempting to do throughout the rest of the album.

Track Listing:

  1. Back From the Dead
  2. The Elder Race
  3. Bitterness and Hatred
  4. Black Edifice
  5. Divine in Agony
  6. Hear My Screams
  7. Sealed in Blood
  8. Dream Death
Dream Death

Brian Lawrence- lead and backing vocals, guitar

Terry Weston- guitar, backing vocals

Ted Williams- bass, backing vocals

Mike Smail- drums, backing vocals

My sister might not have liked “Journey Into Mystery” but I do. The album demonstrates how a hungry band will just pull out all stops and go for it. These days, I will hold it up as a blueprint for doom metal.

Next post: Guns and Roses- Appetite for Destruction

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

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Great Metal Albums of 1987: Candlemass- Nightfall

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , on November 19, 2021 by 80smetalman

80smetalman’s Hypothesis: As metal began to fragment into sub-genres, many of those bands who are associated with some of those sub-genres got their start in 1987. A couple of weeks ago, I stated that Helloween’s “Keeper of the Seven Keys Part I” album was my introduction to power metal. While I can’t say that Swedish band Candlemass’s album, “Nightfall,” was my launch into doom metal, (I listened to too much Black Sabbath for that to be the case), I can agree that they might have progressed what Sabbath started and helped make doom metal what it has become today.

What you get with “Nightfall” is total foreboding doom metal. Like many doom metal albums, it starts off with an short instrumental which grabs your attention. In fact, there are four instrumentals on “Nightfall,” including the closer but while the opener, “Gothic Stone” is less than a minute, the other three are just over two minutes long. Each of them play a crucial part on the album and except for the closer, obviously, they herald in the next track. The opener brings in the track “The Well of Souls” which, if anyone wanted a perfect example of what doom metal sounds like, it is that one.

Some pretty good guitar work on “Codex Gigas” sets up my favourite track on the album, “At the Gallows End.” It’s not total doom metal as there are some lively parts on the song but it does have the doom and gloom sound overall. Plus, lead singer, Messiah Marcolin does an excellent job and there is a great guitar solo from Lars Johansson. Furthermore, the rhythm section is particularly tight on this track.

Another element of doom metal which features on the album is the long songs. Except for the instrumentals, the other songs all clock in at over five minutes in length with two over seven minutes. Each song has that pounding melancholy beat with the guitars and pounding bass and thundering drums. Full credit must be given to the rhythm section here as they are able to keep that vibe going on every song beginning to end. However, it’s not all the same beat on every song. “Dark are the Veils of Death” changes things up throughout the whole of the seven minutes it lasts for. The track sounds like it could have been on any early Black Sabbath album which is a compliment to the true originators of doom metal. The difference being that Messiah Macrolin has a total different vocal style to Ozzy, likewise, Lars Johansson’s lead guitar is different to Tony Iommi but that doesn’t matter for what they bring to this album works for Candlemass.

Track Listing:

  1. Gothic Stone
  2. The Well of Souls
  3. Codex Gigas
  4. At the Gallows End
  5. Samarithan
  6. Marche Funebre
  7. Dark Are the Veils of Death
  8. Mourners Lament
  9. Bewitched
  10. Black Candles
Candlemass

Messiah Macrolin- vocals

Lars Johansson- lead guitar

Mats Bjorkman- rhythm guitar

Leif Edling- bass

Jan Lindh- drums

Additional Musicians:

Mike Wead- rhythm guitar, acoustic guitar, keyboards

If I had never picked up a Black Sabbath album before 1987 and first heard “Nightfall” by Candlemass, I would have concluded that I had a very fine introduction to doom metal. While that wasn’t the case, I think that with this album, Candlemass stamp their name on the doom metal moniker in fantastic form.

Next post: Shy- Excess All Areas

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Bloodstock 2018: The Friday

Posted in 1980s, Concerts, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , , , , , , , , , on August 17, 2018 by 80smetalman

Even having a crap night’s sleep the previous evening didn’t dent my enthusiasm for the first full day at Bloodstock. We started with a hardy bbq breakfast because we couldn’t have one the evening before on account of the waiting to get in and the brief rain. Therefore, we had it in the morning. After a breakfast of champions like that, which was washed down with beer, we decided to head for the arena.

Keeping with my established tradition, I made it a point to be present for the very first band out on the Ronnie James Dio Stage. That band happened be British punk band Feed The Rhino. If there is a textbook on how the opening band of a festival should act, then Feed The Rhino followed it to the letter. They exploded on stage at 300 mph with a song that grabs you by the throat and makes you listen to it nor did any of that energy dissipate after the first song. However, some purists may argue that the band broke protocol by organizing a mosh pit and then a wall of death. Whoever said opening bands weren’t allowed to do that? Especially when the lead singer, Lee Tobin, did a little crowd surf towards the wall. It was amazing and when they left, which was too soon, Feed The Rhino had set the mood not just for the day but for the entire weekend!

Feed The Rhino welcome everybody to Bloodstock

Lee Tobin carried by the crowd

In spite of the fact that I had seen and heard three bands I had never heard of previously who totally blew me away, I still went to the New Blood Stage to seek out more. Playing at my arrival was the band Garshkott. While they weren’t bad, their sound was in the vein of Feed The Rhino and Bloodshot Dawn, and I wouldn’t be surprised if they were ever signed, in my mind, they didn’t measure up to the two bands I have just mentioned. Then again, those two bands set the bar astronomically high.

Garshkott giving it their all

Heading back to the RJD Stage, I thought I should see Onslaught. I had seen them at my first Bloodstock in 2010 but I didn’t remember anything about them. Seeing them again, I remember why I didn’t remember them, there’s really nothing about them to remember. While their music was okay and I have since discovered from Youtube that their recorded material sounds pretty good, they just didn’t do anything for me when I’ve seen them live.

Onslaught coming out to play

Another shot of them

The uneventfulness of Onslaught meant that when the rains came down in the final minutes of their set, I fled for cover. The closest was the New Blood Stage. Providing the entertainment in my new found refuge was Democratus. They weren’t thrash but good solid metal. The singer did a great job in getting those in the tent to sing along. He would sing out, “Is this what you call?” and the audience, me included, would shout back, “Democracy!” Very relevant at the moment and I thought they were pretty good. If I was a scout, I would have signed them before the previous unsigned band on the day.

Democratus

Still raining down in buckets outside, I decided to stay in the New Blood Tent to remain dry. It turned out to be the will of the metal gods because coming on stage next was Vulgore. Of the three unsigned bands I had seen so far, these guys were the best. Their music was loud and brash but the guitarist could shred a little too. Still, their music is not for the faint hearted. They announced they have an EP coming out titled “Bliss.” I might have to hunt this one down.

The guitarist from Vulgore

More Vulgore

Vulgore made the rain stop, so after their departure, I headed outside. On the Dio Stage at the time was Memoriam. I only caught the last two songs from their set but they sounded all right. Plus, I noticed that the lead singer’s hair probably made many ladies jealous.

Memoriam, but this photo doesn’t show the singer’s hair properly.

Still looking for the music, I headed for the Sophie Lancaster Stage where I was treated to the doom metal sounds of Godthrymm. This trio was doom metal in the true sense of the word, even more than Black Sabbath. Most of the songs were about death. I remember one lyric, “Oh God, you lost your only son,” I think that explains a lot. Guitarist hammered out some good solos and he shared the lead vocal duties with the bassist. Godthrymm proved a great change of pace on the day.

Godthrymm playing doom

I’m not sure what this picture was. I think it was this person dressed up going through the crowd during Godthrymm

After a brief but necessary break, I returned to the Ronnie James Dio Stage for the first band I truly wanted to see. Before that band came out, I caught the last few minutes of Swedish death metal band Bloodbath. They sounded okay and I was amused at the shirtless guitar player whose torso was covered in fake blood.

Bloodbath, not sure if you can see the guitarist covered in blood

Then came the big bombshell. It was announced that Suicidal Tendencies were running late and wouldn’t be up next. They were re-scheduled to play at the Sophie Lancaster Stage two hours later. I had caught up with Teal and Joe and we decided to get some dinner. I kind of regret this in hindsight because swapping places with ST was the all female death metal Japanese band Love Bites. I heard they were really good and I’m liking what I’m hearing thus far. Oh well, I’ll put a song of theirs in tribute.

Returning from our late afternoon bbq, I followed Teal’s suggestion that I go with him to check out prog metal band, Kamelot. Full marks to his wisdom here because I thoroughly enjoyed them. I was duly impressed with the guitar work of Thomas Youngblood but I won’t take anything away from the rest of this band, they’re that good. They brought a female singer on for a few songs as well which made them more diverse. Let’s say I was very impressed.

Kamelot

A better shot of them

Thomas Youngblood jamming

I tried to get the female singer in this one

Instead of Kamelot following Suicidal Tendencies, we had Suicidal Tendencies following Kamelot. Which way around didn’t matter as we joined the throng heading for the Sophie Lancaster Stage. There was talk that the sheer weight of numbers in ST fans would knock the Sophie Tent off its foundations. Suicidal Tendencies exploded onto the stage with “Don’t Bring Me Down.” Almost immediately, Mike Muir had the crowd in his hand with everyone singing the chorus. The band darted around stage and Mike did his little dance. It seemed that the opening song might go for the entire set because every time it sounded like it would end, the band would pick it up again. When the song did end, the audience was screaming their appreciation. Afterwards, they played songs “I Shot the Devil,” The War in My Head” and “Subliminal.” When they played the “Skater’s Song,” Mike announced that the band had been inducted into the Skater’s Hall of Fame. A young boy was brought up to play drums along side of Dave Lombardo for one song and they also let a man in a wheelchair onto the stage. ST are definitely a class act! In between songs, Mike talked about not letting things get you down. His advice was to “Get up, stand up for yourself and you will be the person you want to be.” Great words of wisdom. When they left, the crowd was on a major high and it was also announced that it had been the largest crowd the Sophie Lancaster Stage ever had. They were phenomenal and like Teal converting me to Kamelot, I converted him to ST. It didn’t even matter that they didn’t play my two favourite songs again nor the fact that they pretty much played the same set they had at Download last year.

The crowd heading to the Sophie Stage to see Suicidal Tendencies

ST comes on stage

Guitarist Dean Pleasants can still jam.

Another shot of Dean

Mike leading the charge

After feeding my face some more, we all headed back to the Ronnie James Dio Stage for the main even, Judas Priest. They had a massive stage set up with what looked like cacti which lit up on the wall behind. When the band came out, Rob Halford looked like a bent over old man but he quickly straightened up when they started playing. They opened with “Fire Power” and played two more songs from the album. It was the fourth song that was the big thrill for me when they revealed their all time hidden gem, “The Ripper.” I think I was the only one in the crowd who went absolutely nuts at it. Both Teal and some young lady in front of me both stated, “You’re excited about this song.” Next, they revealed that it was the 40th anniversary of their “Stained Glass” album where they played “Saints in Hell” as a tribute. Other Priest greats included “Turbo Lover” and “Freewheel Burning.” While Rob was the great show man he has always been for more than four decades, I was impressed with guitarists Richie Faulkner. He seems to have learned from his mentors and if the band was to continue, he is more than capable to carry them on. Scott Travis was pretty cool too and I loved how he and Richie traded solos. Things seemed to end with an extended version of “You Got Another Thing Comin'” and “Painkiller,” both drawing large cheers from the crowd. But Judas Priest weren’t done. Obviously, there would be an encore and that’s when they sprung a surprise. Glenn Tipton came out to play with them for the four encore songs. He did look a little frail and Rob kept coming over to him but he stayed the course. He even played a solo on the closing song, “Living After Midnight” which followed on from “Breaking the Law.” When the mighty Priest did leave, it was to much adulation and a brief but cool fireworks display.

Blasted light show kept me from getting decent pictures of Priest

See again!

A little better

Even taking a photo of the big screen didn’t work.

I kept trying though

Teal and Joe called it a night but I had one more act to watch. As soon as Judas Priest was finished, I high tailed it over to the Sophie Lancaster Stage to catch Doro. My timing was perfect because as I entered the tent, she was performing one of my favourites, “I Rule the Ruins.” That wasn’t the only one she treated me to, a few songs later, I got to hear “East Meets West,” where she brought out a former guitarist Tommy Bowen. Therefore, for the rest of her show, she had a three guitar attack behind her. Sounded real good when she played “Burning the Witches.” Doro engaged the audience really well throughout and while her light show was nothing like Priest, it was still pretty cool. “All We Are” got the crowd really going and it carried on until she left the stage. When she came back out, Doro asked the audience what song they would like. I was too far away so she couldn’t hear me calling out for “I’ll Make It On My Own,” so she said, since nobody came forth with a song, she’d pick one, which she did. A second song was asked for and she picked one from a young lady in the front and that’s how the night ended, with loads of bows and “thank yous” before leaving. It was a great way to end the first day!

Doro on the Sophie Stage

Better pics with Doro

Tommy Bowen on guitar

Doro mesmerizes the crowd

Note: You may have noticed that I haven’t posted songs from every band I saw. I thought to do it with the ones I had never heard of before and now you have.

Next post: Saturday

To download Rock and Roll Children, go to: http://mediahubb.net/14510967/rock-and-roll-children.html