Imperial Choklat Stout

Have you fallen in love recently? Wellllllllll, fuck man... I know I haven't, BUT at least I've got Imperial Choklat Stout in my glass now to make me feel better about my situation. Yes, I know more Chocolate stout's, but what can I say... they are tasty. So, I'll just slightly re-quote myself here and say, "Imperial Choklat Stout effectively blends two of my favorite things - Chocolate and good 'ol dark beer."

Choklat pours out smoothly with almost no head, but if you wait a moment a slightly tan head appears majestically and then disappears quite soon afterwards - much like love in my life. The color is blacker than night though also slightly dark brown at the same time. Damn thing actually looks like watered down chocolate syrup but still similar to a delicious mouth watering foaming stouty brew. The aroma is quite simply outstanding. Holy shit, son, it seriously smells just like chocolate! Its like I died and woke up in the Wonka chocolate factory with a cup of coffee alongside me to keep me attentive and prolong my confectionery intake.

And the taste... Arggggguuuuuuuuummmmmmmmmmmmm.... oh yeah, baby... (plus other drooling, sexual discharge sounds and such). It tastes just like it smells. Even the head is chocolatey, almost like a warm cup of hot cocoa, but with alcohol and much colder, of course. Oh man, this is good... I could probably drink several of these, but since its 1 pt. 6 fl. oz. in size and 10.0% alc. vol. as well as the $8 price tag tells me I should probably just drink one for today. Man, oh man, that taste is something else. I could chug this stout if I wanted, but my senses tell me to take it slowly and enjoy. Still, I look at my glass half empty and the bottle completely empty and I wish I had another ready to go. :(

And the after taste is interesting too. Not bitter or bad in anyway, in fact it leaves a cocoa-ish lip smacking wonderfulness that really, really makes me wish I had another one on hand (guess I know what I'm doing tomorrow). Thick, creamy and sexy like a stout should be, Imperial Choklat Stout really hits the mark with me. Also taking a glance at, southerntierbrewing.com will reveal that this brewery has many interesting drinks to try, especially, 'jah*va Imperial Coffee Stout,' which is making my lips wet just thinking about it.

Aside from that, the bottle is fairly normal pint sized and the artwork is decent, but I wish it could have something that revealed the taste more. I dunno, maybe like a hand dipping a chocolate bar into a dark beer? Hmmm... Southerntier has found a new loyal customer after tasting this first-rate stout and I greatly look forward to sampling more from them. Is it better than love and sex? Well, I get neither, so I say go with the Choklat, drink a few with your friends and wonder why woman are so fucked up as you get fucked up together. Now, excuse me, I've got a plate of brownies, the rest of the this stout to drink and some thrash metal to head bang too. Good night.

Nodding Sky Interview

J.M: As it stands at the moment, Nodding Sky is unsigned and as such probably isn’t that well known to most people (yet). With that said maybe we could kick this interview off with you telling my readers a little bit about the band’s formation, your sound and what you’ve accomplished thus far.

O-P: Nodding Sky started back in 2008 in a traditional fashion. We were a bunch of guys with passion for music and no active bands. Nodding Sky is the result of spending too much idle time together. The original idea to test our ensemble was to play some covers. However, we tried out our own song ideas first and happened to like them so much that we decided to concentrate on them instead. We started as a trio, but got lucky pretty soon after the hazy start and found two more members to fulfill the sound we craved for. We achieved that pretty quickly. I’d describe it as a blend of melodic death and doom metal, more in vein of the 90′s than 2000′s, with a hint of atmospheric black metal also from that era. I think we also have a progressive flow in our song structures as none of our current songs clock less than 5 minutes, though we have quite straightforward and rock influenced material too, in addition to the moody side of us. Atmosphere is the most important ingredient of a Nodding Sky song, followed closely by natural flow and rocking groove.

J.M: ‘For Those Left Behind’ is your debut recording and I’ve found myself left almost speechless due to the high quality of the four songs present on this EP. I can’t help but wonder what others have been saying too; likewise I’m curious to know if you’ve had any record label interest yet?
O-P: We haven't got an offer that would suit us yet. We’ve been sending our promo packages around, but there's still plenty of labels potentially interested in us, that haven't received it yet.

J.M: Lyrics were not printed in the digipak and one of the songs has words wrote in your native Suomi language. As a result of that I’m left curious about your lyrics and what these songs are about. From what I can make out it seems like a story might be told during the EP or at least the individual songs.
Ville: Every member in this band, except Pasi has wrote lyrics to our songs. Because of that, we don't have any certain line that we follow. Some lines just weren't meant to be crossed. Humour, sex, drugs and politics just to mention a few that don't fit that well with our music. For example "For Those Left Behind" is a story and pretty desperate one. Its about a group that travels in a world that is coming to an end. No hope left, they fall until there is only our hero left. "Murheen Saarnamies (Preacher of Sorrow)" is totally different. It contains lyrics that sheds light on how I struggle with my mind.

J.M: I like vocalist Ville Teräs voice a lot. His deep guttural roars and shrieking screams go well with the music as well the cleanly sung parts are great since they seem to reveal his accent a little bit. Does he have any special vocal training or is it just a damn fine natural ability on display here?
Ville: I have taken some private vocal lessons when I joined this band, but nowadays I just train with the guys a few days a week. When it comes to the growling and screaming I don't know how I do it. I just yell like it's the last day I'm living and if it doesn't hurt (too much) its okay!

J.M: Likewise the guitar work, drumming and the overall song structures, flow and sense of dynamics is exceptional for a debut EP. How long have the members been playing their individual instruments and writing
songs?
O-P: Thank you. I think that the major source of that flow you described is our manner of arranging and finishing songs as a whole band during our rehearsals. Usual pattern is that one of us brings the song idea to rehearsals and we’ll try different ways to approach and play it until we reach the strongest flow in the song. Sometimes it’s rather quick, smooth and easy process, sometimes quite the opposite. Fact that almost every guy in this band has a history of playing in a band for several years has surely made things easier in general. Regarding my personal experience: I’ve played guitar for good number of years, some of them actively and some so passively that I almost never touched the instrument. New active era of playing begun by the birth of this band. However, writing music is a thing I’ve never ceased doing since I was a youngster.
Pasi: I have been playing around 15 years, having some breaks during that time. Longest break I had was around a year, and I sold my drums at that time. Regretted that decision because I used to have late 70's
John Bonham style Ludwig kit.
Matti: I got my first guitar age of ten but I switched it really soon to bass guitar. I’ve been playing with bands since the age of 13, which means I've been into the wonderful world of rock and metal more than 20 years...dude, that’s strange...

J.M: Your bio states that you have many new songs written and ready to go already. Does this newer material follow in a similar path as the EP or can listeners expect something a bit different?
Sami: Main thing in our writing is to make good songs and keep up with the atmosphere. These elements are still in new songs so you could say we are following the same path as before. One of my favorite songs is
one of these new ones so I could say that new songs are even better than the older ones. I'm still standing behind every song that we have and I love them all.
O-P: Yeah, that’s true. The EP is like a checkpoint where we had developed the style that felt best for us and chosen the songs that would be most valid to represent us in the future. In other words, the path we have followed after the EP is still the same, but the difference is that we have come further along and it has grown a bit wider. In our every song the guideline to maintain the atmosphere is natural progression, and that is what has happened to our music in general. You can expect to hear something in vein of the EP, but more versatile and higher quality in every aspect.
Matti: We’re following the Nodding Sky direction, just taking it forward one song at the time, let’s see what it evolves into.

J.M: What is a Nodding Sky live set like? Is there any special mood you wish to achieve when playing or do you have any stage props with you? For some reason lots of incense and fog seems appropriate for your
music on the stage.
Ville: When we step on the stage, we just go with the flow. Let the emotions take control and see what happens. After the gig I don't remember half of the things that just happened on stage and day after the show I usually have a hangover, even if I were sober, it's weird.
Matti: We have at least 2 and a half ADHD cases on the band, so its surprisingly restless sometimes. We had a gig the day before writing this, and I cant move my neck from headbanging.

J.M: I really enjoy the acoustic reprise of, ‘Murheen saarnamies,’ especially the way it gives an already great song a whole new vibe and structure. Do you for see other acoustic songs in your future or perhaps the acoustics just playing a bigger part in your overall output?
Sami: Our music needs acoustic parts in it. That way we can go deeper
with the atmosphere. To have that as bigger part in our music is more
improbable. We are planning to do at least one song that has been
already written as acoustic song but will there be more... will see
about that.
Ville: Not sure if we are ever going to go fully acoustic again. It's not impossible, but not the first thing we are planning to do next. We made this one simply because we had some extra time due the lineup changes.
O-P: There’s been an idea of one song that could be done entirely acoustic, but it’s still just an idea. Perhaps they will play a bigger part, but only if song’s character demands it. If we come up with a song that needs more acoustic, cleaner or mellower parts, then we will use them more.

J.M: All of your songs are fairly long in length. Was it a conscious decision from the start to write long songs or did it just happen naturally during the writing process?
O-P: It’s never been a conscious decision like, “now I will make a song that clocks over 30 or under five minutes”. As I said earlier, I like to think that all our music is a result of natural flow, and by that I mean that a new song always begins from one primal idea, be it a short melody line you whistled or hummed during a walk or a riff you developed during aimless jamming. If it stirs up emotions strong enough, then from that seed grows a song that follows the mood until it feels like it has a beginning, an end and, most importantly, a good story between them. That means also that all of our songs tend to be rather long. I think that if you want to make a song with substance in our “genre”, it’s necessary to grant the song enough duration to grow and to allow it to burst in full bloom.
Sami: Songs are long but they still keep themselves together. Some
other bands could do many songs of our one song riffs. Every part of
our songs are serving the song it self and if you leave something out
the song is missing something.

J.M: I have to also admit that I was greatly impressed with the professionalism of this recording; from the great production values to the superb looking digipak, bio sheet, band photography and even the
band logo envelope you sent the EP in. To me that suggests that you guys are really pumped and have some serious hopes for the band. So, with that said, what does Nodding Sky have planned for 2012?
Ville: It makes my cold heart a bit warmer that someone gives attention to things like; how does the promo envelope look like.
O-P has done great amount of work creating the image how Nodding Sky should look like graphically. 2012 brings with it new Nodding Sky songs and gigs. We already have lots of songs waiting to be recorded.
O-P: Most probably we’re going to record a full-length album - via some label, or do a self-financed that we're going to offer to the labels. I suppose it’ll see the daylight during this year If all goes as planned. All in all, we have plenty of new material that we think deserves to be published in a form or another.
Matti: Finns are serious about the work at hand, a bit of perfectionists if you like, if you're doing something, even if its a mistake, better do it as well at possible. If you're gonna fuck up, better fuck it up good and proper. Plan for 2012 is more, better, deeper, and again some more.

J.M: I visited Finland for Tuska festival as well as other sightseeing in July of 2011 and had the time of my life and after all was said and done I really considered Finland to be the most awesome place on earth. I met some Finns though that thought Finland was really just alright or even boring, but then again a friend of mine simply said, “Familiarity breed’s contempt,” which I can understand. With that said, what are your thoughts on your homeland, Finland?
Pasi: I hate the winter that we have in southern Finland. Otherwise I
don't have complaints living here.
Matti: It was pretty backward place until the European Union, and metal music surely wasn’t the mainstream music the way it is here today. Nature is beautiful, but the strict rules and regulations are backfiring with huge assumption of alcohol, which is the only way to release from the pressure.
O-P: Although some things could be better, so many more could be terribly worse. l think our country today is a fine place to live in. The nature here has always been soothingly beautiful - if not exceptional.

J.M: Sort of going back to the last question, personally speaking being in Finland made me quite happy, but it seems to be a constant theme within Finnish bands even Nodding Sky to have some sort of melancholy
vibes. I wonder is this just a theme or is it actually the way a lot of people feel inside? If so, why do you think it is this way? Sorry, odd question.
Ville: I don't think that we Finns are that melancholy. I guess that we just channel the melancholy in to our art and music. At this time of the year it's easy to drain the melancholy from around you. All you have to do is to look out of the window and see how the darkness has taken over.
Matti: You'll understand if you ever see the polar autumn and winter. Its melancholic, coz of the surrounding nature. Music is a good outlet for it.

J.M: Do you the other members of the band enjoy a good alcoholic beverage now and again? If so, what beer or drink do you find yourself pouring down your throats often?
Pasi: I don't drink much, just occasionally have 1 or 2 beers. Usually enjoy Velkopopovický Kozel Dark.
Matti: You really have to fight the urge for it, this is a band that originally drank A LOT but to be honest, you cant pull a good show when you're drunk, and more than often, when the show is over its too late and you're too tired to get properly blasted.
O-P: As for my part, the usual Finnish way of getting properly drunk is pretty rare these days, but I do enjoy a pint of good beer or a glass of wine every now and then. My latest favorites have been the products of San Francisco based Anchor Brewing Co. Every sort of beer or ale they have brewed are great. Other favorite brewery for last few years has been Norwegian Nøgne Ø.

J.M: I understand the members of Nodding Sky have past band experience with Silentium, Watch Me Fall and Strikin’ Case. Personally I’ve never heard any of them, but Silentium seems to have a fairly decent following with many releases behind them already. If curiosity should overcome me what might one find when listening to these bands?
Matti: Silentium has been said to be a combination of Nightwish and My Dying Bride. Dunno, I'm making music, YOUR job is to review it :D
Pasi: Strikin' Case is pretty much straight forward hard rock.
O-P: Watch Me Fall played blend of melodic death and doom metal. It was pretty close to what we play with Nodding Sky today.

J.M: I noticed you didn’t have a metal archives page set up yet, which seems odd considering bands that formed yesterday have metal archive pages. Is there any special reason for this or are you just not a fan of the site?
Ville: Wow, that has to change! We will create profile there also.
Matti: It might be its not so popular way to promote your band in here, I think people prefer facebook or myspace, but we’ll get this shit soon unfucked.
O-P: As you read this I have discovered that a guy called Thomas from United States has already reported us there. Thanks! (Good job, Thomas - J.M.)

J.M: History has always fascinated me and I’ve always thought about what life would have been like if I’d been born 20, 40, 60, or 80 (and so on) years earlier. Is there any special place in time you’d like to travel back to and explore or are you content with living in Turku, Finland in 2012?
Pasi: I don't really feel I'd like to live some earlier period, it was fascinating enough to be teenager during the 90's discovering bands that later became big names.
Ville: 70's. So many great bands to see live... But Turku in 2012 is OK too!
Matti: Well, in 1820’s Turku had the population of 10,000 and around 120 legal bars and booze shops, which must have been a bit chaotic... But I cant imagine life without Rock’n’roll or Metal.
O-P: Yeah, that has crossed my mind too, but I think the decade I was born in was fine enough. Later would have possibly been even better. To me it’s always interesting to take a look back in history from distance where you have a good and wide view to it, and also nice to think that certain things are past and gone for good.

J.M: Can you think of any other notable up and coming unsigned bands from Turku that you feel deserve the extra attention?
Ville: I don't know that many unsigned bands from Turku, but we have shared the stage with few awesome unsigned bands from Finland. Ruinside to mention one.
Matti: Dismay from Turku.

J.M: It's rather obvious you spend a lot of time on your music, but I'm sure you have other interests and probably have a full time job. So what do you do when you're not creating music?
Sami: I'm doing full time job as a glass worker. I know it's not the best
job for guitarist as being afraid to lose my fingers but I'm always
careful. I like photography and I do tattoos as a hobby for my
friends... maybe someday I will do it as a full job. Other/first
interests are of course in music.
Pasi: I work full day at polymer technology firm. I also play percussion in a acoustic folk trio called, Mitra. Also recently started to go to the gym, so doesn't seem like I have problems thinking how to spend my
spare time.
Ville: I'm a sportsfreak and I study computers.
Matti: Social worker and a educational science and sociology student.
O-P: I work as a designer in b2b marketing business. I’m also father of one year old boy.

J.M: I don't know if you've had a chance to take a look at Lunar Hypnosis in detail, but if you have what are your thoughts on the zine/blog?
Matti: Looks great man, I mean the list of bands reviewed is looking like its soon about to cover most of metal music.
O-P: I think it’s great that you don’t review only contemporary records, but also some classics and stuff from many years back. I’ve read some of your reviews and agree to most of them. Also the beer reviews are interesting.

J.M: Well, my brain is failing to produce any more questions, but perhaps we can do another interview a few years from now once you’ve got a few albums out and kicking everyone’s asses with them. Other than that I hope to someday see you live either there, here or somewhere and I wish the best of luck to you for the future. Feel free to conclude this interview with any words of wisdom or final thoughts.
Matti: “Fuckingchicken!” Esa Tikkanen, Edmonton Oilers
O-P: Thank you Matti.

Website: http://noddingsky.net/
Facebook: http://www.facebook.com/pages/Nodding-Sky/116803116246

Horna / Musta Surma - Vihan Vuodet (2005)

This split release between Finnish black metal bands Horna and Musta Surma is a bit interesting since everything on it was previously released in an alternate form earlier. Originally in 2000 a 7" vinyl (lim. 500) split with two songs each was released while in 2002 a 12" vinyl (lim. 350) containing re-recordings of both bands demos appeared. Essentially this third split between these two bands is a collection of these earlier splits made available by American label Moribund Records.

The first two songs from Horna are from that early 7" and these songs are fairly standard mid-paced raw black metal Horna songs, somewhat catchy but ultimately not anything to get so wild about, while the next four songs are re-recordings from Horna's, 'Varjoissa' demo tape, which originally appeared in '95. I've never heard the original demo, but these re-recordings hardly sound new as the production is still ugly, filthy and about as raw as black metal usually gets without being intolerable to listen too. Again these songs are mostly mid-paced, repetitive, hypnotic, fuzzy, evil and totally black metal all the way, though the vocals are, well, just odd sounding. I guess I think of troll's when I hear them and normally I don't mind things getting a little troll-ish here and and there, but these vocals suck and that's really all that can said.

If truth should be told I actually bought this split for the Musta Surma songs, which back in 2005 a friend had strongly recommended the band to me based off of their appearance on the, 'Crushing the Holy Trinity' compilation, which I didn't pick up, stupidly... these here will have to do for now. Anyway, Musta Surma's first two songs are again taking from that 7" and although their style of mid-paced to speedier, sometimes slow and repetitive raw black metal is similar I'd have to say these guys greatly triumph over Horna this time. MS songs are fairly riff driven black metal compositions with typically raspy vocals as well as audible bass work and a good flow to each of these first two songs. Their last four songs from the 12" then are not really different at all, in fact the production is similar, although the guitar tone has a bit more reverb and harshness on the ear, but the same tempos and malevolent feeling remains.

This split is by no means a must hear, in fact its completely forgettable, but at the time of purchase (a few months ago) I was really feeling it for the rawer side of black metal and Horna in particular, and as always because both bands are Finnish too (and I need to hear more Finnish black metal). It serves as a decent look into Horna's past (which apparently sucks) where as this is the only release of Musta Surma's (which is quite good) that's readily available as I'm sure all the other EP's and compilations have long sold out (they never released any albums).

Barathrum - Anno Aspera: 2003 Years After Bastard's Birth (2005)

Formed in 1990 as Darkfeast, but quickly changed to Barathrum, Janne "Demonos" Sova's long running band is among with Beherit, Archgoat and Impaled Nazarene as some of the first black metal bands to emerge out of Finland. Mainly Demonos own project with several previous members (including folks from Finntroll, Gloomy Grim, Ensiferum and Flame), Barathrum had issued seven albums before this eighth release, 'Anno Aspera: 2003 Years After Bastard's Birth,' which is also the bands most recent full-length.

Barathrum has always been a bit odd by traditional black metal standards and this release is surely no different as the intro, 'Antikristus Neutronstar' sounds like a horde of drunken Satanic Gremlins about to set a church ablaze, complete with loud chatter and howling noises, things are off to a bizarre start. 'Corpse Desecration' on the other hand is fast hard hitting old school Bathory-ish jam with one hell of a drive and damn catchy chorus to boot. 'Into Maze Of Nightmares' is slow and hypnotic in the beginning but kicks up in speed and devilry midway through before alternating back to the slower pace and then fast again. 'Angelraper' is a brawling head banging fist pumping bass heavy track, which absolutely kills and thrills, while, 'G.I.D.' is more mid-paced yet still quite similar overall in its catchiness.

The remaining five tracks don't differ much (other than the title track, which is longer and doomier) from these earlier songs, although the fast to mid-paced old school Bathory-ish vibes remain with plenty of memorability as well as an always very audible bass guitar, which gives the whole damn thing a unique feel. I also pick up some strong Impaled Nazarene vibes when I listen to this record though since both bands formed in the same year and since I'm completely unfamiliar with Barathrum's early efforts its hard to say who might be copying who, if at all.

It should also be pointed out that the lyrics are totally simple tales of necrophilia, terror, rape, blasphemy, goat worship and death all with a morbid sense of humor and a fucking hell of a lot of fun too. I don't think Barathrum is meant to be taking too seriously though and as a result this is just one of those quick (thirty seven minute) drinking and head banging records to enjoy with your metal comrades alongside you. Speaking of drinking, why am I not doing so now?

I've known about Barathrum for many years now and other than, 'Legions of Perkele' I've completely neglected this band, which I think I'm going to change since I absolutely get a kick out of this one. If you're looking for some fun, simple, short and rockin' tunes you can't go wrong with this one or Barathrum in general. Hails and nails, motherfuckers!

Rain Paint - Disillusion of Purity (2006)

Rain Paint, The Finnish Gothic metal band of Aleksi Ahokas made a big impression on me with their first album, 'Nihil Nisi Mors' and with that in mind you'd think the follow-up recording would have been something I would have purchased instantly upon its release, but it wasn't until about two years ago that I got my hands on the bands seconds album, 'Disillusion of Purity.'

Looking back to that time I recall this recording not making a huge impact on me, but I think a lot of the reason for that has little to do with the music, but actually the lyrics. Lyrically its mostly centered around relationships and the longing and desire to be back with someone who meant the world to them. As it turns out I just found myself in a situation with someone I had come to care a lot about, but as my life usual goes it fell apart just when I thought things were at an ultimate high, but at least I was able to retain friendship with the person. In any case when your feeling low and your in one of those moods (I'm sure you've all been there) lyrics like this hit home like they've never done before and that's how I just recently came to appreciate this record.

Anyway, Rain Paint's music is mid-paced Gothic metal with mostly cleanly sung vocals though a few growled roars make an appearance courtesy of Henri Villberg (Rapture) and the occasional backing keyboards from Tea Dickman (Fragile Hollow). The mood of the music seems to change a bit as the CD progresses as the opening song, 'Year or Two' has the strong doomy/melodic death vibe of Rapture (Aleksi's other band) where as the next two songs, 'Give Back my Heart' & 'Heart Will Stop' have that sort of happy but sad Sentenced Gothic metal thing going for them. 'Thru the Mire' signals a change in the music as it shifts to much doomier and depressing territory and the mood becomes even bleaker with the next song, 'Disintegration.'

Something you should know is that, 'Disintegration' is a cover song of The Cure and the original is by far one of my all-time favorite songs and to hear it metalized is interesting and ultimately quite successful too. I love the way Aleksi manages to capture a similar desperate despondent mood with his vocals and instead of simply copying the song they actually do their own unique version of this timeless song. Likewise the music holds that same discouraged feeling, though it does make me long to hear the original usually after listening to this cover. The remaining four songs more or less shift between the styles mentioned above with, 'Final Peace' and the nine minute instrumental, 'Disillusion (outro)' standing out flawlessly.

Although Aleksi was always involved in many metal bands, 'Disillusion of Purity' ended up being his last metal album as he seemed to disappear from the scene after that, though I just found out he's actively playing in a band named Plans these days, which is a bit mellower and more rock related, but still with the depressive qualities that he's known for from his metal days.

In the end, 'Disillusion of Purity' isn't an everyday sort of album because it gets me thinking about stuff to much, but when life pulls at those heart strings I'm glad there's album out there like this one.

Lunar Hypnosis on Facebook

I figured now that Lunar Hypnosis has been here on blogger for a few years and the content is large (and hopefully good) that it was now time to make a facebook page for it (the trendy thing to do). I'm mostly just doing it with hopes of getting the name out there and so more people will be able to find it and enjoy what I do. There's not a whole heck of a lot there just yet, but if you'd like you can certainly visit the page and "Like" it. Here's the link: http://www.facebook.com/pages/Lunar-Hypnosis/293970663985730

Wake Up Dead Imperial Stout

"Wake up dead, you die! Wake up dead, and buried, Wake up dead, you die, Wake up deeeeeeeeead!"

Oh, excuse me, every once in a while beer makes me break out singing and why not when you've got a stout in your glass that's unintentionally named after one of Megadeth's most legendary songs. Therefore, I sip, drink and chug, 'Wake Up Dead Imperial Stout' for you today!

Wake Up Dead pours out a dark brown almost dark burial gravel black color with a minimal amount of head, which is light tan in color and all in all very typically stouty in appearance. The aroma is like the fetid reek of rotting flesh, but, well, no... as its quite hoppy and coffee like on the nose, but I can at least wish for a zombie brew, right? The first swig reveals many different tastes - Burnt coffee, licorice, smoke, woody and a little caramel & toffee-ish zest. As the stout sits I find it becomes a bit more bitter in taste, but still quite good with a strange lingering cherry-ish taste somewhere in there too. All in all, not too bad at all with a semi-creaminess and easy after taste too.

'Wake Up Dead' is 1 Pint and 6 fl. oz in size and 10.2% ABV, which means you'll probably be feeling just fine by the time you finish it off. If truth be told though I did buy this one just because of the name and the artwork, which fucking rules, and in an odd sort of way reminds me of the Inquisition artwork on their latest record, 'Ominous Doctrines of the Perpetual Mystical Macrocosm.' I haven't heard that one either, it probably sucks, but it still brings that image to mind.

Off hand I don't recall what I paid for this stout, but I don't seem to remember it being anymore than $6-$7, which isn't bad, but perhaps due to it not tasting wildly different from other stouts I might not pick it up again. However as always if your looking for a drink that has random weird metal connections, then here you go. Crank some Megadeth and keep longing for that zombie epidemic!

It's Black Friday, paint the devil on the wall!

Virgin Black - Requiem - Mezzo Forte (2007)

Originally intended to be a trilogy of albums released entirely in 2007, Virgin Black's, 'Requiem - Mezzo Forte' saw release in early-2007 and was the first of this thus far still incomplete threesome.

With this release the band had completely reinvented their sound and in a lot of ways created something that could only be described as neo classical doom/death metal. Largely consisting of breathtaking and often times bombastic orchestral passages and accompanied by male and female operatic singing, a backing choir and some typical doom/death metal heaviness with the occasional low guttural growl too.

All scores within this album were performed by the Adelaide Symphony Orchestra, which means everything is organic and synthetic free. Each song contains some very beautiful passages too, which often times take on various sentiments. Sometimes I found the music to be simply gorgeous, but at other times it contained darker sinister feelings while at other times the mood seemed quite somber, tragic or just plain mysterious and much to my delight the music often times becomes very epic. Funding such a project must have been a financial nightmare, but one listen to this album and you'll see that it wasn't funds poorly spent.

Band mastermind, Rowan London and a guest soprano singer handle most of the lead singing, which as I previously mentioned is in an operatic manner, especially Rowan’s singing ability has matured greatly since the last album and here he delivers his best performance to date, both operatic and death metal styles. As for the choir the results are quite stunning and its incredible the feeling their backing voices create around the symphony and the metal heaviness.

The doom metal elements although kind of overshadowed by the grandiloquent orchestral parts are still excellent with some really interesting guitar riffs and occasional solos too, and there is plenty of heaviness on this album to entertain the stubborn metal listeners who insist on only listening to metal. In fact I'd say the song, 'Lacrimosa (I Am Blind With Weeping)' is one of the most dismal pieces of music I've ever heard. Between the symphonic sections, choir and doom heaviness you'll experience some of the most calamitous beauty ever recorded.

At fifty two minutes and eight seconds there isn’t one moment on this album that I found to be dull or without brilliance. Each song offers up so much and even after you listen you’ll probably want to listen again since its so dazzling. Really, every last detail is well thought out and executed perfectly and I suppose this explains why the band had been quiet for four years after their previous album, 'Elegant... and dying.' Masterpieces don’t write themselves, no, masterpieces take time and indeed this album reflects that.

In early 2008 the second album in the trilogy, 'Requiem - Fortissimo' was released and was quite interesting since the orchestral and choir parts were considerably reduced and in the end it was more doom/death than the neo classic sound that was represented on this album. Sometime there after the band went on hiatus with, 'Requiem - Pianissimo' still waiting to be released.

Hopefully Virgin Black isn't gone, but even if they are they have at least created something I've cherished for nearly five years now and will certainly continue to adore for many more to come.

Zoät·Aon - Star Autopsy (2005)

Zoät•Aon is one of many very fascinating bands to be found on the Finnish label Aural Hypnox, which specializes in extraordinarily ritualistic dark ambient music. 'Star Autopsy' was created and performed by Jaako Vanhala whom hails from Oulu, Finland.

For a debut album I must admit this is way above average and easily outdoes most veterans in this genre. Zoät•Aon’s music is built around ghostly droning ambiance, odd swirling slightly industrial synth sounds in the foreground, ethereal textures, demonic voices, backwards speaking, a variety of percussion instruments (including human thighbone's) built around a very ritualistic feeling, and so much more that its really hard to put into words. Jaako takes us on one very unfriendly expedition through what could very well be hell itself. The music is incredibly dark and frightening and like label mates, Halo Manash, the voices scattered throughout the recording have that potential to really freak me out after sometime.

It’s hard to pick a favorite, but, ‘Dark Grammar’ seems to be one that really stands out. The song has this gruesome ambiance and this weird ringing sort of sound in the background, when suddenly at almost the three minute mark some harsher industrial/noise sounds enter the song and those devilish voices come back again to haunt me. ‘Exo’ is also very good at having an uncomfortable cavernous sentiment to it giving the listener the notion that something is lurking in the dark waiting for them. The two lengthy ending songs (both over eleven minutes) also follow a similar path as the two preceding mentioned songs, and although I probably don’t need to say this, ‘Star Autopsy’ as a whole is bloody amazing!

Star Autopsy also comes in a six panel digipak with silver print, drawings, and is limited to just a thousand copies and is long sold out too. If memory serves me correct this album and Halo Manash’s, 'Syoma' were really one of my first experiences with Finnish dark ambient music.

Much like many bands in heavy metal, the Finns really know how to create something amazing and ultimately quite original and engaging too. If you can find it, this is simply a must hear recording from the Aural Hypnox record label.

Vinterriket - Der letzte Winter - Der Ewigkeit entgegen (2005)

Vinterriket (Norwegian & Swedish for, 'The Winter Realm') is the first and longest running project of German musician, Christoph Ziegler who since 2000 has been releasing music related to the dark side of nature. During these past years he's released a staggering amount of music, although in many cases releases are very limited and then re-released under new names or together as compilations. He also seems to create a great deal of merchandise with everything ranging from shirts, hoodies, posters, photo books, DVDs and deluxe box sets.

'Der letzte Winter - Der Ewigkeit entgegen' seems to hold a special place in my heart as I remember the winter of 2005/06 not being a very pleasing one for me and I seem to remember frequent trips driving through snowy landscapes and thinking about life on many occasions with this album as my musical accompaniment. Also in particular the song, 'Winternacht - Kalte Schwärze im Bann der silbernen Sonne' is significant for me since this song had appeared on the Lunar Hypnosis mp3 compilation, 'Dreams of Winter Under the Scorched Summer Sun,' which had come out in August of '05, actually before this album did, thus making it exclusive for a short while.

All that aside, this record is in Vinterriket's highly atmospheric black metal style with only three short ambient tracks. This style relies heavily on backing synth passages mixed with buzzing raw distorted electric guitars, programmed drums and throat shredding vocals in German. The black metal tracks are generally very long (the shortest being seven minutes) and they all open with very dark moody intros that then rip into the scything blackened terror that is Vinterriket. Each of them have the dark synths running throughout the entire song and almost all of the songs also have breaks in them for just purely ambient moments and nature sounds as well, which really increases the winter mood.

The guitars don't offer up much in terms of melody as they mostly just sound like a raging winter storm and I think perhaps that's a bit of a shame as some distinguishable riffs would have been immense. The same could be said for the programmed drums too, since you can easily tell they are not performed by a human, which is hit or miss with most folks, but for all I know newer Vinterriket records in this style may have just what I always wanted.

I've always found CZ's metal records to work as one cohesive long song where individual songs really don't stick out as much, yet the whole experience is quite good. As I mentioned above I used this record a lot during the winter time after its release and truly try placing this album in your car's stereo while driving around at night during snowfall or while walking through a snowy field or forest and you'll find yourself being transported to this hypnotic winter realm Christoph is seeking through his creations.

'Der letzte Winter - Der Ewigkeit entgegen' and Vinterriket creations in general are not for everyone, but for those that are looking for absolutely cold atmospheric black metal with original and beautiful sounding synths should definitely give this one a chance.

Battle Dagorath - Ancient Wraith (2011)

For the first time this winter its actually snowing and rather steadily outside my living room window, therefore this seemed like the appropriate time to analyze the latest Battle Dagorath release, 'Ancient Wraith.'

Although it slipped by most listeners ears, the bands debut, 'Eternal Throne' was a monumental release of enduring, epic, cold and incredibly atmospheric black metal. This follow-up is in a similar style, though some differences are there, yet it seems like the basic framework is still present. Other than the bands mastermind, Black Sorcerer Battle (guitars, bass and vocals) the remainder of the band has changed with Shadowvoid handling drums and additional guitars, Christoph of Vinterriket/Atomtrakt fame providing keyboard work as well as Hexannacht providing vocals on one song.

The album opens with a three minute ambient song titled, 'Spirits of Winter Darkness,' which along the way has the sounds of whipping winds in the background and it perfectly sets the mood for the listener as its three minute duration passes. 'Empire Of Imperial Shadows' then blasts forward and the quickly noticeable characteristic of Battle Dagorath's music is dark but gorgeous and haunting melodies that lurk within this song, although you'll also take notice of the lesser melodic guitars that are generally just a raw buzzing ambiance that goes along with the chaotic music, although some cleaner guitar parts are heard as well as some acoustic portions too. The drums mostly rely on blasting and the music in general seems far more raging, but not always as some calmer moments can be found, but in the end it all helps to create the harsh unforgiving winter sound the band strives for and Battle Dagorath is incredible at it.

I'll admit I don't think the next two songs, 'Where Darkness & Frost Prevails' & 'Spellbound Requiem Of The Winter Night' differ that much in style from the former, but are still highly atmospheric in their raging winter black metal glory, but by the time the listener arrives on, 'Kingdom Of Black Abyss' the album reaches its peak. Considerably the most enormous song the album, it opens with a familiar Vinterriket synth passage while building up gradually over the next two minutes or so until all hell is unleashed upon the listener. Around the five and half minute mark things calm down once again and eventually an utterly spine tingling slow riff enters alongside a magnificent and despondent synth melody that continues on for the remaining minutes of this fourteen minute beast. The sixth and final song, 'Ancient Spectre Of Oblivion' is a nearly twenty minute experimental song, which is a part ambient and noise composition, which is fantastic if you dig that sort of thing, but most don't. Fortunately, I dig.

As a whole I am quite pleased with, 'Ancient Wraith' and the development and changes the band has made between its two releases. I'm sort of undecided which release I enjoy more, but it really doesn't matter since both are quite good. I should also mention that Battle Dagorath is an American band and for those that would say the American black metal scene is dead, awful or just plain nonexistent should probably listen to this and be proved fucking wrong!

Last.fm

A nice little fact about me is that I quite fancy the website, last.fm. I find the whole scrobbling and building a music library to be quite a fascinating concept and apparently I'm not the only one since as of 2009 the site had 30 million active users.

It's also allowed me to meet some priceless and great friends, which much to my amazement I've actually met in real life and had good times with. I've found friends near me as well as on both the east and west costs of the USA and up north of me in Canada. Stretching even further to the other side of the world I've found friends in England, France, Sweden, Norway, Finland and Estonia, and yes once again actually met all these people. It has also occasionally reunited me with friends or band members I knew else where on the Internet or from the old LH website, but lost contact with for whatever reason.


I also find it interesting the way the scrobbler keeps track of what I play and since February of '06 when I joined its been fun playing my favorite bands and watching my charts grow. In a very odd sort of way I had dreamed of something like this back in the mid 90's where I had envisioned an option on my stereo that would keep track of how many times I played a CD or a single song simply because I've always had some obsession with random pointless statistics, despite that fact that I actually really hate numbers. Back then, perhaps around '95 or '96 I never would have imagined such a creation ever coming into existence. You can only imagine my joy when I came across last.fm in early '06.

Personally I aim to keep my profile and scrobbles as close to what I actually own as I'm a strong advocate of playing only physical music or if you prefer my own personal quote, "Only physical music is real!" Therefore, bands and albums come and go from my charts sometimes as I do occasionally sell stuff, and if you're thinking, "Dude, get a fucking life" then you're more than welcome to think so, but I really don't care. Music means the world to me and its something I take very seriously as its brought me so much joy and allowed me to meet amazing people too.

Therefore, I figured it would be a good idea to bring my last.fm profile to the attention of this blog so my readers could not just read my writings but talk with me on last.fm if they so choose to do so. I know many of you already have me as a friend there, but this is for the others out there that haven't done so just yet.

So, if you'd like to add me, then feel free to visit my profile and do so. Say hey, leave me a shout and will go from there. And if you haven't already joined last.fm then I strongly recommend it as I believe its the one and only music forum/site out there really worth spending any time on. And the amount of great music you'll discover and friends you'll make will really be worth all of it too. Check it out!

Atomtrakt - Nuklearchetyp (2009)

Christoph Ziegler sure is a busy guy. Nowadays playing in or at least contributing something to eight different bands is surely a hell of a feat. Atomtrakt, which has been active since 2004 is his martial industrial project of cold grandiloquent, atmospheric, industrialized, and militant sounding ambient music and to date he's released four full-length albums as well as a demo and a EP. I was recently sent his sophomore effort, 'Nuklearchetyp,' which sounds fairly similar to his debut, 'Schutt & Asche' though nevertheless interesting.

Thematically Atomtrakt is centered around war and the digipak artwork within has various photos of explosions and post bombed cities as well as some smug looking chap on the front, which is... Christoph himself, I think... yes? Anyway, Atomtrakt's forte is highly melodious epic synth compositions mixed with stomping bombastic percussion (some military beats too) as well as various samples and raspy spoken vocals in German. The atmosphere is about as desolate as music gets and that might sound odd considering the lively nature of the synths at times, but in this case it feels more like an army storming my village and bombing my ass whereas a lot of other martial industrial bands seem to make the listener feel like the high commander. There are also some calmer moments on this disc where the dust starts to settle and that's when I find it really getting to me. I probably shouldn't be drinking Wisconsin brewed beer as a I write this, but perhaps some Russian vodka or some good 'ol Braunschweiging Jägermeister instead.

'Nuklearchetyp' is a fairly solid disc and if you're familiar with his past work you'll be getting more of the same, but it could also be a surprise for those that don't know it. There's also an Mpeg video included for the song, 'Eisenkerker,' which is basically just B&W footage of various abandoned buildings, fields, tanks and other grim shit, but it works.

And as one final thought I hope the two most recent Atomtrakt releases have a little more experimentation to them even though I probably wont make any special effort to obtain them, but if they should happen to come my way it would be pleasing to see something a little bit different.

Young's Double Chocolate Stout

The top of the can says, 'Pure Luxury' and goddamn it all that pretty much says it all. Young's Double Chocolate Stout effectively blends two of my favorite things - Chocolate and good 'ol dark beer. And it's delicious too. In fact the only thing its missing is some sort of pull tap that reveals a speaker underneath that plays, '22 Acacia Avenue' when you tilt the can in just the certain way. I'm not sure why that song would be appropriate with dark beer and chocolate, but I'm going with it for now. Yes.

Pour it into a cold glass to reveal its dark mystic color, but also take notice of the lighter browns that swirl about at the bottom of the glass. It's seriously interesting to watch, especially if you've already had a few glasses, because it literally looks like some sort of brown beer storm raging battle within your glass. Over time it settles to a purely black body with a thick creamy light tan head. The scent is surprisingly not overly chocolaty, but actually quite faint with some mild burnt and espresso fragrances.

The initial taste to me is literally like a typical dark stout mixed with chocolate milk and if that sounds gross to you that's just fine, but to me its absolutely wonderful. There's also some burnt malty and mild vanilla flavors present too. After a while it seems like the chocolate flavors disappear slightly allowing it to sit reveals a more typically stouty, coffee and bitter like taste, which means its best to guzzle this one down quickly to preserve that chocolate taste. Nevertheless I enjoy this one and I find it almost impossible to just drink one at a time. It's really that good.

Overall this is a strong stout with great flavors and only a little bit of bitterness to it. Definitely recommended for those that desire a little more sweetness in their stouts.

Gorgoroth - Pentagram (1994)

Of all the old early 90's Norwegian black metal classics, Gorgoroth's debut, 'Pentagram' has always ranked among my favorites. With a simple title, cover artwork and a straightforward true to the bone black metal sound and production, it's an undeniable must hear recording.

Formed as early as '92, in Bergen, Gorgoroth had released the demo, 'A Sorcery Written in Blood' & 'Promo '94' before this recording, and all but one of the songs from these early efforts are present on this debut, although re-recorded, of course.

Largely overshadowing everything the band would release after this, Pentagram is a supreme recording of raw, yet quite melodic and utterly evil sounding black metal. Vocalist, Hat (Norwegian for Hate) writhes loose some of most malevolent raspy shrieks every captured on tape, which still to this day give me the fucking creeps with their sheer larynx ripping terror. Infernus' guitar work and his punishing melodious riffs have that ability to make the hairs on my arm stand on end, which to me is the sign of something truly dark and baneful, while Samoth's rumbling low end bass work is like the bowels of hell about to erupt below me and Goat Pervertor's galloping drum work makes me feel as if I've got the Devil on my heel's. In the end what I'm trying to say is that no matter what way you look at it this recording has an aura of pure calamitous wickedness around it and I love every single second of it.

At just twenty nine minutes and eight songs deep there is plenty to love on, Pentagram too. From the powerfully, speedy and may I say catchy opener, 'Begravelsesnatt' to the slightly slower and more atmospheric, 'Crushing the Scepter (Regaining a Lost Dominion)' and onwards to the direful, 'Ritual,' Pentagram starts off flawlessly. 'Drømmer om Død' has one of sickest and darkest riffs ever wrote, while, 'Katharinas Bortgang' is a pummeling affair with one of the best build ups ever. 'Huldrelokk' is easily the best black metal instrumental I've heard with a lot of those hair raising parts to it, whilst '(Under) The Pagan Megalith' is a fucking shredding head banger of a song and the closer, 'Måneskyggens Slave' is some of the most nefarious black metal ever heard, simple as that.

Two years after this release, 'Antichrist' was unleashed, which is almost identical in style and production quality, while in '97, 'Under the Sign of Hell' proved to be the last decent Gorgoroth album. Much of what the band did from here on was painfully bland blast beat driven black metal or even slightly experimental stuff and when all the crazy hi-jinks involving the bands members began to happen the band had truly reached a state of hopelessness. Although 2009's, 'Quantos Possunt ad Satanitatem Trahunt' was a bit better and definitely a step in the right direction.

Regardless of my personal opinion on their other efforts, you need, 'Pentagram' in your collection. Absolutely one of my all-time favorites.

Inanna - Day Ov Torment (1993)

Inanna is the Sumerian goddess of sexual love, fertility, and warfare; the Akkadians called her Ishtar. This Inanna however is or was the project of Mikael Stavöstrand, formerly of Archon Satani, who together with, Tomas Pettersson (nowadays in, Ordo Rosarius Equilibrio) worked together from '90 to '93. This album is described as a pioneer in the death industrial sub-genre, although there is certainly a lot going on in this album that even surpasses newer bands that make music like this.

Probably the first point to get across with this album is that it’s creepy. I mean seriously, absolutely terrifying from beginning to end. The songs all feature eerie unsettling ambiance with various other characteristics like; orchestral synths, bloodcurdling growling, voices, chants, screams, violins being scratched on, harsh noise and industrial vibes, military & tribal drumming, weird random bursts of woodwind instruments, rattling chains and various other percussive instruments and other sounds and music that I couldn’t even possibly label.

Some parts of these songs are laid back and glide along gently in a somewhat typical black ambient vein, but most are rather well paced experimental electronic pieces as I’ve described above or some even sound similar to In Slaughter Natives, which isn’t a surprise since J. Havukainen did mix the album. At times these songs also sound like a radio transmission with heavy feedback and noise while lost souls try to communicate a message to the listener. Try listening to this album very loud late at night, during a downpour, by yourself and in the dark and you let me know how it goes. This album is colossal, ‘nuff said.

If you enjoy artists like In Slaughter Natives, MZ.412, Atrium Carceri, Halo Manash and other twisted composers that create dark haunting experimental electronic music, than be absolutely sure you here this landmark album from Inanna.

Falls of Rauros - The Light that Dwells in Rotten Wood (2011)

Falls of Rauros' 2008 effort, 'Hail Wind and Hewn Oak' was my favorite release that year and its since grown to become an album I utterly cherish and will surely take to the grave with me. Brimming with some of most extraordinary melodies and an atmosphere like no other, I never thought these lads from Maine could come close to toppling such an immense effort, but then I heard, 'The Light that Dwells in Rotten Wood' and I still don't really know what to say.

In my own opinion though, FoR has taken Agalloch's spot as the band that's best able to blend acoustics with black metal, post and progressive characteristics with themes of reverence for nature coupled with both hope and loss for the future. Thing is that the melodies within this record are some of the most gorgeous as well as some of the most heart breaking I've ever heard, so much so that I really haven't given this album that many spins since it always effects my mood. Yet, much like post rock music there always seems to be that glimmer of hope within all the melancholy and darkness, sort of letting me know somehow its going to be alright.

The acoustics much like on the bands previous two efforts play a huge role. Often times on their own, such as on the songs, 'Earth's Old Timid Grace' & 'Nonesuch River Chant,' but also often times they are incorporated within FoR brand of post/progressive black metal music, either being layered over the chaos or as intros and breaks within the metal parts. In any case much like the metal riffs they carry that sense of beauty and gloom which I adore. 'The Cormorants Shiver on Their Rocks,' the albums final song, is note worthy since its an alluring instrumental that has both the acoustics, electrics guitars and a piano put to great effort, creating a song that just sort of makes me think of both good and bad memories. Quite powerful stuff.

The albums production is still black metal in character, though it sounds far more massive, wide open and airy, like climbing a mountain or hiking through a forest and breathing in the crisp winter air. The emotion is limitless and so real, during some of the vocal parts so much seems to be put behind the screams, but as I said the melodies are ever so gripping, sad, and yet hopeful in their delivery. The bands ability to write long free flowing progressive tunes that are not boring or predictable is also worthy of note.

At forty four minutes and six songs long, 'The Light that Dwells in Rotten Wood' is really without fault and a worthy successor to their previous efforts. If black metal with acoustics, post and progressive elements and an immense atmosphere with superb song writing is your thing then you definitely wont want to miss out on this fabulous release from Falls of Rauros. Just a fantastic release...

Grim Reaper - Fear No Evil (1985)

For the second year in a row I hosted a new year's gathering, dubbed, 'Joe's Non-Stop to Midnight Metal Massacre,' which basically means a night of copious alcohol consumption, food, video games and random stupidity, chatter and falling over while blasting heavy metal music with my friends. Although larger in size and fun, this year's playlist fell short because I took the 'massacre' part of my title and added too much not so party-ish music to the playlist. Therefore, 363 days until the next party I've already decided to start assembling a playlist that will not disappoint anyone. Grim Reaper will definitely be included! And yes, I am slightly buzzed as I write this. I will continue to drink as we go along here too... :P

Anyway, formed in 1979 in Droitwich, England, by guitarist Nick Bowcott, Grim Reaper is another one of those bands I've known for ages, but never bothered to check out until a few months ago when I quite randomly came across this used LP for $6 and figured I'd give it a go. Musically this is fairly straightforward 80's NWOBHM style with the powerful yet still high pitched lead vocals of Steve Grimmett, the mighty head bobbing riffs and impressive solo work of guitarist Mr. Bowcott and enough fist pumping, silly sing-a-long lyrics and catchiness to keep any partygoer, going!

'Rock & Roll Tonight' is an insanely fun memorable song, which puts a smile on my face with each listen and it just seems to invite a drunken karaoke session even if you don't even know the song that well or at all, while, 'Let the Thunder Roar' invokes similar feelings. 'Matter of Time' is classic 80's metal in my eyes, just killer, while I believe the title track, 'Fear No Evil' was the subject of ridicule from Beavis & Butthead back in the day. Also the talking sequence before, 'Final Scream' is just weird and creepy, but... Fun, fun, fucking fun either way!

It's a shame this band never really took off, but then again I can see exactly why they didn't either. With a lot of similarities to the mid-80's material from Dio, Iron Maiden, Judas Priest, Metal Church and Black Sabbath I guess it just didn't hit home the same with the bigger names at the time. Nevertheless I maintain the fact that, 'Fear No Evil' is fantastic and I refuse to think differently.

Collectively Grim Reaper released three albums in the 80's, but broke up in '88 after legal troubles with their old label, Ebony, as well a lack of interest in the NWOBHM style in the late 80's. Nick as well as bassist, Dave Wanklin and drummer, Mark Simon called it a career after the final Grim Reaper album, unfortunately, although Steve went onto to play with UK thrashers, Onslaught and nowadays fronts a touring version of Grim Reaper with an entirely different line-up from the 80's.

Now I begin my hunt for the other two Grim Reaper records, because metal this amusing must be heard!

Oh, and as a side note. If you're ever assembling a playlist for your own metal shindig, lay off the primitive black & death metal as your guests might not approve of it all. Go with the reaper instead!