Motörhead | The Manticore Tapes | BMG

 

 In 1976, Motörhead solidified its definitive “Three Amigos” lineup with Lemmy Kilmister on bass and vocals, Fast Eddie Clarke on guitar, and Phil “Philthy Animal” Taylor on drums. Formed the previous year after Lemmy’s high-profile dismissal from Hawkwind, the band clawed its way through setbacks, label rejections, and shifting personnel before finding the chemistry that would define its sound for decades to come. With roots in hard rock, punk, and early metal, Motörhead forged a sound that blurred genre lines with raw immediacy and intensity. In August 1976, the trio entered Emerson, Lake & Palmer’s Manticore Studio in Fulham, capturing a foundational session that until now remained unheard.

“The Manticore Tapes” documents that early moment with clarity and historical weight. The material, rescued from the archives after nearly half a century, delivers primitive versions of songs that would later become synonymous with the band's reputation. The presence of multiple covers—“Leavin’ Here,” “The Watcher,” “Witch Doctor,” and others—reflects the band's formative influences, filtered through a loud, grimy, high-energy sound that’s distinctly theirs. “Motörhead,” carried over from Hawkwind, and early takes of “Iron Horse/Born To Lose” demonstrate how even at this embryonic stage, the band's intent was firmly locked in: fast, loud, and aggressive.

The alternate takes and instrumentals on Disc I offer a glimpse into the studio environment: unrefined, repetitive, but urgent. There’s no pretense or technical finesse here—just an attempt to document their live set in a controlled setting, with songs that feel like they could collapse at any moment but never quite do. The grit is tangible, and the lack of polish only reinforces its authenticity.

Disc 2, “Blitzkrieg On Birmingham ’77,” captured live in a cramped, chaotic venue, reinforces what these early years were truly about. The crowd noise, the cranked amps, the ragged edges of the band’s playing—it all breathes with a kind of chaotic unity. The live takes of “On Parole,” “City Kids,” and “White Line Fever” make clear that Motörhead was already becoming something more than a pub band, even if they didn’t fully realize it yet. Lemmy’s distinct vocal tone is defiant, Eddie Clarke’s playing sounds half-feral, and Phil Taylor drives everything with reckless, uneven energy.

The sound restoration is carefully handled, preserving flaws without obscuring fidelity. There’s hiss, bleed, and occasional distortion, but these imperfections add texture rather than detract from it. This is not a retrospective compilation built for comfort listening; it's an unearthed moment from a band unsure of its place but certain of its direction.

“The Manticore Tapes” represents the moment when the band first left a permanent mark on tape and carries its own weight. It captures Motörhead before myth overtook them—scrappy, raw, and barely hanging on. Almost fifty years later, these tapes finally step into the light, not as an attempt to rewrite history, but simply to preserve it.

Score: 8.6

Black Majesty | Oceans Of Black | Scarlet Records

 

 Black Majesty formed in Melbourne, Australia, in 2001, quickly establishing themselves within the global power metal scene with their debut album, “Sands Of Time” (2003). Known for their energetic compositions, melodic guitar leads, and soaring vocals, the band has built a loyal following across Europe and Australia. Over the years, they have shared stages with heavyweights of the genre and consistently delivered albums rooted in traditional metal foundations. “Oceans Of Black” marks their eighth full-length release and reflects the band’s ongoing commitment to melodic power metal, bringing both experience and intensity to the fore.

“Oceans Of Black” continues Black Majesty’s trajectory with confidence and clarity. The album plays with a balance of aggressive rhythm work, high-pitched melodic vocals, and anthem-like choruses that feel purpose-built for live performances. From the opening charge of “Dragon Lord” to the expansive closer “Ghost In The Darkness,” the band embraces a consistent tone and pacing that fans of the genre will immediately recognize and appreciate.

John Cavaliere’s vocals remain one of the band’s key assets. His delivery on songs like “Lucifer” and “Only The Devil” blends theatrical flair with precision while never overwhelming the structure of the compositions. The dual guitars of Hanny Mohamed and Clinton James Bidie bring harmonic runs and memorable leads, driving forward tracks like “Set Stone On Fire” and “Hell Racer” without veering into self-indulgence. The production—courtesy of Ricardo Borges and final mastering by Jens Bogren—ensures that each element is audible without smothering dynamics.

The title track, “Oceans Of Black,” strikes a strong midpoint, setting a tone of perseverance amid darkness, consistent with the album’s themes. Elsewhere, songs like “Raven” and “Astral Voyager” offer quick bursts of speed and classic power metal flair, firmly rooted in the genre’s traditions. The inclusion of keyboards, subtly integrated by Mohamed, gives occasional atmospheric breadth without dominating the sonic space.

Throughout the album, Zain Kimmie on drums and Evan Harris on bass provide tight, driving momentum, giving weight to even the more mid-tempo moments. There’s a clear sense of purpose in how the rhythm section supports each track, pushing forward without unnecessary complexity.

“Oceans Of Black” does not stray far from the path Black Majesty has carved across two decades, but it doesn’t need to. The songwriting remains direct and effective. The album is cohesive, energized, and fully aware of its audience—delivering an experience steeped in power metal tradition without relying on excess or overwrought embellishment.

Score: 7.8

Helms Deep | Chasing The Dragon | Nameless Grave Records

 

 Helms Deep was founded in 2017 by Alex Sciortino, whose goal was to channel the power and energy of classic heavy metal with a foundation in '70s prog and fusion. With influences ranging from Riot and Judas Priest to obscure jazz rock, the band spent several years in preparation before officially launching. After independently releasing their debut, “Treacherous Ways,” the band was picked up by Nameless Grave Records in 2023. That album featured Mike Heller and John Gallagher as the rhythm section, with Sciortino taking on both vocals and guitar duties.

The band’s second release, "Chasing The Dragon," was developed with a broader vision. Hal Aponte replaced Heller on drums, contributing a looser and more dynamic feel, while Ray DeTone—Sciortino’s mentor—joined on second guitar. With Gallagher continuing on bass, the lineup was solidified for what would become an ambitious and complex album.

“Chasing The Dragon” presents itself as a raw and layered heavy metal album that pulls from US power metal tradition but refuses to stay in one place for too long. Songs like “Black Sefirot” and “Flight Of The Harpy” channel a sharp and urgent tone, driven by dual-guitar interplay that owes as much to European melodic phrasing as it does to American grit. The production, handled by DeTone and Sciortino, emphasizes spatial clarity. The decision to assign each guitarist a channel—DeTone on the left, Sciortino on the right—provides a vivid sense of immediacy and contrast between styles.

The rhythm section is aggressive yet elastic, with Gallagher’s bass presence often forward in the mix, adding heft without relying on distortion. Aponte’s drumming is agile and alive, swinging between precise patterns and wild fills that avoid repetition. Songs such as “Frozen Solid” and “Seventh Circle” draw on fusion and progressive structures but never lose momentum, while tracks like “Shiva’s Wrath” incorporate atypical elements such as tabla and erhu, broadening the album's atmosphere without veering into excess.

Sciortino’s vocals have taken a leap forward—stronger phrasing, more control, and better integration with the music. The vocal lines are more considered this time, often forming a counterpoint to the instrumentation rather than simply leading it. DeTone’s guitar tone and phrasing add a wild card to the band’s direction, sometimes jazzy, sometimes neoclassical, always organic.

There is an underlying roughness throughout “Chasing The Dragon,” intentional and consistent, favoring the imperfections of live playing over editing or correction. This choice gives the album a particular energy that fits its dramatic shifts and structural unpredictability. It's not immediate in the traditional sense—many parts take time to settle—but it rewards repeated listening.

The production carries weight without feeling overbearing. Mastering by Andy Van Dette adds final weight and sheen without pushing the dynamics flat. The mix is transparent enough to catch the chemistry between the players while allowing the album’s more experimental touches to unfold naturally.

"Chasing The Dragon" neither retreats into genre convention nor reaches for theatrical reinvention. It exists in a purposeful middle ground between discipline and instinct. It moves fast but never races to a conclusion. What emerges is a second album that feels lived-in and deliberate, shaped by both familiarity and personal invention. Highly recommended for fans of old Savatage, Raven, and Satan.

Score: 7.7

Ceremony | Solitary Bleed | No Dust Records

 

 Ceremony was founded in 1989 and stood among the earliest forces in Dutch death metal, alongside bands like Sinister, Gorefest, and Altar. Their early years saw a rise in momentum through the well-received “Victims Of Morbidity” demo in 1991 and the “Inclemency” EP a year later. The debut album “Tyranny From Above” followed in 1993, cementing their presence in the underground. However, after a final promo tape in 1994, the band entered a lengthy hiatus.

Their return began in 2015 with Vic Records reissuing their debut in 2016, which sparked renewed interest and ultimately a full reunion. The 2019 album “Retribution” introduced a more dynamic take on their death metal foundation, integrating black, doom, and atmospheric touches. Now, with “Solitary Bleed”, their third full-length, Ceremony returns again—this time on No Dust Records—with an eleven-track album that channels theatrical darkness through a still-aggressive lens.

“Solitary Bleed” is more layered and cinematic than their previous works, with the inclusion of orchestral elements arranged by Frank Schiphorst adding an expanded dimension to their sound. Erwin Hermsen’s production brings sharpness and weight without dulling the rawness. Guest vocals from Linda van Vugt on the title track “Solitary Bleed” offer contrast without disrupting the cohesion of the material.

Lyrically and tonally, the album leans into religious, sacrificial, and plague-infested imagery, with tracks like “Via Dolorosa (Way Of Suffering)”, “The Bull Of Phalaris”, and “Pestis Bacteria” contributing to the oppressive atmosphere. The band balances fast, hammering death metal with slower, dramatic passages, pushing a deeper and more cinematic character. Guitars are riff-heavy and deliberately structured, drums shift from blasting urgency to ceremonial pacing, and vocals remain grounded in classic growls without drifting into theatrical excess.

“Solitary Bleed” doesn’t rely on nostalgia or mimicry—it continues Ceremony’s progression. It’s an album that stays within its scope but adds color and theatricality through calculated arrangements and production choices. It feels crafted by a band confident in its identity and unafraid to incorporate broader sonic shades without leaving its roots behind. Ceremony delivers a solid, well-produced album that may not reach beyond the genre's core but expands their own sound in a convincing way. “Solitary Bleed” reaffirms their place in Dutch death metal—not as a relic of the past, but as a living part of its present.

Score: 8.3

Alestorm | The Thunderfist Chronicles | Napalm Records

 

 Alestorm formed in 2004 in Perth, Scotland, and quickly made a name for themselves as the rowdiest and most absurd band in the folk metal scene. Fronted by Christopher Bowes, they coined the term “pirate metal” to describe their rum-fueled, party-driven style, which combines fast power metal riffing with folk melodies, sea shanties, and comedic storytelling. Through albums like “Captain Morgan’s Revenge,” “Back Through Time,” and “No Grave But The Sea,” Alestorm evolved from a gimmick act into one of the most popular touring bands in metal, filling venues worldwide with inflatable ducks and beer-soaked singalongs. Their previous album, “Seventh Rum Of A Seventh Rum,” hit the charts across Europe and the US, further solidifying their presence. Known for their chaotic live shows, irreverent lyrics, and absurd song titles, Alestorm continues to blur the line between serious musicianship and pure drunken absurdity.

“The Thunderfist Chronicles” is another wild ride through the drunken imagination of Alestorm, once again fusing fast-paced power metal rhythms with folk instrumentation, pirate-themed chaos, and deeply unserious lyricism. As with previous albums, the tone swings between over-the-top grandeur and cartoonish nonsense, offering an experience that is both theatrical and completely self-aware.

Opening with “Hyperion Omniriff”, the album immediately throws the listener into a whirlwind of frantic tempos, soaring melodies, and digital bombast, setting the pace for what follows. “Killed To Death By Piracy” keeps the absurdity going, mixing anthemic choruses with tongue-in-cheek aggression. By the time “Banana” arrives, it’s clear that Alestorm haven’t toned down their sense of humor—instead, they’ve doubled down with one of their most ridiculous tracks to date. “Frozen Piss 2” continues a kind of in-joke mythology from earlier works, throwing bizarre imagery into the icy melodrama.

“The Storm” offers a brief moment of cinematic flair, combining heavier elements with dramatic buildup and larger-than-life choruses. In contrast, “Mountains Of The Deep” leans into grandeur, using layered vocals and slow-building instrumentation to expand the album’s scope. The cover of Nekrogoblikon’s “Goblins Ahoy!” blends seamlessly into the flow, maintaining the energy while adding a burst of fantasy-themed absurdity.

The closer, “Mega-Supreme Treasure Of The Eternal Thunderfist,” is a theatrical behemoth. Stretching over 17 minutes, it throws everything into the pot—narrative segments, choral arrangements, hurdy-gurdy interludes (courtesy of Patty Gurdy), guest vocals from Russell Allen, and endless riff changes. It’s deliberately excessive and feels more like a metal musical than a conventional song, though its length may test the patience of some listeners.

Production-wise, Lasse Lammert ensures everything sounds massive and aggressive without losing clarity. There’s a surprising level of precision behind the chaos—riffs are tight, the drums are punchy, and the keyboards and folk instruments are well-balanced in the mix.

Lyrically, the album embraces absurdism without hesitation. From bananas to boiling asphalt, the themes are utterly unhinged, and that's exactly the point. There's no attempt at profundity—just unfiltered entertainment, drunken rebellion, and cartoon piracy set to heavy music. In short, “The Thunderfist Chronicles” delivers exactly what fans expect: bombastic fun, musical excess, and complete disregard for seriousness. It’s loud, ridiculous, and overflowing with beer-drenched imagination.

Score: 7.5

Black Path | Of Paint And Ash | Independent

 

 Black Path is a Greek death metal duo formed by Kostas Mexis (vocals, bass) and Ioannis Kaneris (guitars). Rooted in a vision of emotionally driven, modern extreme metal, the band has steadily built a distinct identity through dense songwriting and a refusal to compromise atmosphere for familiarity. After their earlier works established a base of support in the underground, their second full-length, "Of Paint And Ash," marks an ambitious evolution. The album features several guest collaborators and instrumental flourishes that expand the band’s sonic range while remaining tethered to death metal’s weight and emotional intensity.

"Of Paint And Ash" consists of nine tracks, all composed or co-composed by Mexis and Kaneris, and explores states of inner conflict, loss, persistence, and human emotional repetition. The lyrics—largely penned by Mexis—evoke imagery and atmosphere inspired by dark fantasy, psychological trauma, and endurance, drawing structural influence from the symbolic and metaphor-rich world of “Dark Souls”.

"Of Paint And Ash" is an ominous, layered album that avoids superficial gestures in favor of persistent atmosphere and pacing. Its sound is cold, architectural, and methodically constructed. The music revolves around tightly wound riffs, bass that adds force without flooding the mix, and a rhythmic structure that opts for flow over sudden disruption. Ioannis Kaneris’ guitar work doesn’t rely on spectacle; it serves the shape of the arrangements and threads carefully through the bleak thematic contours.

One of the strengths of "Of Paint And Ash" is its refusal to settle into predictable extremes. Rather than leaning fully into old-school aggression or modern technicality, Black Path appears committed to mood, restraint, and a textured approach to heaviness. The result is an album that moves forward deliberately, willing to explore sonic space without sacrificing intensity. Kostas Mexis' vocal tone is controlled and restrained in a way that resists theatricality. Instead, his delivery feels rooted in internal tension, matching the emotional thrust behind the lyrics, which carry a clear sense of fatigue, distance, and confrontation with abstract suffering.

What makes "Of Paint And Ash" notable is its use of additional textures without falling into excess. The guest instrumentation—cellos, saxophone, mandolin, harp, and analog keys—never becomes decorative. These elements feel lived-in, placed with intention. Tracks like "Izalith" and "Evermore" benefit from these textures not as ornamentation, but as structural elements shaping the mood and pacing.

Rather than lean toward spectacle, Black Path seems to write as if each track were a continuation of a dialogue already in progress. This lends the album a sense of cohesion that doesn't require conceptual framing. The transitions between tracks feel natural, not forced into false climaxes or imposed dynamic shifts.

Production-wise, the album is grounded. It doesn’t aim for sheen or density for its own sake. There’s space in the mix, and despite the presence of layered elements, everything is held in equilibrium. This gives the record a worn, raw edge that complements its emotional depth.

The vocal contributions from Kiara Konstantinou, Iren Engel, and others help expand the album’s emotional palette but never upstage the foundational tone set by the core duo. Even when melodic or cleaner moments appear, they are absorbed into the broader language of the album rather than forming a contrast for contrast’s sake.

"Of Paint And Ash" does not concern itself with immediacy. It is not interested in standing out through hooks or stylistic gestures. Instead, it operates like a slow descent—each song revealing layers of thought, fatigue, and fragile resilience.

Score: 8.2

Void | Horrors Of Reality | Shadow Kingdom Records (Reissue)

 

 Void is a thrash metal band from Lafayette, Louisiana, formed in 2021. Led by vocalist Jackson Davenport, the band features Gabe Lejeune and Alexandre Bernard on guitars, Logan Davenport on bass, and Aaron Landry on drums. After a handful of digital singles, the band independently released their debut album, "Horrors Of Reality," on February 1, 2023. The release caught underground attention for its sharp precision and compositional density. In 2025, Shadow Kingdom Records reissued the album, expanding its reach with a full physical release in multiple formats.

"Horrors Of Reality" runs for 40 minutes and consists of ten tracks that draw deeply from a well-established thrash lineage. Void takes cues from both more mainstream and obscure thrash metal acts of the late ‘80s. What separates this album from imitation is its cohesion and confident delivery. The production avoids excessive gloss, sticking with a balanced, mid-fidelity approach that retains character without sacrificing clarity. The guitars weave through intricate arrangements without overcomplicating the core structure. The vocals carry a distinctly late-'80s character, presented with a dry intensity that avoids excess but maintains presence. Rhythmically, the band stays locked in, and the bass is neither buried nor overly emphasized—it simply occupies its place, contributing to the overall shape of the sound.

There is a sense of full commitment to the genre’s core mechanics throughout "Horrors Of Reality." The compositions shift frequently, with multiple tempo changes and riff transitions, yet they avoid becoming bloated. There is no attempt at genre fusion, no breaks for dramatic pauses or ambient intros, just consistent forward motion. This gives the album a steady, tunnel-vision energy that suits the band’s approach. Every track feels like part of a singular, fully realized aesthetic vision. Whether faster or more mid-paced, the tone remains consistent—serrated but organized.

Despite being a debut, the album carries a level of technical control and songwriting discipline that avoids the common pitfalls of overreach. Void sounds like a band that knows its purpose and doesn't stray from it. The performances are tight, the tone decisions are thought-through, and the pacing is effective.

Without straining for emotional peaks or narrative arcs, "Horrors Of Reality" stands as a straightforward, intelligently built thrash metal album that neither bloats its runtime nor cuts itself short. The reissue is likely to bring more attention to a band whose early maturity is notable.

Score: 8.0