Cronos |Dancing In The Fire |Dissonance Productions (Reissue)

Release Date March 13^th, 2026
Format CD
Genre Heavy Metal
Country United Kingdom

Conrad Lant, aka Cronos, is the bass-playing maniac who fronted the notorious Newcastle outfit Venom responsible for sparking extreme music in 1978. Fusing raw punk and heavy metal, his former crew ignited the black metal movement and forged the blueprint for thrash and speed metal. Mainstream media despised their noise. Popular rockers like Jon Bon Jovi complained they gave heavy music a bad name. Diehard headbangers worshipped the fast, abrasive chaos, devouring essential albums like "Welcome To Hell", "Black Metal", and "At War With Satan". The original lineup eventually fractured. Lars Ulrich correctly stated they started death, speed, and black metal. Years down the line, Dave Grohl recruited Cronos for his Probot project on the song "Centuries Of Sin", cementing his massive influence.

Cronos returns swinging on "Dancing In The Fire", originally dropped in 1990 on Neat Records. This Dissonance Productions re-issue resurrects a raging chapter of his solo history. He teamed up with guitarists Jim Clare and Mike Hickey from the "Calm Before The Storm" era. Clare previously shredded in Tank. Hickey later joined Cathedral before teching for Joe Bonamassa. Together, they unleashed a heavy, thrash-oriented assault. The music steps away from full-blown Satanic extremes, stripping back the pure black metal darkness. The sole exception is the crushing cover of "At War With Satan".

"Dancing In The Fire" is a vicious ripper demanding maximum volume. The guitar work from Jim Clare and Mike Hickey shreds through the speakers with absolute hostility. Cronos screams and thumps his bass with total aggression, perfectly matching the frantic thrash riffs. Songs like "Speedball" and "Terrorise" deliver a relentless beating, attacking the listener with chaotic speed and violent grooves. The audio captures the unhinged, rebellious spirit of the 1990 metal scene. Crushing drums and manic guitar solos drive the music into a complete frenzy. You get loud, abrasive metal played by guys who live and bleed the underground lifestyle.

Dissonance Productions stacked this release with excellent bonus material. Respected writer Darren Sadler provides extensive liner notes, including a brand new interview with Jim Clare. Clare also dumped rare photos from his personal stash into the booklet, giving diehards an awesome look behind the scenes. This entire package rules hard. "Dancing In The Fire" destroys the weak, proving Cronos reigns supreme across the entire metal landscape.  

Score: 8.0

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D.A.M. |Inside The Wreckage |Dissonance Productions

Release Date January 30^th, 2026
Format 2CD Deluxe Edition
Genre Thrash Metal
Country United Kingdom

    D.A.M. (Destruction And Mayhem) roared out of Morecambe in the mid-80s, eventually catching the eye of Noise Records. Managed by the legendary Paul Loasby and sent to Hannover to record with Harris Johns, they had the pedigree to lead the UK thrash charge alongside Sabbat and Xentrix. They even shared stages with Candlemass and Dark Angel at the Hammersmith Odeon, leaving behind a legacy that ended far too soon when the global metal climate shifted in the early 90s. This "Inside The Wreckage" collection pulls their two studio albums into one package for anyone who misses when the UK scene actually had teeth.

"Human Wreckage" is a nasty, high-speed assault that shows why these guys were hyped. Songs like "Death Warmed Up" and "Total Destruction" are pure neck-snapping material. Harris Johns gave them a production that sounds like a rusted blade, fitting for a band that didn't care about being pretty. It is fast, aggressive, and captures that specific 1989 energy where the riffs were designed to cause as much chaos as possible in a small club.

The second disc, "Inside Out", shows a band that actually learned how to write songs without losing their edge. It is more technical and "Man Of Violence" or "Thought For The Day" prove they were getting better at their craft. They traded some of the raw speed for better structures and a darker atmosphere. It is a shame the industry moved on, because "Inside Out" had enough quality to compete with the big American imports of that era.

If you want a history lesson in British thrash that actually kicks ass, this is it. You get the debut, the more refined follow-up, and some bonus tracks like "Aliens" to round it out. The liner notes and photos from Mark Freebase add the right kind of context for a band that should have been massive. D.A.M. was a ferocious outfit, and having both albums in one place is a win for anyone who still wears a denim vest.

Score: 8.3

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Gorguts | Considered Dead/The Erosion Of Sanity | Dissonance Productions

Release Date: 13 June 2025

Format: 2CD Deluxe Digipack

Genre: Technical Death Metal

Country: Canada

Formed in Quebec in 1989 under the vision of Luc Lemay, Gorguts began as a brutal death metal outfit, then grew into one of the most influential names in technical death metal. Their early years were a whirlwind, one demo in 1990, a deal with Roadrunner, and the debut “Considered Dead” that brought in guests like Chris Barnes and James Murphy. Two years later they delivered “The Erosion Of Sanity”, a more intricate creation that many fans still rank among the finest early excursions into the more elaborate side of the genre. Afterward the band stepped away for a long period, only to return stronger and eventually earn recognition across the metal world. This reissue gathers those key first two albums in one package, supported by extensive new liner notes and fresh insight from Lemay himself.

“Considered Dead” still works like a blunt weapon, shaped by the early 90s death metal climate of grim riffs and harsh vocal delivery. Its appeal comes from how firmly it stands in that era without drifting into imitation. The songs carry a raw punch, fast and abrasive, with plenty of riff changes that show where the band’s later complexity began to grow. The two demo extras add a rougher flavor that helps illustrate how the band was sharpening its identity at the time. The album remains a snapshot of a young band stepping into a scene that was exploding with creativity and competition.

“The Erosion Of Sanity” presents a more elaborate and twisted character. The structure is more intricate, the shifts between tempos and riff shapes more unpredictable, and the vocals more expressive in their fury. It is clear the band had increased ambition, reaching for something harsher and more involved than many of their peers. The songs twist and coil, creating an atmosphere that leans into chaos without losing direction. The bonus demo tracks underline how ambitious that era was for them, with ideas that push further than the debut.

Hearing the two albums together in this edition paints a strong portrait of Gorguts rising from early death metal extremity into something far more complex. It is a reminder of why both works continue to attract old fans and new listeners. Dissonance Productions presents the material in a way that respects its history and gives modern audiences a clean gateway into two of the most respected early releases from a band that shaped the evolution of technical death metal.

Score: 8.5

Lefay | The Noise Years | Dissonance Productions

Release Date: May 23^rd, 2025

Format: CD Box Set

Genre: Power Metal

Country: Sweden

Lefay carries a long and tangled story, something typical for Swedish heavy metal circles where bands dissolve, reform, rename themselves, then swing back again. The roots go back to 1986 under the name Damage, later Morgana Lefay, a band that pushed into darker corners of power metal long before it was fashionable. After legal trouble over the Morgana Lefay name, singer Charles Rytkönen and guitarist Tony Eriksson kept the flame alive as Lefay, joined by drummer Robin Engström. These three albums, originally released through Noise Records, capture that era before the Morgana Lefay name returned to them in 2004. Their style pulls threads from heavy metal, doom and power metal, with echoes of Candlemass, Savatage and Nevermore appearing here and there, always filtered through their own gloomy Swedish temperament.

This box set gathers “The Seventh Seal”, “S.O.S.” and the 1999 re-recording of “Symphony Of The Damned”. Hearing the albums together creates a clear portrait of Lefay in their strongest and most driven phase. “The Seventh Seal” strikes as the most atmospheric of the three, full of that shadowy heaviness the band were known for. The songwriting leans toward brooding, almost theatrical storytelling, delivered through Rytkönen’s distinct voice that always carries a dramatic edge. The band move between churning riffs and more open, melodic passages with steady assurance, never rushing, never drifting. It remains a fan favourite for good reason.

“S.O.S.” arrives with a heavier spine, the guitars more aggressive and the themes darker. It has a rawer temperature compared to its predecessor, giving it an undercurrent of tension. The songs bite harder and the general tone feels harsher, yet the melodic instincts are still present in the right places. It stands as the most direct document of their attitude during this period, a snapshot of a band pushing themselves without polishing the roughness out of their work.

The updated version of “Symphony Of The Damned”, originally released in its first form in 1990, closes the set. The band approached the material with respect, strengthening the production while keeping the dramatic character of the early songs intact. The bonus cover tracks at the end add a playful twist, showing what the band could do when stepping outside their usual world. The entire third disc functions as a bridge between eras, placing their earliest ideas alongside the voice and tone they had developed a decade later.

This collection is not simply a repack. It brings together a chapter of the band’s history that often sat in the shadow of the Morgana Lefay name. Hearing these three albums side by side shows how unified their vision was, even across different releases. The included liner notes and interview with Rytkönen add useful context for anyone who wants the bigger story, although the music itself already paints a strong picture.

Score: 7.5

Wrathchild America | Climbin' The Walls/3-D | Dissonance Productions

Release Date: October 24^th, 2025

Format: 2CD

Genre: Thrash/Heavy Metal, Progressive Metal

Country: United States

Wrathchild America came out of Martinsburg, West Virginia, working hard through the late seventies and eighties until Atlantic picked them up in 1988. The first album “Climbin’ The Walls” brought them to wider attention with its mix of thrash energy and traditional heavy metal roots. The follow up “3-D” opened their palette even more, pulling in progressive ideas that later shaped their next incarnation as Souls At Zero. The reissue from Dissonance Productions brings both albums together with bonus material and a detailed historical write up by Darren Sadler, giving listeners a complete look at a band that never stayed stuck in one approach.

Hearing these two albums side by side shows how Wrathchild America pushed forward from one release to the next. “Climbin’ The Walls” comes across raw and sharp edged, driven by tight riffing and Brad Divens’ cutting vocal delivery. The songwriting moves in punchy patterns, shifting between thrash pace and heavier mid tempo sections. Even their take on “Time” feels natural within their style. The album still has the wild energy of late eighties American metal, and the production reflects that era without sanding anything down.

“3-D” widens the picture. The band explores more adventurous structures, bringing twists in rhythm and tone that keep the listener alert. The heavier parts hit hard, while the stranger corners of the record give it personality. These shifts never drift off course, they show a band willing to stretch their sound without losing the tough backbone that defined them. The bonus tracks fit smoothly with the rest, giving a small window into sessions that already leaned toward experimentation.

The packaging strengthens the release. The liner notes dig deep into the group’s long road, from relentless touring in smoky clubs to sharing stages with Metallica and Slayer. The interviews with Divens and Shannon Larkin add welcome detail, letting the history sit beside the music instead of floating as trivia. It is a strong archival release that respects the material and presents Wrathchild America as the restless metal band they always were.

“Climbin’ The Walls/3-D” stands as a solid reintroduction to a band that deserved more attention in their time. The music captures a moment when American metal was shifting fast and bands like this tried to carve their own path. The reissue gives modern listeners the whole story in one place, making it easy to understand how Wrathchild America built their reputation and why their name still sparks interest among underground metal followers. Better pick the original albums from these Dissonance Productions series coz the lyrics are missing (if you are afan of it), as the same happens in all these reissues. It would be better to be released as separate albums as they've done in the past with Artillery, Avenger, Venom and others. It’s clear for collectible reasons.

Score: 8.0

Venom | Blackened Priests | Dissonance Productions

 

Formed in 1978 in Newcastle upon Tyne, England, Venom emerged as a volatile blend of punk urgency and early heavy metal, helping lay the foundations for what would later become known as black metal. Their early trio of albums—"Welcome To Hell" (1981), "Black Metal" (1982), and "At War With Satan" (1984)—quickly earned cult status for their raw aggression and confrontational image, even as critics dismissed them. Internal tensions and uneven output led to a split by 1986. However, a new phase of Venom began in 1988, when drummer Abaddon reformed the band with Tony "The Demolition Man" Dolan (ex-Atomkraft) handling vocals and bass. He was joined by returning guitarist Mantas and second guitarist Al Barnes, forming a four-piece that would go on to record three full-length albums between 1989 and 1992.

"Blackened Priests" compiles these three albums—"Prime Evil," "Temples Of Ice", and "The Waste Lands"—in a comprehensive 3-CD set. It serves as a chronicle of Venom’s evolution during the period when Cronos was no longer involved. This collection also includes the "Tear Your Soul Apart" EP and several bonus tracks, with some notable live recordings and covers of Black Sabbath, Judas Priest, and Deep Purple material.

Disc one, "Prime Evil", marked a significant recalibration. The production is tighter, and the performances more disciplined. Dolan’s vocals bring a different edge—less unhinged than Cronos, but forceful in a more grounded way. The material is varied in pacing and tone, yet remains firmly within the band’s chaotic thrash approach. Bonus tracks from the "Tear Your Soul Apart" EP are included, adding value and historical context to the disc.

Disc two, "Temples Of Ice," sees the band shifting further into a streamlined thrash direction. The songwriting carries less of the spontaneous chaos that earlier Venom albums were known for. A mix of mid-tempo chugging and bursts of speed is paired with more accessible structures. The inclusion of a cover of Deep Purple’s "Speed King" is a clear nod to their influences but doesn't distract from the album’s consistency.

Disc three, "The Waste Lands," has a darker tone and slightly more experimental feel. The production leans towards a denser atmosphere, and the band pushes the pacing into more varied terrain. There’s a more dystopian feel here, perhaps reflective of the state of the band as the lineup neared dissolution. Songs like "Cursed" and "Need To Kill" reveal a shift into themes of decay and disillusionment, and while the energy never fully collapses, it’s apparent the group was nearing the end of this chapter.

The package is well-curated, enhanced by liner notes from Darren Sadler, who conducted new interviews with Tony Dolan and Al Barnes, and rare photos from Barnes’ archive. As a reissue, it offers a detailed document of a significant but often overlooked phase of Venom’s history.

Score: 7.5

Crimson Glory | The Roadrunner Years | Dissonance Productions

 

Formed in Sarasota, Florida, in 1979, initially under the name Pierced Arrow and later Beowulf, Crimson Glory emerged during a fertile era for American metal, ultimately refining their identity by 1983. The band’s final formation included guitarist Jon Drenning, drummer Dana Burnell, bassist Jeff Lords, guitarist Ben Jackson, and the enigmatic vocalist Midnight, whose soaring voice became a central signature of their sound.

Combining theatrical visual presentation—most famously through the use of silver masks—with progressive metal arrangements and a dramatic approach to melody, Crimson Glory stood out amid the growing field of technical and melodic metal acts of the '80s. Their association with Roadrunner Records in the mid-1980s led to the release of three albums that would define their early legacy, culminating in international recognition, worldwide tours alongside major acts, and a cult following that has persisted over decades.

“The Roadrunner Years” is a comprehensive anthology presenting the essential early chapter of Crimson Glory’s evolution, spread across three discs and thirty-one tracks. It maps their transition from the mystique and metal romanticism of the mid-'80s into a more experimental and groove-inflected direction by the early '90s.

The first disc, “Crimson Glory,” originally released in 1986, captures the band’s initial full realization of its conceptual and sonic identity. Combining dual-guitar precision with intricate song structures and high-register vocal work, the debut offers dramatic fantasy-metal stylings rooted in the influence of NWOBHM and early American power metal. Songs like "Azrael" and "Angels Of War" reflect a theatricality both musically and lyrically that positioned them between the cinematic grandeur of Queensrÿche and the technical ambition of Fates Warning.

Disc two contains “Transcendence” (1988), widely viewed as their creative peak. With improved production quality, more dynamic songwriting, and greater cohesion, the album builds on their earlier themes with richer atmospheres and more focused execution. “Lonely” reached a broader audience via MTV rotation, while songs like “Red Sharks” and “In Dark Places” remain strongly associated with their name. The inclusion of the “Lonely” remix offers a slight variation on a familiar track. Midnight’s vocal performances are particularly prominent, and the production (handled by Jim Morris and Tom Morris at Morrisound Studios) supports the band's shift into a more cinematic and melodic structure without sacrificing intensity.

The third disc, “Strange And Beautiful” (1991), diverges significantly from the earlier two. Following lineup changes—most notably the departure of Midnight and the arrival of vocalist David VanLanding—the band leaned into a more hard rock and groove-heavy direction. Tracks like "In The Mood" and "Promise Land" carry traces of funk, blues, and radio rock, marking a departure from the high-concept metal of their earlier years. The aesthetic and lyrical themes take a more earthbound turn, with less emphasis on mysticism and more on introspection and sensuality.

The remastering by J.P. Braddock ensures sonic consistency across the set, with careful adjustments to enhance clarity while respecting the original character of each album. The packaging includes a modest collection of archival material and liner notes by Darren Sadler, offering new insights from Jeff Lords. While the booklet could benefit from expanded visuals, it serves as a thoughtful complement to the music itself. As with all the previous Dissonance Productions compilation releases, there are no lyrics either.

Across these three albums, “The Roadrunner Years” encapsulates a band constantly in motion—first rising with ambition, then refining their vision, and finally shifting course into new territory. Despite the shifts in sound and tone, the anthology remains focused and faithful to the chronology and integrity of Crimson Glory's original Roadrunner legacy.

Score: 8.5

Seven Sisters | Shadow Of A Fallen Star Pt. 2 | Dissonance Productions

 

 Seven Sisters is a British heavy metal band based in London, active since the early 2010s. Known for their traditional metal influences blended with progressive leanings and melodic sensibilities, the band has steadily grown in stature across Europe and North America. Fronted by Kyle McNeill, also known for his solo project Phantom Spell, the band has built a dedicated following through persistent touring and a reputation for conceptual storytelling. Their third full-length album, “Shadow Of A Fallen Star Pt. 1” (2021), established a sci-fi narrative arc that continues and concludes with “Shadow Of A Fallen Star Pt. 2” in 2025.

“Shadow Of A Fallen Star Pt. 2” expands on the musical and narrative ideas Seven Sisters introduced in its predecessor. Comprised of just four tracks, the album unfolds over 40 minutes and leans confidently into long-form songwriting. The production is handled in-house, with Kyle McNeill taking on the bulk of recording and mixing duties. His approach favors clarity and atmosphere, giving the album a sense of consistency and focus without excess. The band moves through classic heavy metal patterns with occasional diversions into extended instrumental passages, space-themed synth flourishes, and layered harmonies.

The opening track, “Astral Prophecies”, sets the tone with its steady pacing and melodic hooks, while “Solar Winds” provides a shorter, more immediate experience. “Heart Of The Sun”, likely chosen as a single for its structure and drive, anchors the first half with momentum. The final track, “Andromeda Ascending (A Fallen Star Rises)”, stretches beyond twenty minutes and ties together the conceptual narrative, balancing grandeur and restraint. The transitions are smooth, and the changes in mood feel deliberate rather than forced. Rather than overcomplicating the structure, Seven Sisters allows sections to breathe without sounding indulgent.

The album avoids excess gloss or unnecessary detours. Its strength lies in cohesion and a firm grasp of tone, favoring gradual build-ups and strong melodic direction over flash. The lyrical themes remain consistent with the sci-fi universe the band has created, and the atmosphere complements the story’s scope.

“Shadow Of A Fallen Star Pt. 2” does not stray far from the band’s established sound but refines it with greater confidence. It balances ambition with accessibility and avoids distractions in favor of clear thematic closure. Seven Sisters maintain their upward trajectory, offering a work that should satisfy listeners who value narrative-driven metal delivered with purpose.

Score: 8.0