CRYS (UK-Wales) - Sgrech: Casgliad o Oreuon Crys (CD, Sain, 2006)

RATING: ***

It took a while longer than I anticipated (a good couple years, actually), but I finally got my hands in "Sgrech", a compilation that retells the story of Crys, surely the most successful Welsh-language heavy metal band ever (now that's a particular distinction, right?). Those who want to delve into detail may read my previous reviews if they like, but this humble CD is a good enough introduction if you know nothing about Crys and just happen to be curious about them. And it's also interesting for long-time fans (almost all of them living in Wales, I suppose), as there's also a new track called "Sgrech", the only song released by Crys in nearly 20 years now. 

As everyone would expect, the pinnacle of Crys' career - the "Rhyfelwr" and "Tymor yr Heliwr" LPs, released in the early 80s - is generously represented here, with no less than 10 tracks out of the total of 13 songs included. Not a bad move really, as both albums never saw proper CD reissues and probably never will, so I guess this compilation will be the only chance to hear remastered versions of "Pendoncwyr", "Barod am Roc", "Mwg", the excellent "Gwlith Y Bore", "Rhyfelwr", "Rociwch Ymlaen" and other important tunes of the band's repertoire.

As a fan (perhaps the only Crys' fan outside the UK, who knows?), I think that including only "Edrych am Nerth" from 1995's "Crys Roc Cafe" CD was a little too harsh on it ("Cefnogwyr Y Byd", for instance, could have made it onto this compilations without much effort) and the fact they left a song like "Cwrdd a Gofid" (perhaps my all-time favorite from Crys) out of the album is a total disgrace. And it was a nice move to include a song from Crys' humble 7'' single debut from 1980, but why they picked up the predictable "Lan Yn Y Gogledd" instead of the way more forceful and individualistic "Cawd Symud" is beyond me. But one has to make some choices, you know, and I guess they know way better than me what really made a difference in their career, so I'll give them credit for putting this compilation together in the first place.

And what about "Sgrech", the only previously unreleased song around here? Well, it's the first (and only to date) chance to hear new lead guitarist Grant Roberts, who filled the shoes of original axeman Alun Morgan as he was living in Canada at the time of recording. Unfortunately, it may also become a permanent replacement, as Morgan passed away in 2012. The song starts a lot like AC/DC's "Thunderstruck" (come on, you sure know what I mean), soon turning into a typical heavy/rock tune with basic instrumentation and a catchy (yet very simple) chorus. Liam Forde's voice sure matured with time, but still it's perfectly recognizable, and new man Roberts have some aces up his sleeve, delivering some tasty leads and a pretty respectable solo. All in all, a good enough song for such a commemoratory release, though not in the same league of Crys' finest compositions.

I'm not sure if there's any hope for a new album anywhere in the future, as Crys seem to be happy to keep a low profile, getting together at long intervails for a few low-key gigs and not much else. They all have lives outside of music now, and perhaps a full-scale reunion, even if for a small period of time, will never be a worthwhile endeavour for the lads. I mean, the Welsh-language music market is hardly a thriving one nowadays, let alone if you're in a hard/heavy band, so why bother? Still, I'll keep my fingers crossed - who knows, recording stuff is relatively inexpensive these days, maybe they just get the bug for writing music again... That would make me glad, really. 

Liam Forde (V/RG), Alun Morgan (LG), Scott Forde (B), Nicky Samuel (D). Also performed: Caryl Parry Jones (BV), Mark Thomas (G), Grant Roberts (G), Wyn Jones (K), Verden Allen (Organ), Richard Morris (Synth).

01. Lan Yn Y Gogledd (L.Forde, S.Forde) 3:04

02. Roc a Rôl (L.Forde, S.Forde) 4:19

03. Merched Gwyllt a Gwin (L.Forde, S.Forde) 4:23

04. Dyma'r Band Cymraeg (L.Forde, S.Forde, N.Samuel, A.Morgan) 3:50

05. Mwg (L.Forde, S.Forde, N.Samuel, A.Morgan) 4:46

06. Edrych am Nerth (L.Forde) 5:00

07. Gwlith Y Bore (L.Forde, S.Forde) 6:00

08. Rhyfelwr (L.Forde, S.Forde, G.Williams) 8:00

09. Barod am Roc (L.Forde, S.Forde) 3:34

10. Pendoncwyr (L.Forde, S.Forde) 3:25

11. Nos Sadwrn (L.Forde, S.Forde, G.Williams) 3:48

12. Rociwch Ymlaen (L.Forde, S.Forde) 4:31

13. Sgrech (L.Forde, S.Forde) 4:03

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

METAL VIRGINS (UK) - Animal People (LP, Thrash Metal Records, 1984)

RATING: **

This is one that surely needs a fair bit of background info to be fully understood. Released sometime in 1984, Metal Virgins' "Animal People" is a record that never really made sense within the NWOBHM bandwagon, being far more suited to the punk rock collecting scene - and it's perfectly justified, as we all now know the album was actually recorded by a punk band called The Accursed. The lads from Kent (UK) had already released two very raw albums in the purest DIY fashion, and their music carries a sort of deconstructive vibe to it, sometimes sounding like a highly improvised and very brutal collision of GBH and psychedelic rock. A description that, as some of you may be aware, could be adequately used for Metal Virgins as well.

The songs that comprise "Animal People" were written and recorded in a small period of time, the trio of Steve (V/G and main songwriter), Gary (B) and Glenn (D) being already busy enough with The Accursed's "Laughing at You" LP that would come out the same year. Needless to say, the resulting album is much more a piece of reckless experimentation than anything more serious, the musicians themselves probably seeing it as a twisted inside-joke and pressing a handful of copies just for the sheer hell of it. They sure tried to associate it with heavy metal, not only by adopting the Metal Virgins alias but also by renaming their Wreck Em Records label as Thrash Metal Records. But I guess you don't need more than the first seconds of the title track to realize that it's pretty much punk rock, no matter how hard they want to state otherwise.

I'll tell no lies to you people: "Animal People" is a bloody mess most of the time. Perhaps the closest comparision would be Venom (though bands like The Blood and Mayhem, the English version, would not be too far off the mark), but you would have to imagine a very punk-oriented and immensely more ramshackle Venom to form an adequate image of Metal Virgins in your mind. Actually, some songs seem to have never been properly finished - I mean, I don't think they rehearsed "Virgins" before recording it, and I seriously doubt they would ever be able to repeat what they did on "Rubber Dolls", no matter how hard they were willing to try. I'm not even sure Steve actually bothered to write the lyrics, as some of it seems to be totally improvised - the obsession with terms such as "fuck" and "shit" is probably not a coincidence, you know.

The lack of knowledge on what heavy metal is all about is clear for all to hear, sometimes with truly laughable results, and the nearly nonexistent production doesn't help matters really. Not to mention the rudimentary guitar histrionics, that come and went without any relation with what is being played by the rest of the band. Some tunes are slightly more accomplished, such as "Get Out" (with a reasonable intro before launching into ultra-fast punk/HC nonsense) and the title track, perhaps the closer we'll get to anything truly related to heavy metal around here. But I reckon that the redeeming features are not enough to justify any money and effort from NWOBHM collectors, so if you happen to be one of them I strongly suggest you to invest your hard-earned cash somewhere else.

Still (and I'm the first to admit how weird this is, considering all that I stated above), I almost like "Animal People" in places: it's all downright clumsy, but there's a lot of youthful energy going on, and their carefree approach is almost charming in a way. I mean, most of us are just too cynical to lay down such a musical racket on tape, let alone to release it as an album, so the fact the trio actually did it comes to show just how much we can shovel our opinions up our arses for all they care. They wanted to spend a few hours in a basement pretending they were a thrash metal band, and there you have it. "Animal People" is not about emulating heavy/thrash music: it's about dismantling it and having a laugh while doing it. I wouldn't say the results are exquisite, but perhaps you can find some fun in listening to Metal Virgins if you're in the right frame of mind. They get a 2-star rating out of their pure swagger, and I think it's fair enough.

Steve (V/G), Gary (B), Glenn (D).

01. Animal People 4:33
02. I'm For Real 4:09
03. Feelings 2:48
04. Virgins 3:26
05. Get Out 4:12
06. Rubber Dolls 3:48
07. Call My Name 3:01
08. Invasion 5:31

Thanks a lot to Discogs for picture sleeve and label images!

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

THE OATH (GER/SWE) - The Oath (CD, Rise Above, 2014)

RATING: ****

Some lifespans are meant to be very brief, you know, but it's truly amazing just how quickly The Oath came and went. After releasing a nice single in 2013, the duo of Johanna Sadonis (V) and Linnéa Olsson (G) released a very strong self-titled full lenght - and, less than two months after the CD hit the shops, announced that the band was no more. The sudden demise took everyone by surprise, as many simply didn't have the time to listen to the group before it plunged into history, something that rendered "The Oath" (the album, that is) to feel like a near-posthumous effort. It would be a overstatement to say that The Oath (the band) already achieved cult status, but I'm strongly suspicious that doom metal enthusiasts will grant the ladies such a high profile in years to come. And with good reason, readers take note.

The initial riff of opening track "All Must Die" leaves no place for a doubt: The Oath is hugely influenced by old heavy/doom like Angel Witch and Witchfinder General and is not at all ashamed of that. This could be a shortcoming if the songwriters were not creative enough, but it's not the case at all: the song in question is a strong winner, with excellent guitar work and memorable vocals creating an eerie, haunting atmosphere to die for. What an impressive way to kickstart an album. And if it's fair to say The Oath's debut CD does not always live up to the high standard set by its opening number, it's also important to make it very clear: it's a strong record from quite a good band. A very good band indeed.

Lynnéa Olsson is a highly competent guitarist with the right approach for such musical avenues. Her riffs are all very cool, her playing is intense and she has quite a good ear for somber melodies, creating some very dark textures at strategic places. And what a good singer Johanna Sadonis is.  Her voice weaves brooding melodies with sheer conviction, adding almost contemplative overtones to some seriously Satan-obsessed lyrics - and she does all that without ever losing the resolve and swagger needed to convincinly deliver such kind of heavy music (and to sing such lyrical contents without sounding very silly, of course). Simon Bouteloup (B) and Andy Prestridge (D) offer the much needed foundations for the duo to shine, keeping things simple most of the time - though there are some seriously cool basslines here and there, that's for sure. And the straight-to-the-point production is actually very adequate, giving the record a sort of live-in-the-studio vibe that makes everything all the more intense.

Songs like "Silk Road" (a catchy tune with a more rock-and-rolling vibe and excellent vocal performance), "Leaving Together" (this one could REALLY be an Angel Witch song) and "Psalm 7" (slightly closer to sludge territory, but still adequately morbid) are all quite memorable, with nice twists and turns and cleverly crafted to be engaging without getting too complicated in the process. It's not all perfect of course: "Black Rainbow", though mostly a good song, sounds a tad slack-baked to my ears - maybe it just needed a little more time in the oven to get really juicy, if this bizarre metaphor makes any sense to you. And the album loses a bit of steam towards the end, with "Silver and Dust" and "Death Delight" being perfectly acceptable but not much else, if we're to be really strict here. But don't let this pinch of criticism stand in your way: "The Oath" is a truly good album that is sure to take several spins into your CD player.

It's such a pity that this is bound to be the sole release from The Oath, as all those dreary 'irreconcilable musical differences' came earlier than usual for the ladies and we are now left to wonder what it could have been. Still, Johanna Sadonis and session drummer Andy Prestridge joined forces in a new venture called Lucifer (a subtle moniker, that), while Linnéa Olsson is sure to keep things going with Sonic Ritual and Beastmilk, so I guess we'll be hearing more from both in the not-too-distant future.

Johanna Sadonis (V), Linnéa Olsson (G). Also performing: Simon Bouteloup (B), Andy Prestridge (D).

01. All Must Die 6:34
02. Silk Road 4:15
03. Night Child 3:38
04. Leaving Together 6:02
05. Black Rainbow 5:46
06. Silver and Dust 4:50
07. Death Delight 3:17
08. In Dream 2:11
09. Psalm 7 7:13

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

BOLLWEEVIL (UK) - Rock Solid (7'', Ellie Jay, 1981)

RATING: ***

It took a remarkably short space of time for Bollweevil to leave a indelible (albeit belated) mark into the NWOBHM conscience. Most scholars agree that their collective existence was a very fleeting one, and the band's actual lifespan may have been limited to a single year in total, or even less. Still, the five-piece proposition from Surrey (UK) went as far as to record a couple tracks and release it as a 7'' single on the small-but-prolific Ellie Jay label. And this humble slice of vinyl (edited, as far as we know, in a very small run of a few hundred copies), though mostly ignored at the time of its release, would soon become a huge deal as soon as the NWOBHM collecting scene stablished itself in around the early 90s. Well, you all know the score from this point onwards: the "Rock Solid" single is a very rare gem that rarely comes out for sale, and it takes considerable amounts of moolah to get hold of a copy in playable condition. But is it that good, you ask me? Well, I guess everyone will have a different opinion, but I would say that the hype around it is mostly justified.

The song "Rock Solid" became something of a obscure classic for NWOBHM addicts, for both musical merits and razor-sharp irony. The production is pretty poor to be honest, with guitars seemingly plugged in a not-very-good home system and a snare drum that seriously sound like a pan - not to mention the very nasal singing of Barry Oaten, that sounds almost like a cartoon character in places. Surprisingly, such shortcomings are not enough to ruin the listening experience - quite the opposite actually, as they render the song in question even more light-hearted and funny. It's a very upbeat heavy rocker with nice guitar leads, ultra-catchy vocal lines and enthusiastic (though considerably brain-dead) lyrics about the pleasures of well, you know, rock 'n' rolling. You could listen to this track many times in a roll without ever get bored, which is quite an achievement when you keep things as simple as Bollweevil do. Flipside "Sands of Time" is a completely different kind of tune: it starts with a sedate, atmospheric intro soon metamorphosing into a mid-tempo, slightly epic composition with quite a forceful drive. Maybe not as memorable (and off-the-wall) as the A-side, but still a cool song in its own right, so it's fair to say Bollweevil's sole 7'' offers a very good return for any collector's money.

Despite being an interesting addition to the NWOBHM universe, it turned out to be a one-off. No further recordings from Bollweevil were ever unearthed (which tends to suggest this was their only visit to a studio) and there's virtually no mention to live appearances at any stage. I guess it's reasonable to think the lads played a few small-club gigs, but they probably never put that much effort into promoting themselves, opting to disband not long after "Rock Solid" hit the shops and swiftly returning to their day jobs. Not surprisingly, no one really know what happened to the guys since Bollweevil became history. Some have hinted that guitarist Steve Spencer hooked up with some indie rock outfits in the mid 80s, included an act called Jeda, but the axeman's name is such a common one that we need some further evidence before taking it as a fact. As usual, any further info on Bollweevil would be greatly appreciated, so if you happen to know anything, please kindly get in touch :)

Barry Oaten (V), Steve Spencer (G), Kevin Bezant (G), Brian Reid (B), John Cope (D).

01. Rock Solid
02. Sands of Time

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

GARBO (UK) - The Dancing Strange (7'', Rarn Records, 1982)

RATING: ***

Many dedicated NWOBHM collectors are probably well familiar with Janine, a slightly glam-oriented outfit that released quite a well regarded 7'' called "Crazy On You" (or "Crazy Onion", as some sarcastic listener once pointed out to me in quite a memorable way) before disbanding by early 1982. It wasn't the end of the line for the musicians involved though, and most of them kept their careers going at least for a while. Janine's singer Bob Hamilton, for instance, established a new band called Garbo, keeping the mike stand and also accumulating guitar duties. His old chap Andy Steele (who also took part in Janine for a while) took over the drumstool, and bassist Billy Colvin (another old friend of Hamilton, both formely associated with a youthful act called Necromancer) swiftly joined in, the trio becoming what was soon to be know as Garbo.

What comes next is not exactly a sucessful story - Garbo seemingly lasted for little more than a year with such a moniker - but at least they managed to release an EP to forever remind us of the band's existence. Released by the small Rarn label at the second half of 1982, "The Dancing Strange" is a considerably adventurous record, filled with quirky ideas and a laudable leaning towards experimentation. Actually, I must make it clear that we're not dealing with a pure-blood heavy metal record: Garbo seems to be way more comfortable as a glam rock outfit (the front cover tells no lies, you know) with generous synth rock influences - not the heaviest music you'll ever hear, but still close enough to fit the ever-expanding NWOBHM multiverse.

The title track is a semi-acoustic number with very creative arrangements and catchy backing vocals. The slightly atmospheric middle section breaks the mood quite efficiently while not overstaying its welcome, and it's another highlight on a pretty interesting song. Nice tune indeed. The other remaining songs are not that effective, I think, but are still within the required standards. "Why Don't You Call Me?" is the most unusual when it comes to song structure, and perhaps its many different parts are a bit too much for such a short track (little more than two minutes in total), as it does sound a bit confuse at first. It grows on you after repeated listens, but I would still consider it to be the less accomplished composition here, although far from being really objectionable. "Everyday Hallucinations" brings another simple-and-catchy chorus to the table (Bob Hamilton seems to have been quite good writing choruses BTW, as it was also a highlight in Janine), and it's perhaps the closer we'll get to heavy metal waters around here, though it's more of a Marc-Bolan-meets-The-Damned kind of tune. The bridge to the chorus could be a bit less freakish (the unpredictable can sometimes be a song's undoing, as we all know), but it's a song that sticks to your mind with little effort, so it's sure way more a triumph rather than a flop.

It seems Garbo went under such a name until 1983 at the very latest, then assuming a new identity as Vis a Vis and writing new material more attuned with indie rock than anything more forceful or metallic. Remarkably, Bob Hamilton and Billy Colvin remained a musical force at least until the early 90s and possibly beyond, both being active at the small-club circuit up to this day. It's heartwarming to learn that some talented musicians out there just never give up playing rock, as sometimes people are too focused on pursuiting fame and money and forget that it's all supposed to be fun after all. I'll drink to that. Thanks for all the music, lads.

Bob Hamilton (V/G), Billy Colvin (B), Andy Steele (D).

01. The Dancing Strange
02. Why Don't You Call Me?
03. Everyday Hallucinations

Thanks a ton to Heavy Metal Rarities Forum for audio files and picture scans!

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

CHALLENGER (UK) - So Sure of Yourself (7'', CMC, 1981)

RATING: ***

This little NWOBHM artifact, though not horrendously obscure, is far from being widely acknowledged as a worthy inclusion to the ranks of the movement. Still, I must say I like it quite a lot, and it's too bad these lads from Yorkshire (UK) - whoever they were, as I'm not really enlightened about that at present -  didn't manage to release further singles, as "So Sure of Yourself" (b/w "Out to Kill") presents many promising features.

Seemingly the main focus of attention, "So Sure of Yourself" is a classic rock number with reasonably catchy vocal lines (delivered with a very healthy level of finesse BTW) and a drive not dissimilar to Uriah Heep's "Look at Yourself" (a huge influence here, by the look of things), though the keyboards remind me more of The Doors to be frank. Not the most skull-crushingly metallic song you'll ever listen to in your life, but it's a very pleasant tune with decent instrumentation that will sure appeal to those who have nothing against some classic heavy/rock from time to time. Flipside "Out to Kill" is the most metallic of the pair, with atmospheric arrangements and slightly more prominent guitar work, not to mention far more thoughtful lyrics. Norman Lee Ward seems to have been quite a gifted singer, and the keyboards from Peter Whitford are very creative, going from the gloomy to the almost enthusiastic with interesting results. The production doesn't help matters though, as it takes all heaviness out of the compositions - such a shame really, as I'm sure that specially "Out to Kill" would benefit from a more metal-oriented outlook.

It has been hinted for a while that Challenger would be something of an offshot band, the musicians involved using soubriquets so to conceal their actual identities, supposedly due to their not-remotely-metal musical origins or something. I would not rule out such a possibility, but I don't think it's a very convincing one, though there's precisely zero tangible information regarding any of the musicians involved. Maybe they were just a youthful bunch who never took things that seriously and retreated to the 9-to-5 world not long after their sole vinyl release hit the shops. Whatever the story, I would surely love to know more, as I happen to enjoy the scarce musical legacy from Challenger. If you have any first-person accounts to offer, please kindly get in touch, will you?

Norman Lee Ward (V), John Wakefield (G), Martin Keighley (B),
Alistair Wiseman (D), Peter Whitford (K).

01. So Sure of Yourself
02. Out to Kill

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!

LORD MANTIS (USA) - Death Mask (CD, Profound Lore Records, 2014)

RATING: ****

If there's any sort of soundtrack in hell, I think it's safe to say that Lord Mantis is getting very close to sucessfully transcribe it. "Death Mask" is their third attempt to conjure something terrible and unnamable with their music, and I wouldn't be remotely surprised if a few demons start hanging around your house after a single listen of this CD. To take the bizarre metaphors even further, I think that this album (starting from its magnificently disturbing artwork) may be very difficult for most heavy metal fans to stomach, and even those already initiated into sickening music will need some time to fully digest the foul meal Lord Mantis is serving this time around.

Their brand of blackened sludge metal is corrosive enough to dissolve generous doses of drone and doom into it, creating a pestiferous bouillon that reeks of terror and tastes like pure insanity. Lord Mantis also adds a disturbing ritualistic feel to their music, like they're invoking despicable things rather than just singing about it. It's a somewhat hypnotic atmosphere, enhanced by groovy-yet-abrasive guitars and song structures that create a sense of vertigo, a twisted kind of drive perhaps comparable to slowly sinking in fetid quicksand. And I must say that Charlie Fell's singing is one of the most raspy and desperate I have heard in quite a while. Actually, instrumental track "You Will Gag For the Fix" comes as an unusual kind of relief: though the ambiences are far from soothing, there's not a single word being shouted or muttered in it, and it gives the listener a pause to breathe before that perverted monster comes out of the speakers once again.

It's hard to mention single tracks here, as the atmosphere the album conjures is the real winner. It starts fast and desperate, then slowly submerges in unpleasant blurriness until you just realize there's no longer a way out. "Death Mask" is a cohesive unit, in such an extent that I seriously doubt any individual songs would have the same effect if taken out of the running order. Still, I think that "Possession Prayer" (with a truly scary chanting of "Blood! Rust! Incinerate!" that gets the more uncanny due to its apparent lack of sense), "Negative Birth" (some intimidating blast-beats going on, and the singing is particularly filthy here) and "Body Choke" are impressive enough to deserve special mention. "Coil" is also interesting, with some morbid spoken intro being followed by unwholesome robot-like singing, but the track as a whole is more like a long and vile interlude than a proper composition. Still it works quite well, that's for sure, thanks to the cohesive flow I mentioned above.

Lord Mantis sound twisted, repulsive, brutal and most of all unique on "Death Mask", surely one of the most disturbing (and individualistic) listening experiences in recent memory. I wonder if any other bands will dare to follow their footsteps in the near future.

Charlie Fell (V/B), Ken Sorceron (G), Andrew Markuszewski (G), Bill Bumgardner (D).

01. Body Choke
02. Death Mask
03. Possession Prayer
04. You Will Gag For the Fix
05. Negative Birth
06. Coil
07. Three Crosses

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!