Evil Bitch - Sin and Pleasure (2015)

   Evil Bitch's "Sin and Pleasure" demo which was their second one, originally came out in 2014, but in the following year it had a CD release. And this version also includes a live song attached to the end of the album.
   The female duo basically sounds like an early '80s nostalgia band mainly inspired by Motörhead, but the influence of the that time slowly awakening darker perspective of metal also could be sensed in their music. Their simple, basic themes referring to the core essence of the genre, and some riffs quite reminding to bands like Hellhammer and Venom. Even though demos nowadays could sound pretty good, Evil Bitch seemed to prefer the old school way, even by sticking with poor sound quality. And this had two advantages for them. First, this way the amateur '80s garage band feeling could be reached effortlessly, while most bands trying to recreate vintage sound in studios and many times they're still able to fail. And second: poor sound quality could also cover their mistakes both on guitar and in the vocal performance. Like in case of a raw, amateur sound, not many would bother if the band also playing as amateurs. In total, their music reminds to Oral, a short lived, also Motörhead influenced female band from the UK. But while Oral (probably not surprisingly after their name) focused on pleasure-based '80s rock'n'roll dirtiness, Evil Bitch is all-round dirty in a bit darker way. Their music is mainly recommended for those who are enjoying the feeling of live music experience in already intoxicated state in small rock pubs where hygiene is an unknown word, the toilets are in ruins, the floor is covered with the mix of beer, dirt and piss, and the air grew heavy from cigarette smoke.

Relentless - Night Terrors (2015)

    As it was previously mentioned, Relentless was formed as a strongly doom influenced heavy metal band. Their music had such old school touch that was long lost from the main metal scene, and their second album, "Night Terrors" gave a slightly different perspective for the same ancient, and therefore very familiar concept.
   Even though the doom metal influence still could be sensed, it was restricted to the lyrical concept and vocal style, while from the music it was nearly gone. Only for one song ("Ancient Realm") it have returned similarly like on the debut, bust still without doom metal riffs. Basically intense heavy metal themes are dominant during the whole album, slow tempo isn't usual anymore, but still the ominous, vintage doom feeling is there, thanks to Miss Carlee Jackson's impressive vocal performance. Even if vocals alone are basically not used to be enough to determine the style of the music, they're definitely enough to give another tone for it. "Night Terrors" also have excellent themes, that doesn't make ordinary heavy metal to seem retired like most who are tryings to bring back the style (not if there would be many bands trying), but it's quite refreshing to hear something vintage and great the same time in nowadays metal scene. "Night Terrors" might be pretty enjoyable for both the fans of  '80s heavy and doom metal. 

Relentless - Souls of Charon (2013)

   Relentless from Chicago, Illinois was guitarist Tim Pearson's heavy/doom metal project. He recruited a quite efficient group of musicians to recall the feeling of the '80s. Their different musical background ended up advantageous, for instance former country singer Carlee Jackson's powerful voice was well-fitting to strongly heavy metal influenced ominous doom themes.

   To decide if it was only a nostalgia project to give credits to the classics of the genre, or was it supposed to fill a long time missing gap in the actual metal scene, is the listener's job to do. However, both perspectives could be correct, especially cause despite the former widespread popularity and current cultic state of the style, not many bands willing to play in it. These are the most defining roots of doom metal, influenced by big names like Witchfinder General, Pentagram or Candlemass. Therefore the catchy heavy metal themes having determining role, even more than in case of the mentioned classics, to keep the music more intense than usual by staying on the border of genres. A commonly occurring problem among the few young bands, who are enough stubborn to play '80s heavy/doom metal anyway, that most simply cannot drift enough far from the classics (it's mainly because of the narrow borders of basic heavy metal), and they ending up as quite evident rip-off bands. Fortunately this wasn't the case about Relentless, probably because of the diverse background of the band members. And even if the analogy is obvious, the the whole thing sounds very familiar, their themes and approach didn't lack genuineness. 

Bloated Pig - Made for Hell (2012)

   Bloated Pig was formed in 2006 as a southern/stoner rock band, and by their wild intensity and quite party compatible music they've kind of exceeded even the original scene of the genre. With time their themes turned heavier, their sound dirtier, and they drifted closer to sludge.

   "Made for Hell", their third full-lenght album was their first and quite determined step into this heavier direction. Those specific kinds of old school hard rock and heavy metal elements embedded into groovy themes, that are essentially coming from stoner and southern rock, did remain as their music's main feature, but this was something different. Something that broke through the ordinary borders by intensity and heaviness. It includes the very familiar feeling that comes from most related styled music, but in this form all that sounds more aggressive, more energic, and more rebellious than how it was used to be in the '90s. The main concept is also one step further into an exaggerated direction, that doesn't seem to care much about written or unwritten rules if it comes to this style. The album has a wilder, groovy sludge sounding aspect, such as a more traditional southern rock/stoner side, and it also reaches doom influenced depths. This made the album also more diverse than usual, but without taking any consolidatingly and boringly badass southern bad boys switch that seems difficult to avoid for most, and always gets committed to serve mainstream tendencies. The badass effect they've reached by sounding dirtier, heavier and wilder than usual, and that could totally wipe the floor with the current tendencies and the currently popular bands of the genre. 

Burden - Hole in the Shell (2010)

   As it was mentioned before, stoner rock is a genre that requires "talents" to be able to make it wrong, since it's old school roots and '90s basics are easy to adapt into modern sound. And it's audience friendly fixed formula is also kind of evergreen. 
   However, Burden emerged from the long line of similar bands, partly because they didn't have too evident references to the classics, and they've mixed various closely related styles with ease. "Hole in the Shell" definitely didn't sound like a debut of beginners, but like an album made by well tried musicians. They knew exactly how far they can go with diversity and how to combine the various pieces for the most advantageous effect. Slowly bouncing groovy themes giving the basic tone with rusty sound, that's somewhere half way between heaviness and psychedelic approach. Not too wild, but also not too soft. It's exactly like how southern rock used to end up when it's mixed with groove metal. But the main impression is way more chilled, and instead of becoming too repetitive or one sided, catchy, but heavy leading melodies taking the advantage. At the vocal the singer's remarkable voice range fills similar role, from clear singing to wild screaming shows the same wide perspectives. Even though Burden didn't become a long living project, there was quite big potential in the band, therefore it's unfortunate that they didn't continue their activity. 

Robot Lords of Tokyo - Whiskey, Blood & Napalm (2008)

   Robot Lords of Tokyo was formed as fan-made project that played mostly cover songs of well known heavy metal bands.
   Even though they've debuted with own songs, it's impossible to not find references to the big names. But since they're just kept playing for fun, and that could be intensively sensed in their music, there's no need to except anything revolutionary new. It's a laid back music that can be imagined as a backbround noise of motorcycle meet ups, or common chilling weekend live entertainment in rock pubs. On the side of the influences of their favorites an intense stoner/southern rock influence is also there in their music. That's easy to relate with the oldies of heavy metal, so we can say that it's a style where it's hard to fail. Simple, groovy themes combined with the catchiest generic heavy metal riffings and solos are always effective because it's easy to go into something nostalgic that reminds to the '80s and '70s, especially if the sound is also updated. Plus it's high party compatibility also can make it as an audience favorite at the right places. Recommended for the fans of stoner and southern rock bands.

Benedictum - Seasons of Tragedy (2008)

   Even though ordinary heavy metal is the most popular/mainstream aspect of metal music, the number of newbies is quite low in this style. That's not only because it's a style that's extremely hard to play good and without ending up as a self-comedy project. But the audience also doesn't seem so opened for new bands.
   The reason that heavy meatal sounds old fashioned nowadays is easy to shoo off, since Benedictum is the living proof how to sound modern while playing like how the oldies of the late '70s/early '80s did. Lately it became a new direction to sound vintage, exactly how the music of the big names sounded in their times, but the sound development left it's mark in Benediction's music. The good production and the clean sound are only the beginning, they were also not afraid to play more intense and occasionally wilder than how heavy metal bands used to be. This might make easier for younger generations to catch the feeling, since all generations having their specific styles and actual directions they can feel to relate to. And while "Seasons of Tragedy" counts definitely as a modern album, there are plenty of nostalgic elements to find on it (it was weird if there wasn't any). The strong '80s feeling is mainly represented in the person of Miss Veronica Freeman, who may remind to the performance of Frau Doro Pesch of Warlock. Not only because of her powerful voice, but the ultimate heavy metal bombshell queen appearance also counts as a reference. In total "Seasons of Tragedy" is a great album, competitive both on the fields of vintage and modern metal.

Serpent Throne - Ride Satan Ride (2007)

   There were plenty of experiments from in the late '00s to bring back the style of the '70s. Bands formed who played hard rock/heavy metal in the same style like 30 years before. Even though similar bands that time had the largest audience ever, the modern restoration affected much less people than it was expected, and only a few bands gained wide attention, so this direction stayed as some niche music.
   This ambition reminded to the concept of stoner rock in the '90s, and some bands like Serpent Throne were into both, and that wasn't hard to manage since the two styles are strongly related. But the main thing is that the band probably didn't have sleepless nights while they've tried to put together the preferred style features. Their musical concept was very simple, and by simplicity it's also possible to refer to various influences. Their music was strongly Black Sabbath influenced, but it's not surprising since Black Sabbath is inevitable if it's about to play the most old school style of metal. Even the sound of the '70s they've imitated so well, that anyone who never heard about the band, could believe that it's some long forgotten gem from the past. The only thing that may sound weird for the unsuspicious listener is the complete lack of vocals, since Serpent Throne have found instrumental music enough effective to transmit their message. "Ride Satan Ride" is filled with lots of catchy heavy themes that are able to simulate to time travel back 30 years in the past. The album offers excellent nostalgia for the fans of the most ancient style of heavy/doom metal, and could be enjoyable for stoner rock fans and well.

Amorphis - Eclipse (2006)

   Eclipse is the first album for Amorphis with new singer Tomi Joutsen. It propelled the Finnish metal band in a direction that a lot of fans (arguably) were ready for. Eclipse brings a more progressive feel and Tomi's vocals absolutely command with the power to transition from guttural death growls to a clean melodic tone. To be blunt, this entire album is one giant earworm.

     I'll admit, when I first listened to the opening track, "Two Moons", I was kind of put off by the weird keyboard/electronic sounding intro. That might have just been me trying to sustain myself as an edge lord, because now, it's one of my favorite tracks, and is the perfect segue into understanding just how beautifully Amorphis has undertaken and mastered this new style. Joutsen's voice is strong and soft in the same motion, all while supported collectively by the band who, in my opinion, sound the most put together on this album than they will in the ones released after Eclipse. The last minute and a half of this song set the tone for the rest of the album with melodic guitar riffs and commanding vocals.
     Lyrically, the band wrote the album based off the Finnish mythology Kelevala and the tragic fate of Kullervo. They brought back their old formulas of incorporating death growls among clean lyrics, which allows the really memorable parts of the songs to be delivered with more extreme emotion. None of the songs are a disappointment. The album has a collection of folk sounding, progressive, and at times even melancholy tunes.

Bewitched - Rise of The Antichrist (2002)

   Probably it wouldn't be incorrect to call Bewitched responsible for the lately quite widespread strongly '80s influenced vintage direction in the Swedish scene, since the band keeps playing the mix of heavy, thrash and black metal since the mid '90s.
    The band's early style could be even called as blackened heavy metal, by playing music in such vintage sound, that could make anyone believe that if there was a direct transition between heavy and black metal in the '80s, it must have sounded like this. On their fourth album "Rise of The Antichrist" they took a harsher switch by not just involving more thrash elements, but making thrash tempo and sound as the basics of their music. This more intense, more aggressive tone definitely fits better to their satanic lyrical concept, and also turned up advantageous if it's about musical diversity. The influence of Slayer waves back from time to time during the album, but despite the harsher, inevitably evil tone, the heavy metal touch keeps holding back the music from taking a too dark turn. This lighter main impression might seem like being in contrast with the lyrical concept, but not in '80s terms. From this perspective it's a necessary style feature that supports enjoyability on a certain level and quality. It's quite possible that Bewitched music inspired plenty of Swedish bands directly or indirectly, bands like Witchery, Mordant, Death Breath or early Paganizer. 

Apocalyptica - Cult (2000)

   Who said that electric guitars and drums are necessary to play heavy metal? Apocalyptica proved that they aren't, 4 cellos would do the thing too.
   The band started with covering Metallica songs by cellos and they gained wide attention soon in the age when the main audience seemed like to starve for something new and genuine more than ever. The appearence of symphonic elements in metal wasn't completely new, it's enough to think about some progressive metal bands, to symphonic black metal or to genuine experiments like Celetsial Season. But Apocalypctica made it without involving any ordinary instuments, so their style remained neoclassical, only the way how they played was a reference to the intense, raw features metal. It took for a while until they introduced their own songs like if they were aware to step further from doing covers, though even on "Inquisition Symphony" the self-writen songs were the best. They built on the contrast of classical symphonic melodies and the rough sawing-like noise, that probably nobody expected before to hear by a bowed instrument. Their music is still more relaxing than wild in general, so even if it's able to make other classical musicians crossing themselves, it didn't became the favorite of the moshpits. Still Apocalyptica became one of the most successful bands of the early '00s by their uncommon imaginations. Unfortunately left behind this path slowly by involvolving ordinary instruments and various vocalists too.

Paganizer - Deadbanger (1999)

   Paganizer beceame known as a death metal band, but their debut was quite different from their late style.
   "Deadbanger" had an old school '80s-like style that is frequently appearing in the Swedish metal scene. This is usually a mix of heavy, speed and thrash metal with some black metal influences. It's like a reference to Venom, but this style is more genuine and far more intense. To balance on the borders of those genres may also give wider possibilities, but similar bands prefer to create a unified style. The lyrics may sound immature like old heavy metal lyrics, and including a doubtless sympathy with the devil, but that just serves the old school feeling. The themes are showing plenty of heavy metal references, but for the intensiveness and the aggressive attitude the speed and thrash influences are responsible. The touch of black metal appearing only in the vocal style and in the lyrical concept. The demo versions of the songs had a vocal style closer to death metal growling. Albums likes "Deadbanger" could leave a dejavu feeling in the listener. However the '80s have passed without similar bands too, but still these are excellent nostalgia albums, filling a long time missing part in the main scene and are party compatible the same time. Hails for the "Deadbanger"!

Control Denied - The Fragile Art of Existence (1999)

   After the last Death album Chuck Schuldiner finally had the chance to focus on his side project named Control Denied, that gave him an opportunity to keep merging into progressive metal between more melodic musical frames.
   Musically "The Fragile Art of Existence" sounds like the next step after Death's "Symbolic". Plenty of themes are sounding like to refer back to that album, while there are no signs of the needlessly overcomplicated frippery themes of "The Sound of Perseverance". The typical Mr. Schuldiner-styled themes and song compositions are waving back druring listening. The easily recognizable bass lines of Steve DiGiorgo also had important role to form the main charecteristics of the album, and of course to give another Death reference, in this case to "Individual Thought Patterns". The vocal style of Tim Aymer is able to make jelous any power or heavy metal singer, and definitely fits better to progressive ambitions than growling. The lyrical background is fortunately more serious than power/heavy metal lyrics used to be, and follows the almost philosophical approach of societal problems, that was the main feature of the late Death albums too. So even though Control Denied used to show something different than Mr. Schuldiner's main project, it became the part of the Death life work.

Blackstar - Barbed Wire Soul (1997)

   The British just love their '70s and '80s heavy metal scene, so it's not surprising if retro endeavours overcome on them. The same thing happened in the case of Blackstar, a short lived band that was formed on the ruins of Carcass.
    By knowing anything about the musical past of the members, it's evident that this wasn't a project of high notes singing, half naked heavy metal warriors in leather pants, but still it was something far different way for sure. Their one and only album was like a transition of classical heavy metal into the late '90s by adding the actual influences. This is the same way how stoner rock was born, so the similarity of their music may not count as a coincidence. The sound had to be heavier, noisier and the vocal style more harsh for the same serious effect in the late '90s, like a few decades earlier. The lyrics about life, personal issues and inner struggles are also modernized versions of the old school heavy metal lyrical style. The album is kind of party-compatible filled with catchy themes and it's very entertaining in general. It's a proof that great musicians are able to create good music in various genres and styles.

Amorphis - Tales from the Thousand Lakes (1994)

My first introduction to Amorphis was the farthest possible example of music from this album. Today they're more of an average Finnish heavy metal band; with catchy riffs, clean vocals that sometimes find death growls intermingled, and albums released that sound.. catchy and similar to the one released before it. (Kind of like owning 20 of the same album. But I'm not gonna lie, I own at least 10 of them). They've come a long way since Tales from the Thousand Lakes. However, a friend once told me that he hadn't met a metalhead who hasn't heard of this album. Enter me!

     Tales is a concept album, not the last one they'll do, based on the Finnish novel Kalevala. This album holds a complex sub-genre argument throughout it's entirety. While it's predominantly death metal, it also holds an influence of doom, melodic, and heavy or alternative themes and even folk metal. This being an earlier album than what they're known for now, this album incorporates clean vocals throughout dominant death metal vocals. Don't let the sound of synthesizers worry you, the use is far from any Bon Jovi type of sound, and is a consistent sound the band carries to this day, albeit more refined and slightly more tolerable to listen to. If it's not the entire album you can find yourself able to listen through, at least give Black Winter Day the few moments it deserves in comparison to how far the band has grown to today. A remarkable album that is "so 90's". I'm now reminded that I need to buy this band shirt.

Sleep - Sleep's Holy Mountain (1992)

When first introduced to this album, I probably ignored it for 2 or 3 months until it popped up on shuffle in my player. After that, I probably asked 1239235 people if they had heard this album before because I thought I had discovered some piece of fuzzy timeless stoner metal gold. The album is reminiscent of some of the worlds most classic Black Sabbath era heavy metal, with added doom that brings the album obviously straight out of the early 90's. I have a feeling if I were on drugs when this album came out, it would have drastically spun my young adult life into some drug fueled hippy stoner metal themed dragon ride. Just listen to the first song and you know you're in for a sweet ride. So since I can't achieve that as a functioning adult, I'll settle for switching a black light on and turning the Holy Mountain on. This album has an interesting appeal to the senses, if you're one of those listeners, man, in the sense that this album holds a sort of depth between the musical and vocal aspects; sometimes even sounding like the songs were recorded underwater as heard in "Aquarian". The fantasy projected in this album gives the listener an exercise of the mind. The songs flow well, and despite the "heaviness", the album is an easy, yet memorable listen. 

Fear of God - Within the Veil (1991)

   While the early '90s metal scene was overwhelmed by the wave of death metal, there were a few bands which didn't tried to merge into the actual trends.
   Fear of God had it's musical influences by the earlier waves of the '80s, but it wasn't a "just keep playin' old school" project, but a genuine mix of those influences according to the actual sound. The singer Dawn Crosby could be found as someone mainly responsible for the foundation of Fear of God, shortly after her previous band, Détente was split up. So the thrash metal influence is evident, but an uncommon mix of heavy metal with gothic/doom touch was the main characteristic of "Within the Veil". While in Détente a more aggressive, shouting vocal style could be heard from miss Crosby, in Fear of God she involved gloomy and psychedelic-like singing too, that gave a melancholic atmosphere to the music. And of course it suspected common unconscious travels to beyond supported by heavy drug abuse and self-destruction. Oppose to the actual trends, it was not about extreme intensity or aggressiveness, more like about desperate struggles of an inner-self that is slowly falling apart and consumes itself. "Within the Veil" was an extraordinary and less known classic of the '90s metal scene.

White Zombie - Make Them Die Slowly (1989)

   If horror fanatism is going by hand in hand with drug abuse, the outcomes could be often weird. Maybe even more weird than without horror fanatism.
   Before White Zombie was into industrial influences and  became famous, they had a longer struggle on a rough way in underground. That period produced 2 full lenght albums, an the second, "Make Them Die Slowly" had a feeling that wasn't so catchy, but definitely attention sparking. It was more into heavy metal, but wasn't an ordinary style at all. Good and exciting themes appearing on this album very often, which were referring to heavy metal, but the ambitions to mix with a more alternative style, turned the whole music into a weird way. Sometimes it's very dark, but suddenly turns groovy, sometimes they sound miserable, and later more like chilling, than more intensive again. It could portray maybe the side effects and exaggerated mood changes of a self-destructive lifestyle. Whatever the inspiration was, it's an interesting album.

Death SS - ...in Death of Steve Sylvester (1988)

   Death SS is probably one of the oldest and most underrated metal bands from those who were inspired mostly by the horror genre and occultism.
   Their main influences were probably Black Sabbath and Alice Cooper because of their theatrical stage performances and appearence. They are active since the late '70s, so they could be an interesting example to see the development from hard rock to '80s heavy/speed metal. Of course it wasn't a plan. Stefano Silvestri only wanted to express the classical horror feeling of old comics and movies by their music, which is dedicated on this album to the most common classic characters of the genre. Similar to Exorcist, Death SS is filling a missing temporary period in metal music, and sadly they are similarly less known too because of their label's bad distribution. So they couldn't had huge influence on the main genre outside the borders of Italy, but their music could always cause exciting moments for the fans of horror based heavy metal.

Oral - Oral Sex (1985)

    There isn't much to know about the girl band Oral, except that they appeared with an EP titled as "Oral Sex" during the NWOBHM, and they were from Brighton UK.
   Their purpose was maybe nothing more than a way to seek for attention by scandalous and provocative  features, but it wasn't a bad idea at all that time, when the stage was ruled only by male rock stars. Except a few crazy exceptions (like Wendy O. Williams), women usually took place only in the audience and in the backstage as gruppies. Probably the situation of the members of Oral wasn't different either, but unlike others, they formed their own sexual message. "Oral Sex" includes most of the actual hard rock/heavy metal influences of the '80s British scene. The direct influence of Motörhead is evident, but the music lacks the intensiveness that made early heavy metal to sound kick ass, even though plenty of great themes could be heard on this short EP. After the lyrics some female sex fiends could be expected (or hoped for), but their performance is more like girly, so the main impression isn't so effective as it should to be. The contrast of the innocent-like surface and the filthy inside was reflected, but in this case the second should be preferred, that's why it's sad that the "really bad bitch" feeling can only partly prevail. Anyway it's a less known and interesting classic of the '80s heavy metal scene!