Slayer - Seasons In The Abyss (1990)

With the release of "Seasons In The Abyss", Slayer went back in its development, but possibly for the better. The mid-tempo songs that underlined "South of Heaven" were still there, but it was broken up more with what we saw from "Reign In Blood", which of course meant fast and technical riffing, plus an aggressive persona that is unstoppable. In other words, a blend of the two different sides that we have seen from the band, fused into one mouth watering piece of thrash candy.

One thing that is new though is that "Seasons In The Abyss" is a seamless album, transitioning between tracks very smoothly. This of course makes the album a lot easier to listen to in its entirety, but the individual songs do not suffer from this. Every song starts and ends in a natural way, and that just shows what a good connection the band had with Rick Rubin, even if he used the polisher a little too hard here.

The album opens with a killer song, and one of the band's all time classics. "War Ensemble" is just how you would want a Slayer song to be. It is fast, technical, fierce, and has a pair of amazing solos. King and Hanneman delivers big time, putting out some sinister riffs that just crushes your skull. Let us also not forget that breakdown that leads to a classic Araya scream. It may not build as much tension as the opening to "Raining Blood", but it makes sure that the solo hits you hard.

While the album does not reach those kinds of speeds or thrills again (except in "Hallowed Point" were the pedal is to the metal from start to finish), it makes sure to stay fresh and strong throughout its run time. "Spirit In Black" has a smooth speed that just suits well, eventually transforming to that classic Slayer thrash that we all know and love. "Dead Skin Mask" shows off more of the mellow side of the band, a slow tempo song that creates a disturbing mood. It is what the band tried to create on "South of Heaven", but was not able to. Then we also have "Temptation" that uses an interesting technique that I like to call "The Double Araya". Simply put, Araya sings in harmony, using two separate vocal tracks to give the illusion that the band cloned him and created a singing two headed monster. Have to admit, that would be sweet if it was possible.

While my inner Slayer fan is usually attracted to the faster stuff, the slower title track strikes as my favourite track of the record. "Seasons In The Abyss" has a mysterious doom like start, not too far from what Black Sabbath did in their early years, building the tension up in a horrifying way. The tempo suddenly ramps up, transforming into a charging stead fast beat that is both bone chilling and hair rising. To top it off, we get yet another amazing solo that just fits so god damn perfectly in there. If your head is not rocking back and forth to this song, then maybe you should go look for a band that is more suitable to you, like One Direction.

This album also marks the last time we will hear from drummer Dave Lombardo (at least until he returns to the band in 2001), and while his style is perfect for the band, it is very rarely I think "damn, I love the drums on this track". It is probably because Slayer is so riff driven, but it still needs someone to bring some impact into the songs, and Dave does so nicely. No matter what, it is always a bummer when an original member decides to leave, putting a dent in the band chemistry that is not easy to get rid of.

Slayer had all the ingredients to cook up a tasty thrash meal, mixing their two latest recipes into one. The end result is a very diverse record that takes the best parts out of their two styles, creating a symbiosis that is so beautiful to hear. This album is the successor to "Reign In Blood" that everybody wanted, and that "South of Heaven" could never be. A great album that has just the right seasoning for success.

Songs worthy of recognition: Seasons In The Abyss, War Ensemble, Dead Skin Mask, Hallowed Point

Rating: 9/10 Temptations

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Judas Priest - Painkiller (1990)

The year was 1990, and even if we were heading into a decade were almost all of the famous 80's metal bands dropped a lot of balls, the veterans in Judas Priest were already feeling the pressure. A lot of younger, hotter band had caught up and passed them, while the Brits had stalled with the double sandwich "Turbo" and "Ram It Down". But suddenly, out of seemingly nowhere, the Priest rose again with a album that was harder, faster, stronger, and fiercer than anything the band has ever presented us with before. A album that once again showed the greatness of the band. A album called "Painkiller".

This is what I instantly think of when Judas Priest is mentioned, a band that wields the double guitars like they were on fire, and a Metal God that screams his lungs out. The band performs at such a high level that it is safe to wonder if they are Germany engineered machines. But what about the new drummer Scott Travis? He does an impressive job as well, and he wastes no time in showing it, kicking off the album with a slamming drum solo in the title track. About a super hero saving the world from complete destruction, "Painkiller" is probably the best opener you could ever think of with its killer riffs and solos, its loud drum work, and most importantly, a Rob Halford that pulls off the most evil, insane, and the most metal vocals man has ever heard. It is an insane song that gets your blood boiling and fist pumping, a kick off like none other.

So with such an awesome start, you would think that the album would be starting to slip after that, but somehow, it does not. The band spits out killer song after killer song with the frequency of a machine gun, and the ammo seems to be never ending. Let us analyze this in chronological order, "Hell Patrol" follows up the title track in straight forward fashion, a simple, but effective tune with awesome riffing. Then Halford raises his pitch again in "All Guns Blazing", a extremely powerful song that blasts the drums far into the stratosphere. "Leather Rebel" comes shortly after, the absolute catchiest song in the album (and that is saying a lot), and it also acts as a anthem to the band members and their leather style.

While the standard is still extremely high even after that, the three following songs ("Metal Meltdown", "Night Crawler", and "Between The Hammer & The Anvil") does act as sort of a breather for the listener. While being stellar songs and possible highlights if they had been in any other Priest album, it is easy to forget about them when the album is over because its brethren are even bigger, badder, and stronger, especially the song that follows this trio.

"A Touch of Evil" is a different song in this album. Instead of dazzling us with speed or killer riffs, Halford lures us in to a dark dungeon with his menacing vocals, and he is accompanied with synthesizers that are from Satan himself. I could almost describe the song as a ballad, but it is more of a psychological horror show, including a terrific chorus, and a solo that gives you the biggest of chills. I am on the edge of my seat all of the 5 minutes and 44 seconds, and I love every second of it. You simply cannot resist "A Touch of Evil".

That itself would have been a great closer to "Painkiller", but "One Shot At Glory" gets that job (together with the small intro "Battle Hymn"), and it does it with the honor. It is another speedy, riff filled monster, but this one has a chorus that gets you pumped up and makes your vocal chords move on their own, making sure that you end the album on the most positive of notes. And to top it all off, we also have a long and versatile solo that could go on forever. What... an... ending!

Judas Priest has released a lot of great albums over the years, but "Painkiller" outclasses them all. This album delivers a power that would make the Juggernaut jealous, and while the album has a clear sound that goes through all of its run time, it still presents a great versatility. However, what makes "Painkiller" so mindblowingly awesome (besides that kick ass album cover) is one simple thing, it packs 10 killer songs, having no dips or fillers in sight. It is pure awesomeness from start to finish. It's faster than a bullet, it's full of anger, it louder than an atom bomb, and it answer to our pleas. It is the "Painkiller".

Songs worthy of recognition: A Touch of Evil, Painkiller, Hell Patrol, All Guns Blazing, Leather Rebel, One Shot At Glory

Rating: 10/10 Battle Hymns

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Megadeth - Rust In Peace (1990)

Out of all the 14 Megadeth albums in their discography, this particular album released in 1990 is the most critically acclaimed one, often mentioned when one discusses over which album is the best one ever released. And I totally understand why it is so. Ever since I first heard the whole album, around the time it was released in Rock Band as DLC, I was hooked with those fast guitars, the endless amount of solos and the insane bass lines. It was a blast to play these songs, but even more fun to listen to them.

So I am already well known with "Rust In Peace" before this review, so I am mostly going with what it was like the first time I heard it. And to be honest, it was the same feeling that I still have over this album, that it is a thrash masterpiece. The band has written 9 + 1 killer songs that takes up various discussions in the lyrics, such as religious wars, alien life forms, nuclear warfare, and more. Dave Mustaine and co. has really stepped up their game after the half experimental "So Far, So Good... So What!".

We got two new additions to the band in this album, two members that would put a huge mark on the band forever. Guitarist Marty Friedmann and drummer Nick Menza joined the band after Mustaine fired Jeff Young and Chuck Behler, and to say that they made a mark on "Rust In Peace" is more or less an understatement. Menza's drum beats contains a power that is almost unstoppable, giving the songs bigger playroom, while Friedmann comes in as the perfect playmate for Mustaine, matching him in both riffs and solos.

And believe me when I say that there are a lot of riffs and solos in this album. In "Hangar 18" itself, I count up to a total of 11 solos in this 5 minute song, but then again, this song has very little singing in it, almost making it an instrumental track. The guitar attacks keeps on coming in several other songs. Just listen to the great trademark Megadeth riffing in the start of "Take No Prisoners", the frenetic finish in "Five Magics", the catchy groove in "Tornado of Souls", and the steady march in "Rust In Peace... Polaris". But the biggest assault comes in the beginning with the classic track "Holy Wars... The Punishment Due", a amazing track about the religious conflict in Northern Ireland that mixes frenetic riffing with slower, darker melody loops, making the song look like the Batman villain Two-Face. A very versatile track that should not be missed up on by any metal fan in the world.

But "Rust In Peace" is of course more than a big riff off between Mustaine and Friedmann, Ellefson also gets his share of the spotlight with his fantastic bass lines. He especially takes the centre stage in the slow and dark "Dawn Patrol", the first Megadeth song that does not contain any guitars. Yes, you read that right, no guitars at all. Feels weird to hear a Megadeth song without any six strings, but it helps to bring some diversity to the album. Ellefson also shines with a insane lick in "Take No Prisoners".

This album finished the process of making Megadeth a world class band, mixing amazing song writing with impeccable performance. "Rust In Peace" does not contain a single weak track, not even the bonus track "My Creation" fails to impress me. Mustaine has finally found a good, stable line-up that is ready to keep the Megadeth legacy at its top. A real thrash master piece that also aspires to be the absolute best album ever created in all of metal.

Songs worthy of recognition: Holy Wars... The Punishment Due, Hangar 18, Five Magics, Tornado of Souls, Rust In Peace... Polaris

Rating: 10/10 Lucretias

Black Sabbath - Tyr (1990)

I have always been a fan of Norse mythology. It is something with Odin, Thor and the rest of the gods and their stories that just feels so metal. That is why bands like Amon Amarth and Týr will always have a place in my metal heart, not only for their fantastic music, but also for their lyrics. But before any of those bands existed, the veterans in Black Sabbath decided to try out this concept in their 15th album "Tyr". Well, not exactly. "Tyr" is not a concept album, but several songs in the album has some of this theme incorporated, which gave the impression of it being one.

Despite not being a concept album, "Tyr" still feels like a well thought out piece where all of the songs share the same connection and sound. The sound is sort of a continuation from the previous effort, "Headless Cross", but it feels even more dynamic this time thanks to a different production that feels more modern than the darker production that "Headless Cross" had. I still feel that Sabbath does best when the production is a little rough, but I cannot say that the production on "Tyr" works as an disadvantage for the band, since it helps making the songs stand out more. However, the drums are a bit too loud, but it is not really enough to make me complain.

Once again, it is the shear power that impress me, something all of the Tony Martin records have in common. He sings with strength and passion, and he does the music justice. Just listen to"The Sabbath Stones", and be amazed over Tony's well thought out vocals, from the mood to the pure force. Definitely one of the more underrated singers in metal.

The other star of the album is, not surprisingly, the other Tony in the band. Iommi's guitar playing is once again spot on, and he does it with such precision that it gives me goose bumps. From the slower and more delicate parts in "Odin's Court" and  to the more fierce and heavier riffs in songs like "Valhalla" and "The Lawmaker", Tony Iommi brings a high diversity to "Tyr" that is unmatched in any other Sabbath album. I would say that this is one of his best performances in any Sabbath album up to date.

The song quality in this album is incredibly strong. Even the weaker tracks, the ballad "Feels Good To Me" and the opener "Anno Mundi", have some strength in them that makes their appearance worthy. That is why it is so strange to me why this album is rarely taken into question when you discuss about the best album from Black Sabbath. If you ask someone on the street about the best Sabbath album, it is a big chance that they will say "Paranoid", "Master of Reality", "Heaven And Hell", or any other album out of the first 10. With a great line-up consisting of the epic "Jerusalem", the more old school song "The Sabbath Stones", the groovy "Valhalla" and the easily likable "Heaven In Black", I consider "Tyr" to be among the top in the discography, but instead, some fans dismiss it fast just because it does not have Ozzy or Dio as the vocalist. It sucks that most people have such preconceptions about some eras in Sabbath, because it should be about the actual music that is performed, and not who is behind the mic.

"Tyr" is not a perfect album, but it is pretty darn close. With that nordic touch and some great performances from all of the band members, "Tyr" makes a great impression and is a big contender to becoming the best Black Sabbath album when I will summarize the discography. Great variation, great production, great everything. It would have been even more interesting to see how it could have been if the band made a full concept album out of this but it is not needed since the music does the talking, and it does it good. Odin and the rest of the gods are looking down from Valhalla, and can confirm that it feels good to finally be a part of the metal community, all thanks to this masterpiece.

Songs worthy of recognition: The Sabbath Stones, The Lawmaker, Jerusalem, Valhalla, Heaven In Black

Rating: 9,5/10 Anno Mundis

Iron Maiden - No Prayer For The Dying (1990)

Every rock fan know that the 90's saw some surprisingly weak albums from some of the greatest names in the 80's, and sadly, Iron Maiden was no exception. The 1990 release "No Prayer For The Dying" saw the start of a downward slope for the band. Besides the fact that Adrian Smith left the band and was replaced by Janick Gers, the band took a step back from their epic sound that they had developed in "Seventh Son of A Seventh Son".

So it is back to basics for the Maiden then, and the big guns are the fast songs "Holy Smoke" and Bring Your Daughter... To The Slaughter". Two songs that has had its plays in rock radio stations all around the world, but are not mentioned as some of Maiden's greatest works. For me, these two songs may be catchy and groovy, but there is no depth in the music to make them long lasting. But surprisingly, those two are on the stronger side of this album, which is a proof that "No Prayer For The Dying" is weaker than the average Maiden album.

Other strong parts of the album are the adventurous "Tailgunner", the beautiful title track, the epic closer "Mother Russia" and the underestimated "The Assassin". But just like the rest of the album, these songs are very pale compared to what the band has created before. But at the same time, there are no really bad songs in "No Prayer For The Dying". Sure, "Run Silent Run Deep" is pretty sluggish and "Hooks In You" is a little corny, but the overall standard is acceptable.

"No Prayer For The Dying" is not a complete train wreck, but it was the weakest Maiden album at that time. It has some satisfaction factor, but in the end, it does not fulfill ones need for great music. I definitely miss Adrian Smith's furious guitar playing on this album, but Janick Gers is doing his best, and it is not easy too be new in the gang that has made some amazing records in the past couple of years.  So "No Prayer For The Dying" is an ok album. No more, no less.

Songs worthy of recognition: Bring Your Daughter... To The Slaughter, Tailgunner, Holy Smoke

Rating: 6/10 Assassins