Lizzy Borden - Give 'em the Axe [1984 EP]

Immediately after recording their demo and picking up a deal with the budding Metal Blade Records, the Borden family blitzed the studio to record this scrappy little EP. I always imagine them in full, ludicrous attire, probably falling down drunk, and using that pathetic, little chainsaw from the Menace to Society cover to break off the lock only to find that the door was open all along. Lizzy himself then proceeds to toss out the unfortunate band cowering inside. In this case, it's John Arch and company recording Night on Bröcken, but you know Archie; he typically takes it well, temporarily returns to his work as a lumberjack, and, not being one to waste any storytelling potential, secretly recounts the tale backwards through the course of The Spectre Within. Yeah, it's in there. Trust me. Meanwhile, all the goofing off stops when the 'record' button is pressed...

Okay, so maybe I let my imagination run a bit wild there, but that just about reflects the energy ever apparent in Lizzy Borden recordings. There's a feeling of controlled insanity with these guys in their early output; you know that any minute they could fly off the handle and start burning stuff, and they have the equipment and mental state to do so. However, their unquenchable thirst for destruction isn't so much threatening as it is brought on by their love of fun and partying. This factor would become more evident lyrically on the band's full lengths, but the energy is still present right here on Give 'em the Axe even if their impeccable brand of melodic mastery wasn't quite reined in yet. This follows the path of the demo, featuring the same style of brief tracks with NWOBHM-influenced guitar melodies and Lizzy's always perfect vocal chords. In terms of content, it isn't exactly bursting at the seams, but I was relatively satisfied nonetheless.

The EP begins with the title track, which was destined to become a lead in at concerts with its direct nature and themes involving the band's titular character. The main riff is a bit plain for my tastes, but the song still succeeds thanks to strong performances. Of all their tracks, "Kiss of Death" probably embraces the band's traditional metal influences the most, busting out a riff Iron Maiden could have utilized on Killers. No, it isn't quite as good as the Fates Warning rendition (Archie's revenge!). "No Time to Lose" closes out the original material, which is speedier (and better) than the other songs. The chorus is excellent, easily the catchiest thing here. I've never cared for Lizzy Borden's covers, but "Long Live Rock 'n Roll" entertains thanks to the strength of the source material. I must say that Lizzy's voice doesn't really fit here, though.

Lizzy Borden's non-album releases have never thrilled me (especially the dismal Terror Rising EP), but I'd easily call Give 'em the Axe the best of the few, a worthwhile purchase for NWOBHM loyalists and fanatics of the band's early work as well. It serves more of a purpose as a crucial cog in their natural progression and history than as a highly enjoyable listening experience in my opinion, since this group wouldn't quite arrive until their full length debut, but I can't discredit it for what it was: a nice little taste test for the four course feast to come. It also delivered the first sight of one of the most awesome logos ever forged forth from the lair of self-aware 80s cheese, although (ahem) I prefer its later incarnations of green and yellow or the USA flag's colors. That was the time, though, when the most outlandish victims of style could still possess substance behind them.

   Overall: 7/10 (Good - bullets start to fly)

Unisonic - Ignition [2012 EP]

My attachment to golden era Helloween was perhaps one of the single most important developments in my youth as a growing metalhead. From the intro of "Ride the Sky" to the closing notes of "Keeper of the Seven Keys", rarely has a band given me so much joyous mileage as Helloween, and I think it's all right to say that no small amount of sentimental value has come along for the ride. I may not have lived through the tragedy myself, but you could probably predict my horror at the nightmarish descent into the musical abyss Kiske and company decided to take after such a flawless run of albums with travesties like Pink Bubbles Go Ape (sorry, I'll always hate it) and Chameleon. Michael Kiske had a lot of explaining to do, and it appears now that he's trying to make amends--and with Kai Hansen, no less. You can imagine my girlish squeal of joy at the though of such a reunion.

However, from the sound of their debut EP Ignition, Unisonic isn't about to unleash the followup to Keeper of the Seven Keys Pt. 2; and you know what? I'm perfectly okay with that. I came to terms with that the minute I pressed play and heard "Unisonic" for the first time. Suddenly, auditory power erupted, along with the highly hard rock influenced riff, and last but not least, Kiske let it loose over that groovin' verse. And so the chills began to descend my spine. This is what the metal world has been missing for the past two decades. It's an entirely simple track, arguably absentminded even, yet its absorbing power cannot be mistaken. Fuck, it destroys. Even as it treads dangerously close to Pink Cream 69 levels of glam-influenced cheese, "Unisonic" comes off as closer to early era Riot goodness: fun, not afraid to let loose and be casual, but completely serious about what it's doing at the same time. Perfect and infinitely enjoyable rock/metal music.

Carrying along in a similar manner, "My Sanctuary" changes things up a little bit. Slower and slightly more atmospheric than the opening barn-burner, the song mesmerizes with an emotive and unforgettable chorus while never truly approaching ballad status. Kiske is in great form, not really hitting his old high notes but finding a comfortable and ultimately satisfying middle ground. It's really just euphoric hearing his voice attached to a full-time metal (or rock, whatever) project again, giving the already spotless songwriting another touch of reinforcement. Really, this material is all about the great songwriting, reminding me of TNT's late 80s material. Straightforward, but stunningly elegant and catchy to boot. "Souls Alive" carries on in the same manner as its predecessor, and I don't think I'm crazy to believe I hear some Kamelot influence in that balladic section near the end.

The EP is capped off with a filler live version of "I Want Out," an obvious attempt to attach Unisonic to the Helloween name and show that Kiske can still come out and do what he was born to do. His performance here isn't quite perfect, but I'm still rather impressed. To be honest, I am trying to restrain my excitement and joy for this new outfit, but Ignition is making the task hard. I looked and looked, but I can't find one damn flaw (musically) here. The only problem with this release is that it'll be completely useless once the full-length is bestowed upon us, since all these tracks (save for the already useless live song) will be featured on that self-titled album. Therefore, its purchase is impractical and unnecessary (literally the only reason for my somewhat modest score). However, it has made me aware of an album I probably wouldn't have had the slightest expectations for previously. Thanks for ruining the surprise.

If you're expecting Keepers era Helloween, you're going to be sadly disappointed. However, if you're seeking a fun and exuberant time, it almost never gets better than this. We could have an Immortal Soul caliber comeback pretty soon, but I'm going to do myself a favor and try not to think about it too much. Oh, who am I kidding, I'll be counting the days.

   Overall: 7/10 (Cool - must...stifle...excitement...)

Abazagorath - s/t [2012 EP]

I've quite taken to the more experimental and progressive breed of black metal grown so rapidly in the past decade, worshiping bands like Enslaved and Klabautamann to no end. Such groups have evolved a genre not known for its technical courage to new heights of creativity and melody, increasing black metal's relevance in the present day. That doesn't mean, however, that a storm of bestial intensity can no longer enthrall the senses in our stuffy, elitist age of innovation equaling quality. Sometimes you just want a consistent torrent of sucker punches to the face, and in that light, Abazagorath has delivered in spades with their self-titled EP.

It would be fair to say that Abazagorath possesses a one-track mind, and luckily for us, that track is a mighty fine one replete with brutal yet catchy finesse. No screwing around is committed here. After a brief, subtle intro, "The Antigod" kicks it up a notch, blasting and pounding its way to the top with some melodic relief provided by the slower sections in between. In fact, this isn't just a voyage made by straight speed and aggression; the band expertly mixes in mid-paced riffs and patterns, making this swarm a bit more memorable and the tracks more distinguishable. Nihilist, if that is his real name, gives an appropriately tortured performance behind the microphone, and his vocal lines complement these tracks well. Sorry, weaklings: no clean vocals or ballads here. Heartbreaking, isn't it?

It's all cloaked in a modern (but not too shiny) production, so Abazagorath isn't exactly a second wave time capsule, not that it needs to be. The highlights are many, even for an EP. "Storms of Destruction" crawls from creation with a haunting and crafty intro, evoking the morbid resurrection of an ancient, evil spirit. The bludgeoning growls thrown in about halfway through only further such a vision as the subtle acoustics elucidate   it. "Lapse" is the shortest complete composition here, and it doesn't fail to make a stirring impression with its blazing rhythms. Out of the 23 sharp minutes offered here, I can't really fault one, even if I found "Immortals" to be the least toxic of the bunch; not bad, and it certainly congeals with its surroundings, but it's not quite as memorable as the others.

I won't comment on this EP's place in Abazagorath's discography, as I'm not familiar with the older work of the band, but I really can't see this release disappointing any fan of primal, no-BS black metal. At any rate, Abazagorath should be a clear indication of a band alive, well, and thriving after four years of silence. I might like my black metal stirred with psychedelia and weirdness, but who's to say I can't pour a smooth glass of well-executed, abrasive chaos every once in a while? It's simple, it's relatively straightforward, but it's also sick and easily replayable. What could be wrong with that? A full-length release of this caliber could make some serious waves. Sure to provide a necessary component to your secret cult meetings.

   Overall: 8/10 (Very Cool - Any more, please?)