Earn 1 Loyalty Point With Every $1 Spent!

Into Blackness

SKU: 194399314425
Label:
Century Media Records
Category:
Thrash Metal
Add to wishlist 

"Bonded was formed a few years back by ex-members of Suicidal Angels and Sodom which set some high expectations for their debut full-length Rest in Violence in 2020.  I found it to be an enjoyable mix of old-school thrash with some modern grooves, and while there were some lulls around the halfway point that dragged the album down it was still a promising start.  I wasn’t expecting a follow-up so quickly, but here we are around a year and a half later and Into Blackness is here to showcase what the band has learned since their debut.  And they certainly have learned quite a bit, as the material further enhances their mix of melody and brutality while incorporating some slight hints of some other metal styles.

Even though its members have been a part of some of the better-known European thrash acts in the past, Bonded has showcased a bit more of an American sound since their inception.  There are still quite a few sections on Into Blackness that bring a considerable amount of Testament influence alongside some of the other Bay Area thrash bands, which the band once again utilizes to their advantage.  What continues to draw me to Bonded’s music is how they balance the old-school and modern edges of their sound, with certain songs going all-out on speed and brutality while others bring a bit more of a mid-90s groove and some unexpected melodies into the mix.  This gives the material a bit more variation than a lot of thrash bands these days, and while you do get some familiar patterns throughout Into Blackness the band is able to shake things up enough to keep things interesting.  The melodic leads are even stronger this time around, and the entire first half of the record from “Watch (While the World Burns)” and “Into the Blackness of a Wartime Night” is sure to stay on repeat for many people as it’s the best work Bonded has done to date.  While thrash remains the foundation, tracks like “The Holy Whore” give off some hints of black and death metal to their tonality, and these unexpected jumps into other areas of extreme metal leaves a lasting impression.  Admittedly the second half still has a few clunkers, as I found “Destroy the Things I Love” and “Ill-Minded Freak” to be a bit dull, but it recovers better than Rest in Violence which makes for a bit more consistent listen.  And whether you finish the album off with “The Eyes of Madness” or the two CD exclusive bonus tracks, the instrumentals end on a strong note.

Ingo Bajonczak’s vocals were a large part of what made Bonded’s debut appealing, as he had a gruffer singing voice similar to Testament’s Chuck Billy but also hit some lower growls and even pitches that had a bit more of a hard rock swagger to them.  That’s once again the case here, but it feels like Bajonczak has made a conscious effort to do even more with his vocals as the growls head lower and he attempts even more of the hard rock/groove metal type singing.  It’s an appropriate move, as there’s a slight injection of melody into the performance on the choruses that matches up well with the guitar work.  There are a few sections where it does sound as though Bajonczak is pushing his range a little bit, as the singing on “The Eyes of Madness” seems just a bit off and there are a few other similar passages throughout Into Blackness.  But I appreciate just how much he’s trying to do here, and the amount of powerful sections that stick with me outweigh the negatives.

There are still a few songs that don’t quite work, but Bonded has offered up an album that bests its predecessor by a decent amount.  The balance between slower grooves, blistering thrash, and infectious melodies is on point for most of the songs, showcasing that these guys have already started to find what makes their take on thrash noteworthy this early on.  Although there remains some areas that can still be improved upon, quite a few songs from this release will keep me coming back and I suspect many thrash fans will feel the same way.  With this type of leap forward between releases, by the time Bonded is on album three or four we could be in for something truly special." - Metal Trenches

There are no review yet. Be the first!
You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • New edition of this thrash classic is remastered, has a 20 page booklet and 4 bonus live tracks.
    $11.00
  • "1987's R.I.P. album represented a pretty inconspicuous start for Swiss trio Coroner -- one whose modest ambitions they would quickly outdistance on their way to morphing into one of thrash metal's all-time most adventurous bands. Guitarist Tommy T. Baron and drummer Marquis Marky had only recently quit their jobs as roadies for avant-thrashers Celtic Frost in order to join forces with vocalist/bassist Ron Royce and, their instant musical chemistry notwithstanding, the group was still trying to figure out a way to translate their shared virtuosity as players into comparable levels of songwriting inventiveness. Mere flashes of their potential were revealed here, with occasional, darkly ambient instrumental song snippets making their way among blistering examples of typical '80s thrash metal, though the two never quite meshed into the awesome sonic weave that would characterize later-day triumphs. No, though they were commendable enough in their own right (and at least on par with much of the competition), album highlights such as "Reborn Through Hate," "When Angels Die," and "Spiral Dream" (with lyrics written by former mentor and employer Thomas Gabriel Warrior) exceeded expectations only when it came to the disorienting speed and the labyrinthine complexity of their execution. Elsewhere, the manic instrumental "Nosferatu" offers yet another jaw-dropping technical showcase, the unusually stupid "Fried Alive" sticks out like a sore thumb, and the closing "Tolentanz" suite delivers a strong finale. Ultimately, R.I.P. is a more-than-respectable debut rendered less impressive by Coroner's subsequent accomplishments, but it should provide a welcome addition to any thrash metal enthusiast's collection nevertheless." - Allmusic
    $20.00
  • "After setting the bar high with The End Of Chaos, Flotsam And Jetsam quickly returned to the studio for the next installment. While it’s debatable whether they surpassed the catchy hooks and riffs from their last album, Blood In The Water proves they haven’t lost their edge in two short years.Compared to Overkill, these two bands have a similar trajectory as they both launched two albums within the same time span.Despite the impeccable drumming, riffs, and satisfying range of Erick Knutson, it’s worth noting how much time passed since the last album. If Blood In The Water has any flaws, it’s trying to outcompete with The End Of Chaos which is still fresh in public memory. As The Wings Of War sounded a little repetitive sounding right after The Grinding Wheel, Flotsam And Jetsam have already outdone the competition in the 2010s and hearing more content is just a bonus for the fans.Overall, Flotsam And Jetsam seem to rein in their best effort when the songs are built around Knutson stretching the verse instead of the fast talking style found on most of the opening tracks and that’s prevalent on this album especially. Blood In The Water has an Act I and Act II in that regard, divided by the speed metal in the former and melodic leanings in the latter.Act I begins with the thunderous intro by Ken K Mary, who is among the best performers on the album. “A Place To Die” and “Walls” summarize the main takeaway listeners might have at first. It’s great and everything we want from the remnants of the thrash/speed metal bands, yet hard to rank above their extensive, 21st-century catalog. At best, fans can enjoy adding more songs to their playlists and depend on the band to never get distracted in the studio.The title track draws the most distinction from the previous opening track, “Prisoner Of Time.” While Blood In The Water is faster and heavier than the latter, it never reaches the melodic depth that The End Of Chaos thrives in. Whereas they used bassist Michael Spencer to tone down the tempo after the intro, the band is interested in keeping those fast tempos and revolving most of the songs around that formula. Speed and aggression is the strongest trait of the band now, after excelling in everything else.Act II is where the pace starts to change. “Cry For The Dead” offers the first break from the thrash theme found all throughout the first 20 minutes of the album before going right back to standout tracks like “Dragon.”“Undone” is somewhat of a throwback to their late-’90s roots with the alternative-centered songwriting making a surprising return. They even had time to have a brief symphonic moment towards the end of their intense closing track, “7 seconds.”The duo between Michael Gilbert and Steve Conley cannot be overstated since the most epic solos and shredding should be credited to them.Continuing the modern thrash sound distinct from the 80’s and 90’s material, Flotsam And Jetsam are retaining their legacy as one of the few bands that kept the multiple riffs in one song rule and matured with time while staying relevant." - New Noise
    $15.00
  • "When it comes to thrash metal, only two questions apply: does the artist add anything new to a formula laid down more than 35 years ago, and are they good at what they do? In the case of Savage Messiah the answers are: ‘No’ and ‘Fuck yes!’ The Londoners don’t throw anything remotely original into the mixing pot, but after a decade of gigging and recording they’re as accomplished as any band outside of the killer elite. The quartet’s fourth album is crammed with stampeding, often groove-laden riffs and as writers they sink lasting, memorable hooks into the likes of Wing And A Prayer, Solar Corona and the Metallica-flavoured title track. Fittingly, Hand Of Fate is also Savage Messiah’s debut for Century Media, who were committed enough to sink funds into its crystal clear yet weighty production. Their future looks bright." - Metal Hammer
    $14.00
  • "It only feels a matter of moments since UK metallers SAVAGE MESSIAH brought their fourth studio album Hands Of Fate to the masses at the back end of 2017 and here we are once more. The follow up Demons is available now via Century Media Records, can the inspired quartet continue to build on their recent success?Virtue Signal thunders into your gaze with punishing drum work and an electric tempo. Frontman Dave Silver‘s signature melodic tone makes for memorable chorus lines to coincide with the energetic pace. What Dreams May Come gracefully glides along with its accessible, emotive nature. It may not pack as much of a punch as what we have come to expect from SAVAGE MESSIAH but the skill is still evident as impressive solo work is displayed in spades. Heretic In The Modern World leans to a darker vibe with crunchy riffing and an alluring presence. The tracks thus far have definitely been constructed with the stage in mind, providing a variety of opportunities for each member to shine and whip the crowd up into a frenzy.Parachute takes a more relaxed, radio friendly approach focusing mainly on the vocal lines as it’s key facet. The uplifting lyrical content proves to be particularly cathartic but there is still time to throw in an enticing solo. Under No Illusions sees a reprisal of the signature SAVAGE MESSIAH thrash metal tones which brought them to the dance in the first place. Controlled bursts of energy are unleashed picking up the intensity alongside the addition of another inviting chorus and gang chants which are crying out for participation. Down And Out feels like a brick to the face as jabbing riffs get your head bobbing along. A sturdy drum beat continuously hits that sweet spot as the guitars join forces with intriguing melodies. The Lights Are Going Out hits the brakes, choosing to take a more purposeful stride and clean tones, focusing once more on the vocals as the centrepiece. Groove ridden guitar work amplifies the dramatic mood.The Bitter Truth injects some adrenaline into proceedings with rapid thrash infused riffing as Silver displays his high pitched vocal prowess. Breakneck drumming and adept solo work unite to provide one of the stand out tracks on Demons. Until The Shadows Fall allows for a moment of contemplation as the smooth rhythm and potent vocal segments possess all the captivating hallmarks of a single release. Rise Then Fall opens with flourishing lead work and hard hitting shredding right out of the gate ensuring the energy stays at optimum levels teeing up the burly riffing that opens Steal The Faith In Me. The final track ebbs and flows between melody and heaviness to keep you guessing until the final moments which descend into a boisterous breakdown to cap off the journey.As the years have progressed SAVAGE MESSIAH have thrown caution to the wind and have not been afraid to get experimental with their sound. Demons is packed to the brim with a variety of alluring elements. Whether it is the enticing thrash infused riffing or hook fuelled chorus there is plenty on show to appreciate. They seem to have found the right balance of introducing new styles whilst still remaining in a similar ball park to what has helped shape their fan base but going forward they may need to consider being careful of casting their net too far afield with risk of alienating their following they’ve worked so hard to acquire." - Distorted Sound Magazine
    $13.00
  • "Most anyone still doubting Coroner's merits as anything but "the band formed by Celtic Frost's old roadies" was likely silenced by their very impressive second album, 1988's Punishment for Decadence. Though not nearly as adventurous as their previous employers early on, the members of Coroner had the clear advantage of being incredibly gifted musicians from day one; and aesthetically, they evidently already aspired to become the thrash metal power trio equivalent of Rush by splitting songwriting duties between guitarist Tommy T. Baron and bassist/singer Ron Royce, while drummer Marquis Marky handled the lyric-writing. The analogy may seem a tad far-fetched, but though Punishment for Decadence's focus was still very much on speed (as if the players are simply relishing the joys of pulling off such complex technical gymnastics in the first place), there's no disguising Coroner's amazing compositional talents to make it all work. To be sure, songs like "Absorbed" and "Shadow of a Lost Dream" stay true to thrash metal's melody-averse philosophy, but careful listeners will notice Baron's solos becoming more musical by the minute -- especially obvious on the frenetic "Arc-Lite," which features a spellbinding workout of Yngwie Malmsteen-like speed and dexterity. More accomplished tracks like "Masked Jackal," "Sudden Fall" and the semi-industrial "The New Breed" all have their moments, but it's the excellent "Skeleton on Your Shoulder" which offers the most hints of the band's incredible output in later years. Plus, many thrash enthusiasts will find Coroner's over-the-top rendition of "Purple Haze" reason enough to investigate this rough-hewn gem." - Allmusic 
    $9.00
  • "MEGADETH is back and blazing at full force and everything about “The System Has Failed” screams “Classic MEGADETH!” Just to get it out of the way, the year is 2004, not 1986, not 1992, so don’t go there. MEGADETH is 20 years old. Mustaine is still the man and MEGADETH is still the band! Well ok, MEGADETH is still MegaDave, since the whole MEGADETH line-up has been revamped. Marty is doin’ his million mile an hour, Japanese pop-star thing, and Ellefson I guess is working for Peavey and is currently mid-lawsuit with Mustaine for whopping $18.5 million big ones over some merch and publishing royalty issues that came about when Dave decided not to pull the plug on MEGADETH after all, leaving Mustaine as the only returning member, or is he? Technically, he’s not, but we’ll get to that.You know, when Dave got kicked out of METALLICA so many years back, he made a vow, a vow to kick METALLICA’s ass. Needless to say, even though two decades have passed since then, this is the album that should have Lars and the gang shitting teeth! Not that the past albums weren’t enough, it’s just that compared to 2003’s “St. Anger”, this album puts METALLICA out of the race, it’s just that simple. Once you find you’re formula, keep it, master it, make it you’re own. METALLICA screwed with theirs one too many times unfortunately and as a result it crumbled through their fingers.One thing that’s definitely a plus about this album is the “oh so familiar” feeling you get from the artwork. Just you’re regular run-o-the-mill MEGADETH cover that may as well be from the 80’s as opposed to now...oop, I went there. Not to mention the listing of who does which solos in the liner notes, always a nice bonus. And just who exactly would be swapping solos with The Man? None other than Chris Poland, that’s right, this album marks the triumphant return of Chris Poland, the original lead guitarist who hasn’t been seen with MEGADETH since “Peace Sells...” However, that’s not to say he hasn’t been busy. Since then, he has appeared on several albums including three solo albums of his own, as well as a few from his current jazz/fusion group OHM, not to mention a guest appearance on the 2003 Metal opus “As The Palaces Burn” from LAMB OF GOD which shows that he has definitely kept up on his metal chops, which as you will hear on this new album are still second to none.As for Mustaine, well what can be said that hasn’t? The man is, well...The Man. However, Dave suffered a severe arm injury in 2002 that had him convinced he would never play again, so Dave disbanded the group altogether and it seemed as though MEGADETH was through. Supposedly, Dave got drunk and fell asleep on his arm causing severe nerve damage (???). However, with a miraculous recovery and a reworked set of band members, MEGADETH are here to stay.At just under 50 minutes, Mustaine and Poland give you an ample supply of riffery that never drags for even a nanosecond, and with soon to be classics like “Of Mice And Men“, “Blackmail The Universe“ and “Truth Be Told“, this newest offering from one of the greatest Metal bands of all time clearly shows that the days of MEGADETH have yet to be numbered, even by Mustaine himself." - Metal Observer
    $14.00
  • Possessed was the death metal band that featured Larry Lalonde before he went to play with Primus.
    $10.00
  • "1989's No More Color finds Swiss trio Coroner in transition mode between the technically skilled, but still relatively conventional Euro-thrash metal heard on their first two albums, and the truly distinctive thinking man's avant-thrash of the two discs yet to come. In other words, this is the point in which the group's desire to think begins overtaking their desire to thrash. But even as their need for speed dissipates, the band's creative instincts are given the chance to catch up with their virtuosic execution, a development made all the more evident by the less restrictive, more elastic production values extracted by Saxon producer Pete Hinton. As a result, Coroner's previously fast-improving songwriting skills are the only minor casualty of No More Color's otherwise sound evolutionary improvements, as excessively complex new offerings like "Die By My Hand," "No Need to be Human," and "D.O.A." become a little harder to differentiate from the pack. When it all comes together, however, such as on the excellent "Mistress of Deception" and "Tunnel of Pain," the album represents Coroner at their most accessible and mature to date. Also, as was becoming tradition by now, the album's closing track is where Coroner really takes a chance. On previous and subsequent outings, this "experiment" usually took the shape of unexpected cover versions, but here, cryptic closing track "Last Entertainment" is both a band original and a remarkable study in ambient thrash -- its manic thrashing offset by atmospheric synthesizer effects and a spooky echo-laden recitation topping it off. A fittingly forward-thinking ending, indeed, as the band would firmly establish their legacy with their next, groundbreaking effort, Mental Vortex." - Allmusic
    $9.00
  • "1987's R.I.P. album represented a pretty inconspicuous start for Swiss trio Coroner -- one whose modest ambitions they would quickly outdistance on their way to morphing into one of thrash metal's all-time most adventurous bands. Guitarist Tommy T. Baron and drummer Marquis Marky had only recently quit their jobs as roadies for avant-thrashers Celtic Frost in order to join forces with vocalist/bassist Ron Royce and, their instant musical chemistry notwithstanding, the group was still trying to figure out a way to translate their shared virtuosity as players into comparable levels of songwriting inventiveness. Mere flashes of their potential were revealed here, with occasional, darkly ambient instrumental song snippets making their way among blistering examples of typical '80s thrash metal, though the two never quite meshed into the awesome sonic weave that would characterize later-day triumphs. No, though they were commendable enough in their own right (and at least on par with much of the competition), album highlights such as "Reborn Through Hate," "When Angels Die," and "Spiral Dream" (with lyrics written by former mentor and employer Thomas Gabriel Warrior) exceeded expectations only when it came to the disorienting speed and the labyrinthine complexity of their execution. Elsewhere, the manic instrumental "Nosferatu" offers yet another jaw-dropping technical showcase, the unusually stupid "Fried Alive" sticks out like a sore thumb, and the closing "Tolentanz" suite delivers a strong finale. Ultimately, R.I.P. is a more-than-respectable debut rendered less impressive by Coroner's subsequent accomplishments, but it should provide a welcome addition to any thrash metal enthusiast's collection nevertheless." - Allmusic
    $14.00
  • 2018 reissue of the first album by the legendary thrash band. This was originally released on Combat.  Includes 7 live bonus tracks as well as Megadeth's 1984 three track demo.  Liner notes from Dave Mustaine.
    $15.00
  • "Pantera's back, and all is as wrong with the world as it ever was. They're going to make sure you know it, too. Despite the four-year absence from the studio between Great Southern Trendkill and Reinventing the Steel, Pantera's unflagging aggression is confirmed by the full-throttle rhythms, throat-ripping vocals, and crunchy guitars. Call it their Metallica legacy, except that Pantera are more Metallica than Metallica these days. Heavy metal of this breed may be past its heyday, but Pantera's not going away quietly. In fact, evidence suggests that they're not going away at all--no matter how low you keep the volume knob, Reinventing the Steel is loud, loud, loud!" --Genevieve Williams
    $9.00
  • "The End of Chaos once again sees original members Michael Gilbert (guitar) and Eric A.K. Knutson (vocals) team up with long-time bass player Michael Spencer and second guitarist Steve Conley, who joined prior to their 2016 album. On drums, though, journeyman Ken Mary replaces Jason Bittner, who moved on to the equally-wizened thrash act Overkill. Make no mistake: A.K. and Gilbert are the driving forces in Flotsam and Jetsam, but the other three contribute mightily to this album, and all in good ways. We hear them right off the bat on “Prisoner of Time,” as the band tears into the opener with aggressive abandon, until 40 seconds in Spencer drops a killer bass riff and the song proper starts. A.K. snarls “Live your life without regret, don’t be a prisoner of time,” and that’s what it sounds like the band is doing all the way through this album.Comparing The End of Chaos to Flotsam and Jetsam reveals the following: the band has honed its songwriting chops, and there’s a palpable improvement in chemistry. Songs are more succinct (the longest song here is shorter than the four longest songs on the last record) and refined. Mary’s drumming is an upgrade, with inventive fills and a ton of furious speed—“Chaos Control,” “Snake Eyes,” and “Good or Bad” are lightning fast. Riffs abound as well, though. “Unwelcome Surprise” and “Recover” are standouts in that regard, but every song puts a smile on this olde, wrinkled face. Topping off the great music is A.K.’s performance on the mic. Honestly, the band has no iconic musicians in it, so A.K.’s voice is their hallmark, and he hasn’t sounded this good in ages. He never leaves his comfort zone, so isn’t pushing things in any distasteful way. He really shines on album closer “The End.” In this blazer, he hits his high register in the chorus—“I can see the end is taking over, and it always brings me down”—and it’s a stellar performance.Production is what we’ve all come to expect from modern thrash albums: a lock-tight rhythm section2 featuring a slightly-too-prominent kick drum, razor-sharp guitars cutting through the mix, and a dominant performance from A.K., well in front of the band. Oh, and the bass, which can be notoriously absent from some recordings? Loud and delicious here, with plenty of growl. The only real issue with The End of Chaos is the lack of dynamics in the arrangements. All twelve songs pummel the listener relentlessly. There are no interludes, no intros, no bridges where the band fades out, leaving only a clean guitar melody. A dozen songs of sheer balls-out thrash is what we’re served here. Some room to breathe would have been nice.That being said, Flotsam and Jetsam have delivered an album in the top end of their discography. The band is firing on all cylinders here, and the guys really sound on top of their game. Ken Mary is a beast behind the kit, and A.K.’s pipes sound better than ever. After a massive lull in their songwriting quality (in line with Angry Metal Guy’s Law of Diminishing Recordings™), the band have turned the clocks back and delivered two solid albums in a row that are sure to put smiles on the faces of thrash fans everywhere." - Angry Metal Guy
    $12.00
  • Double CD set contains the two great - but recently out of print - albums from the Seattle thrash band that morphed into Nevermore. Warrel Dane at his finest!
    $16.00