Ravenlord (Standard Ed)

"Brazilian death metal upstarts Sepultura took an incredible creative leap forward with their second full-length album, 1987's Schizophrenia. Although it was recorded not too long after their primitive, black metal-dominated debut efforts -- 1985's Bestial Devastation EP and 1986's Morbid Visions LP -- Schizophrenia introduced an entirely new sound fusing thrash and death metal, and all of it supported by much improved songwriting, musicianship, and the first truly professional-sounding production job of the band's short career. Constant touring, rehearsal, and the addition of lead guitarist Andreas Kisser (his classical guitar training and memorable solos made an immediate impact) were all key to this stunning transformation, but the heightened level of proficiency at hand is such that it almost seems miraculous at times. With their precise, lightning-quick staccato riffing and multiple, distinct, but interlocking sections, the album's opening triplet of "From the Past Comes the Storm" (preceded by a Psycho-inspired intro theme), "To the Wall," and "Escape from the Void" proved simply devastating to the ears. And yet the seven-minute instrumental "Inquisition Symphony" (later covered by Finnish cello virtuosos Apocalyptica) was arguably even more breathtaking in its diversity, brilliantly showcasing the band's incredible, new-found combination of melody and aggression while adding some tasteful synth touches, to boot. Additional head-banging standouts like "Screams Behind the Shadows" and a re-recorded version of early fan favorite "Troops of Doom" bookend a few less distinctive offerings on side two -- those being token thrashers "Septic Schizo" and "R.I.P. (Rest in Pain)," plus the acoustic interlude "The Abyss," but only a trifling of momentum is lost, nevertheless. All of which helped make Schizophrenia the first Sepultura release to make serious waves with international critics and fans, while setting the stage for the group's imminent breakthrough release, Beneath the Remains." - Allmusic Guide

"As history has demonstrated, a female singer is a good way to change the landscape, or at least get more eyeballs pointed in the desired direction. And since there a few landscapes as dry as power metal, it manages to work for Polish-based power metallers Crystal Viper. On Legends, the band does manage to use every power cliché known to man (or woman), but the added element of singer Marta Gabriel gives it the apropos nudge in the right direction.Gabriel is hardly spectacular, but neither was Doro, so when she’s belting out the choruses to the valiant “Blood of the Heroes” or “Goddess of Death,” it’s easy to drop her into a band like Hammerfall, who are probably the closest cousins in terms of comparison. Gabriel also gets high marks on “Sydonia Bork,” a tender ballad that shows the Pole can do more than rasp her away through an album.Flashy Crystal Viper is not, so they’re often left to rely on the previously-done melodies and song constructs, namely the very Stratovarious-esque “A Man of Stone.” Elsewhere, the surging “The Ghost Ship,” and “Night of the Sin” are traditionally-styled PM romps, complete with rousing choruses and ample amounts of gang vocals which are the stuff that Doro made her uh, “legend” out of.Indicative of just how willing some power metal bands are in terms of playing it close to the vest, Legends won’t blow the doors off anyone, yet it’s the tried-and-true formula of simple songs, bombastic choruses, and a vamping female singer that gets the job done. Amazing what a touch of a woman will do, eh? " - blistering.com

One of the great hard rock albums of the 70s.  After Uli Jon Roth left the band he was replaced by Matthias Jabs.  His guitar technique was far removed from the neoclassical stylings of Roth, taking a more traditional hard rock/melodic metal approach.  Returning to the fold is Rudi's brother Michael Schenker.  With streamlined songwriting it all comes together.  A non-stop killer.

Possessed was the death metal band that featured Larry Lalonde before he went to play with Primus.

German neoclassical band who have consistently put out solid albums. The band now has a new singer - Mats Leven, formerly with Yngwie Malmsteen (and also now in Krux). Although I loved Oliver Hartmann, their former lead vocalist Leven is a fine replacement - no complaints here.

"Sweden’s Bloodbound has returned with the fifth album “In the Name of Metal.” If you think this album is all about dripping anthems raging about the glory of metal and all related topics...you would be right. If you think you have heard it all before, well, perhaps you have. BUT....if you love "Franken-traditional" comprised of parts of Manowar, Accept, ancient Queensryche, Helloween, Skid Row, and oddly, old Bon Jovi, well you have a new master. What Bloodbound did was take the sum of those parts, add the slick 2012 production and put out one of the greatest true metal albums in memory. For every single solitary thing that Manowar did wrong with “The Lord of Steel,” Bloodbound did ten things right. If you will indulge me, let me impart a few words that apply: “Glory, majesty, unity Hail! Hail! Hail!”I often speak of songs of yore back in the great times of the beginning to mid-80's and how it evoked a spirit, a feeling...a metal brotherhood, if you will. I’ve pointed out many recent albums that evoked that spirit, and I am back to tell you that this is another of those, but the best of all - complete with the hair standing on the back of my neck. Only my favorite bands have the ability to do this, and Bloodbound was not in that realm up to this point. As far as an album that lives up to its name, “In the Name of Metal” is glaringly perfect. As an album that breaks new ground, it “falls flat.” As an insult, that last statement is completely the opposite.Having heard the song “In the Name of Metal,” it wet my appetite providing more Manowar than the aged egos of its members have since “Gods of War” (for some, much earlier). This is nothing compared to what follows: the Accept-ish “When Demons Collide” (a personal favorite), the “bonecrushing” sound of first album HammerFall on “Bonebreaker,” back to Manowar with “Metalheads Unite,” Bloodbound took every working formula and made it better. “Son of Babylon” had me head scratching wondering where I had heard that chorus and it dawned on me, if Bon Jovi made “In and Out of Love” a heavy song, it would be this. “Mr. Darkness” doesn’t just scream Helloween for nothing: it has “Mrs. God” all over it (or was that “Dr. Stein,” no...no “Mr. Torture,” wait, no “Mr. Ego”). “I’m Evil” has a chorus that echoes (linear wise) Queensryche’s “Breaking the Silence.” The comparisons here are merely meant to show the affluence of talent drawing influences from all over the metal spectrum.The most interesting combination is found within “Monstermind.” The verses present a riff right from Motley Crue’s “Dr. Feelgood.” Then right before the bridge it grinds down with that brash riff from Ozzy’s “No More Tears” (complete with the Zack Wylde style). So many great styles meld to make “In the Name of Metal,” which works in terms of catchy head banging greatness. It helps that a band has a phenom on vocals in the form of Patrik Johansson (from Dawn of Silence, not to be confused with Nils Patrik Johansson), a brotherhood of guitarists (Tomas & Henrik Olsson), the absolutely non-buzzing bass of Anders Broman, and the perfect (not mechanical) drumming of Pelle Åkerlind (Morgana Lefay). Fredrik Bergh is one of those keyboardists that is unassuming, but who’s presence is notable when absent. Even he would agree, in Bloodbound it’s all about the guitar.So, when you are all done mocking power metal for its lack of originality, Bloodbound will still be there: totally unapologetic, balls to the wall, hail and kill, steel meets steel, bells of seven hells metal that makes you want to be a metalhead. Music doesn’t always require over the top orchestration or melodramatic progressive Malthusianism. Most days, it’s what makes you instantly feel great, even though the world laughs at you for being in a “pre-pubescent phase.” For the metal faithful, every achievement in life is all “in the name of metal.”" - Metal Underground