Hellbound Staff Interrogations #17: Justin M Norton
Today’s interview in our ongoing staff interview profiles is with Northern California-based writer Justin M. Norton
Today’s interview in our ongoing staff interview profiles is with Northern California-based writer Justin M. Norton
Today’s staff interview is with Vancouver’s Kyle Harcott.
By Kevin Stewart-Panko First truth be told, I am a fan of the metallic sub-genre that has come to be known as sludge. Second…
While not every track can boast the same impressive quality, We Wish you A Metal Xmas… offers a bit of sonic relief from the repetitive soundtrack that normally accompanies the Christmas season. If you take it with a grain of salt and pinch of irony, you might even find yourself enjoying a carol or two.
It’s tragic how such a welcome comeback could be snuffed out so cruelly, but what a way for Heaven and Hell to go out: sales and attendance exceptional, everyone finally getting along, not to mention proud of everything they’d accomplished in such a short time span. And with Neon Nights: 30 Years of Heaven & Hell, we have a perfect way to cap off that magical run.
“With the recent UK deluxe reissues of the mid-eighties Black Sabbath albums Seventh Star and The Eternal Idol creating quite a buzz about those releases once again I thought it might be time to revisit my favourite under-heralded Sabs relic. Born Again, the band’s 1983 release and only one to feature noted vocalist Ian Gillan, is one of the most dividing releases ever to bore the Black Sabbath moniker. it is one of those records that you either love or loathe. There is no middle ground needed, and none provided.”
Album review by Sean Palmerston
While the influence of Maryland doom is clearly present, Earthride slogs along the swamplands of such straight-ahead sludge-metal outfits as Crowbar and Weedeater at its best, and a ballsier, tone-deaf BLS at worst.
That lack of needless hyperbole is exactly what makes Classic Albums – Paranoid so easy and interesting to watch. Here, viewers learn that Paranoid – the largest keystone recording in metal – was recorded recorded in two days, cut live off the floor with a minimal number of overdubs and mixed in an additional two. It was a matter of in, down and done, and then Black Sabbath left it to be mixed and released while they went to play in Europe.
As previously mentioned in Albert Mansour’s recent Wolfbane review, Hellbound.ca has a pretty deep respect for the excellent job Pittsburgh’s Shadow Kingdom Records is doing chronicling long lost metal gems for modern day consumption. The long line of obscurities they have dug up in the past three years is admirable and this new reissue by legendary DC doom crew Iron Man is no exception.