Defender85

..."the bored wife of Bruce Dickinson"? XD

A cornerstone album of the entire NWOBHM movement, 5 is essential for its historical importance, crucial for understanding the history of Heavy Metal during those years, alongside the other two must-have albums by Saxon titled "Heavy Metal Thunder" and "Denim & Leather."

...I think you and I have some tastes in common...! Huge Paul Chain, I still need to listen to this, but to Master Catena, a solid 5 for life, regardless!

Nice FENCE! @GATE: besides the fact that the serpent you’re talking about is called Jormungand and that Midgard is, among the 9, the world we would live in, but still…! @Jurix: AMON AMARTH = Mount Doom in The Lord of the Rings, that’s it (damn, what imagination, these Swedes!) ... I’ve never really listened to the band much, but they don’t seem bad...

Beautiful album! However, I don’t hear those Teutonic Power influences; I feel more of a raw Speed à la Exciter or, indeed, in the style of the early Judas Priest... Anyway, great album, even if, as I have already stated elsewhere, for me Di Donato gave his best with the legendary and unfortunately forgotten Requiem.

Anyway, this return to origins from the other side sometimes risks bringing to light, undeservedly, proposals that were rightly ignored at the time. But in this race to rediscover, everything counts... The 2000s opened this trend, in addition to the sometimes detrimental tendency to imitate the past, but I’ll leave it at that.

A sharp reflection arises on the trend reversal of the last 10 years or so, but I believe it is a general trend that doesn’t only concern Thrash: the '90s practically exhausted every innovation capable of attracting the masses (Avantgarde bands, with their brilliant and extreme insights, are and will always be cult bands for a limited audience, no matter how much they are still at the forefront of the genre's evolution, as I see it). These masses have inevitably turned to rediscovering the good that comes from the past: just think not only of Thrash but also of the equally "explosive" revival of NWOBHM, with reunions of historic bands, groups trying to return to sounds more like "Tygers Of Pan Tang" and "Tank", fourteen-year-olds wearing T-shirts of Raven and the like, etc. etc... That's how I see it: Power has grown tiresome, there are no more innovations, or they are very few or aimed at just a few, and what remains for most is a sort of recap in the absence of anything else. After all, there’s a tide of proposals that remained in the shadows during the '80s, all to be rediscovered and perhaps even appreciated... Beyond all that, we welcome the grand returns of historic bands! Those are the ones that never fade away...!

LONG LIVE ROCK'N'ROLL!

Nothing to say! ...me too...!

In a certain sense, one of the manifestos of Lovecraft's poetics, but precisely due to its somewhat programmatic nature (never before in this “Innominable” do we find such direct hints about the author's literary ideas, excluding treatises like “In Defense of Dagon” and “The Supernatural Horror in Literature”), I tend to prefer stories that are less "theoretical" and more "practical," like “At the Mountains of Madness.” ...Regarding the review, which is very beautiful and well-crafted, I feel compelled to dissent on just one point, namely the role of the “Innominable” as a watershed: the influence of Dunsany will indeed be felt again (and heavily) after the writing of this story; see in this regard “The Silver Key,” “The Mysterious House up in the Fog,” and especially “The Dream-Quest of Unknown Kadath,” perhaps his most Dunsanian tale, which serves as both a summary and closure to a phase of his life and writing. Furthermore, I believe that connections between the two souls of Lovecraft (the more dreamlike one, indeed, and the more "devout" one to the Cthulhu cycle) can already be detected in his early works (“The Outsider,” for example, or his first formulation of science fiction that spans into other dimensions and opens the doors to the first alien entities in his oeuvre, namely “Beyond the Wall of Sleep,” or even already “Dagon,” which foreshadows the entire dark mythology that would take concrete shape from 1926 onwards with “The Call of Cthulhu,” while “The Nameless City” schematically anticipates the two great descents into the underworld in pursuit of terrible pre-human civilizations that will be “At the Mountains of Madness” and “The Shadow out of Time”). But this is merely my opinion, and it is known that in all works, everyone sees what they prefer.