Henry Metal recently dropped his fourth album of 2017. It’s called Metal O’Clock. The debut album was entitled So It Hath Begun; followed by Wizard Vs Demon, which lambasted society. The third album was The Maestro Abides, and the fourth album is Metal O’Clock. Henry Metal’s music provokes music critics, who often reject his sound as imitative or simple musical rubbish.
Henry Metal’s sound amalgamates heavy metal, hard rock, thrash metal, punk and alt rock into music characterized by pentatonic riffs, huge choruses and industrial-strength rock melodies, as well as sarcastic, derisive lyrics poking fun at every imaginable topic.
Metal O’Clock contains eight tracks. “I Don’t Care” starts off soft and melodic with sparkling guitars and then flows into a punk rock melody thrumming with savage guitars and in-your-face lyrics with an attitude. The guitar work on the song dazzles. “Thrash Your Head” rides an assaulting thrash metal melody thick with rumbling, gnarly guitars. “Odin” is a tribute to the Viking god Odin; a pulsing heavy metal melody exuding power chords and Thor-like drumming. There’s a trace of prog rock in the tune, like King Crimson jacked up on steroids.
“For the Love of Freyja” regales the Viking goddess, riding deep pummeling guitars and a flowing heavy metal melody. A wailing guitar gives the tune a dangerous feel, like acidic colors oozing from old stones. “Thank God For The Government” begins with a cavernous groove, exuding thick heavy guitars of Jovian potency. The rhythm of the song is contagious with vigorous enthusiasm on a dark level. On the solo, the wailing guitars draw blood as they slice-to-ribbons anything in range.
“Addicted To Junk” exudes black death metal flavors, dirty, grungy and lethal. Powerful guitars snarl and growl leading into a lighter, brighter but still reckless chorus. “Gettin’ Messed Up” combines punk and thrash metal into a heady melody roaring with dynamism. “Plastic Surgery” starts off slow and then grinds into a pulsating heavy metal melody full of grimacing guitar riffs. The chorus assumes a pale glow of shimmering colors trembling with energy.
Henry Metal’s ability on his axe is stellar, chock-full of glorious riffs and licks radiating screaming actinic hues that set the atmosphere ablaze. His voice ranges from light and dreamy to raging fury, but still, it lacks the relentless raw raging force necessary to give the music the visceral punch it requires. In other words, it’s good but not great.
Likewise, Metal O’Clock is good but not great, except of course, for the guitar work, which is superb. If you’re into Megadeth and Iron Maiden, you’ll find it intriguing.