AM I BLOOD
Agitation
(Nuclear Blast)

The playing is all very good, though nothing stands out as particularly impressive.  Song-wise, “Negative,” “Day Will Be Executed,” “Stains” and the moody “Segregated Holocaust” are all top-notch metal ragers. “Suicidal Solution” is a bit too close to “Frayed Ends of Sanity” for my taste and a few of the latter tracks aren’t quite as attention grabbing.  My final complaint is the rather poor cover art – it just doesn’t go with the music, IMO.

Minor complaints, however, of what is overall an excellent and enjoyable album.  The production is crisp and perfectly suits the music, always a plus.  This is Am I Blood’s second album, so now I have to start searching for their debut…
[Daniel Hinds]

APOLLYON SUN
God Leaves (and Dies)
(Mayan Records)

The main sound on this five song EP is a reasonably unique blend of techno and metal, bouncing between programmed beats and trippy synths and hard-edged metal riffs and Tom’s snarling vocals.  Once again, Mr. Warrior has re-invented his voice (remember the shock of first hearing Into The Pandemonium?), but unfortunately, it doesn’t really work here.  While he does break into the gruff voice he used on the latter Frost recordings, most of the time he sings/talks in a rather monotone voice that really serves to undermine the power of what otherwise could be very good songs.  “God Leaves” is by far the highlight, as he alternates the styles and the song itself rocks, but “Reefer Boy” and “The Cane” do little to demand repeated listenings, a situation only furthered by the rather repetitious lyrics. “Concrete Satan” starts off with a decent hip-hop beat and is pretty good overall, but it too falls victim a horribly redundant chorus.  Closer “Bedlam and Blind” suffers a similar fate.

The production is a bit lackluster and I think the band would do well to hook up with someone like Sank or David Ogilvie instead of doing it themselves.  Push that guitar up in the mix, PLEASE!!  They need some better arrangements, too, as they have a tendency to extend some parts too long and then turn around and cut short the really cool parts.

I love Celtic Frost and have ever since seeing a German TV performance of “Into the Crypts of Rays” back in ’87 and I very much wanted to love Apollyon Sun.  The elements are all there and I just pray they can assemble them into a fully-functional form for the full-length release.
[Daniel Hinds]

BLACKHOUSE
Shades of Black
(Blacklight)

Starting out way back in 1984, Blackhouse were the first industrial band to make a point of being a Christian industrial band.  Since then, quite a few others have followed in their footsteps and, in fact, the Blacklight label seems to cater only to electronic bands of the Christian persuasion.  Fortunately, Blackhouse are more about sending out a positive vibe than they are about ramming any religious dogma down your throat, even managing to have some fun along the way.

Musically, Shades of Black is a real throwback to the late 80s style of industrial dance.  Everything has that low-budget, 8-bit, analog feel to it, though they could be using the latest, greatest equipment for all I know.  Stylistically, they cover a lot of ground, though most everything has an experimental and minimal feel to it.  “Shout!” has a bit of the charm of early Nitzer to it, while “Nonstop Timebeat” reminds me of TGT of all people.  There is also a warped hip-hop element woven into a number of the songs, ala early KMFDM.  The band tend to favor long instrumental passages and one of my favorite cuts is the wacked-out machine rhythms of “Warp Drive.”  The vocal parts tend to sound less than professionally-recorded, but when they mess with them, the results are usually pretty cool.

The album art is rather cheap looking, but I do like how they print the lyrics and then go on to give details about the songs.  The lyrics are as unique and odd as the music, such as the aforementioned “Shout!” which deals with the commercialization of rock ‘n’ roll and how it relates to recent trends in the industrial scene.  No “I’m alone and pissed and feel like a machine” for these Eureka, California boys – quite refreshing.

I can’t decide how much I really like this album, though, as it really varies depending on my mood.  If I’ve just listened to the zillionth haujobb or :wumpscut: clone, I will usually really enjoy Blackhouse.  Other times, though, I’m just put off by the rather repetitious nature of most of the tracks and the total album length (a whopping 72 minutes).  Still, I have to give them credit for pioneering a sub-genre like this and sticking to it for 15 years.  To investigate further: http://www.humboldt1.com/~lfmusic/blackhouse/
[Daniel Hinds]

CANDLEMASS
Dactylis Glomerata
(Music For Nations)

Fortunately, he came to his senses and in 1998, reformed Candlemass with an all-new line-up and recorded a new record – a damn fine one at that.  “Wiz” begins the proceedings with a nice, thick, mid-tempo Sabbath-esque riff, but “I Still See the Black” re-awakens the glory of the band’s doom-laden past.  This song is built on a slow, brutally heavy riff that twists and turns throughout its 6+ minute length.

The next track, “Dustflow,” is where the new elements begin to show up.  The song builds to what you expect to be another huge riff, but instead turns into an unusual, progressive one instead.  We’re not talking Dream Theater here, either – this is more of the experimental/psychedelic progressive rock of the early and mid 70s.  The skillful use of keyboards adds to the 70s atmosphere without seeming dated or kitsch at all.  The band’s technical ability still shines, too, raising this release well above the over-indulgent stoner rock scene.  “Abstrakt Sun” and “Apathy” further display the band’s new prog edge, while “Karthago” and the outro “Molotov” are much more in the classic Candlemass vein.  “Lidocain God” is a really off-beat track, alternating between an up-tempo, Voivod-ish riff and a mellow, laid-back jazzy section.  The contrast is jolting, especially as both styles are alien to Candlemass, but it’s still a cool song.

That’s what impresses me most about Dactylis Glomerata – the band’s ability to convincingly pull off all these different styles and make a cohesive album out of it all.  The new vocalist is very strong, especially on the softer parts, and thankfully doesn’t try to imitate either Johan Lanquist or Messiah Marcolin’s style.  The production is rock solid – probably the best the band has had since their debut.  Die-hard fans may be put off by the experimental nature of some of the tracks here (and their lack of heaviness), but I urge you all to give this album a chance.  I wasn’t expecting much after Chapter VI and years of silence, but Candlemass have returned in a big way.
[Daniel Hinds]

DIMMU BORGIR
Godless Savage Garden
(Nuclear Blast)

Although this EP isn’t bad, I was somehow expecting more from it.  The two new tracks are nothing special, sounding to my ears like the less-inspired stuff on Enthrone Darkness Triumphant.  The For All Tid tracks lack the charm that they did originally, too, with the vocals and guitar sound matching Dimmu’s modern approach.  “Metal Heart” is cool just because Accept are awesome and it’s nice to see someone give them their due, plus they stay remarkably true to the original.  The live songs are pretty cool, too.  You get some brutally raw versions of “Stormblast,” “In Death’s Embrace” and “Master of Disharmony,” along with great, Satanic stage raps in between.

While the band have maintained their sound, I would like to hear more of the epic/gothic overtones of their early material.  Also, the excellent keyboard work on Enthrone… seems to take a backseat this time around, which is a shame.  At least it’s good value-for-money, with 8 full tracks, clocking in at over 41 minutes.  A decent package for the die-hard fans, but everyone else is probably better off just waiting for the new opus.
[Daniel Hinds]

ENSLAVED
Eld
(Osmose)

The remaining six tracks are a little less spectacular, tending toward the speedier, black metallish end of Enslaved’s style, but all are strong cuts, with “Alfablot” featuring some excellent change-ups and inspired vocals.  The pagan/folk element in Enslaved’s music is probably their strongest feature and I’ll be interested to see if they expand on this with their recently released new disc, Blodhemn.  It’s not that the fast parts and more straight-forward metal rhythms are bad in any way, it’s just that they are merely good while the other elements are great.

Enslaved have always been (IMO) underproduced and Eld is no exception.  It’s certainly listenable and I actually like the guitar tone, but the drums could be a little bit fuller-sounding.  A minor chink in the band’s armor, however, and Enslaved certainly have a lot to be proud of with this release.
[Daniel Hinds] 

THE GATHERING
Nighttime Birds
(Century Media)

While there may be debate as to whether The Gathering have crossed the line and are no longer metal, I would say they most definitely are.  Just listen to the powerful riffs that permeate tracks like “On Most Surfaces” and “Third Chance.”  Anneke’s beautiful, richly textured voice certainly gives the band a unique twist and challenges preconceptions about what a metal vocalist should sound like.  While many bands have come along in recent years with female vocalists, most just use them for effect or have taken the gothic or black metal approach.  That is fine, but The Gathering have a different path to follow, utilizing elements of folk and psychedelia to achieve an atmosphere that is as grand as the epic songs they construct beneath them.  The subtle use of piano and synth strings further embellishes the band’s rich sound.

Of course, the real test is – how good are the songs?  While it has taken numerous listens to reach this conclusion, I feel the material on Nighttime Birds is as strong as Mandylion.  Not quite as heavy, perhaps, but there is more variety and the mix allows all the instruments to breathe a bit more.  Anneke gets to show off her vocal range a bit more, too, and her lyrics are as mystifying and strangely comforting as always.  The title track and the aforementioned “Third Chance” are perfect examples of how The Gathering transcend the sum of their parts and really create some vivid sonic imagery.
[Daniel Hinds]

HUMANS BEING
My Demons Disagree
(Pressure Point)

Humans Being could be one of those bands – I haven’t decided yet.  They definitely play the harder-than-hard chip to the hilt, with song after song of slow to mid-tempo riffs that just pound. Glen Robinson does his usual top-notch work on the production, made even more impressive by the claim that it was all recorded and mixed in one day(!).  Clearly, the band did some serious pre-production and no doubt have played these songs more than a few times live.  The playing is all decent, too, and very tight.  Also, I liked how Humans Being don’t feel compelled to find a groove and drive it into the ground like a lot of bands.  Their songs are far more complex, with tempo changes and some oddball guitar riffs and drumming here and there – very cool.

As with a lot of bands of this ilk, the harsh vocals wear on me rather quickly and some of the songs aren’t terribly memorable.  However, a few songs did really impress, like opener “First Time in a Hearse” and “Apprentice,” which develops a really killer riff.  Fans of 90s hardcore/metal crossover should definitely find a lot to like about this Boston outfit.  More info: http://home.earthlink.net/~jvalatka/humans.html
[Daniel Hinds]

JAG PANZER
Age of Mastery
(Century Media)

Jag Panzer’s choice of opening song, “Iron Eagle,” seems a bit odd.  It’s a good song, but kind of involved and laid-back compared to the adrenaline rush of “Lustfull and Free” or “Chain of Command.”  Some other highlights would have to include the rousing “Sworn to Silence,” the epic “The Moors,” and a thoroughly enjoyable rendition of the classic Rhett Forrester (RIP)/Jack Starr song, “False Messiah.”  The band have definitely added a more melodic touch this time around, adding some great backing vocals throughout, making the songs catchier.  At the same time, it feels like the songs have become a bit more complex - a strange dichotomy but one which they pull off with ease.

Harry Conklin’s vocals have gotten even better this time around (an amazing feat), delivering all the power required by the metallic storm surrounding them.  The man has truly become one of metal’s all-time best, no doubt about it.  New guitarist Chris Broderick does a great job taking over for Joey Taffola, offering up some equally impressive fretboard runs.  I’m not sure if Mark Briody handles any leads, but his rhythm playing is perfect and he also delivers some excellent keyboard bits and produced the album’s artwork.

Another subtle feature of this album is the increased use of violin, adding to the medieval atmosphere on a number of tracks.  “The Moors” in particular benefits from its use, along with some well-orchestrated choir vocals and a harpsichord/keyboard intro.  There are no bad tracks on Age of Mastery and, if anything, it offers a bit more variety than The Fourth Judgement.

Jag Panzer have truly perfected their songwriting technique and deliver song after song of awesome power metal, full of infectious riffs, great vocals and plenty of melody to boot.  The craftsmanship of early 80s metal comes together with the technical ability of the late 80s and modern production techniques to make Jag Panzer’s latest opus an absolute must.
[Daniel Hinds]

OLD MAN’S CHILD
Ill-Natured Spiritual Invasion
(Century Black)

There is some very melodic work to be heard on this opus, such as on “Demoniacal Possession,” which borders on the sound of modern Swedish death metal merchants on the scene.  Keyboards are employed to good effect, such as the beginning of “Towards Eternity.”  They usually take the form of a harpsichord sound or a string section and make for a nice contrast to the speed/thrash assault surrounding them.  The music is heavy throughout the album, though, with Galder’s vocals guttural and Gene’s drumming unrelenting.  Even though the vocals approach the death metal realm (not my favorite style), they somehow work within the context of the music.

This is OMC’s third full-length and sounds very much in the same vein as The Pagan Prosperity.  While I didn’t find the tunes on Ill-Natured Spiritual Invasion to be quite as memorable as on the previous release, it’s a very good, solid album.  It just feels a little restrained for some reason.  Part of it is how impressive I found The Pagan Prosperity, so my expectations were very high, plus Gene’s work with Dark Angel and Death makes you expect nothing short of mind-blowing.  His work on this release is very, very good, but not mind-blowing - once again, it feels restrained.

Taken on its own, however, Ill-Natured Spiritual Invasion is excellent, powerful, melodic black metal.  I particularly like Galder’s ability to come up with a killer, old-school riff, then turn right around and dive into a very twisted, modern-sounding one.  No standout tracks, but no bum tracks either.  The cover art is a bit overblown, though – makes me kind of laugh every time I look at it…
[Daniel Hinds]

RASPUTINA
How We Quit the Forest
(Columbia)

With their debut, Rasputina created a very unique sound with their music revolving around the cello playing of all three members.  That being said, the CD had moments where it sounded flat and after a few listens it began to lose some of its shine.  How We Quit the Forest, on the other hand, stays away from this trap.  There is more variety between all of the songs and rather than just being quirky, they are both quirky and incredibly catchy at the same time.  I credit a lot of this to the production work of Chris Vrenna along with main lady Melora Creager.  Chris' work adds a bit of an edge and some high end and more rock elements to the song, while not compromising Melora's vision in any way.  It is the best of both worlds.

One of my favorite songs is the cover tune "You Don't Own Me."  While remaining true to the original, Rasputina manages to give it their own touch as well.  "Leechwife" is a prime example of some of the more rock elements on the CD.  "Rose K." is more of a melancholy song, but it does not get caught up in the cello; rather the song works with the instrument.  And for the more fucked elements that made certain people love the first album so much, the band supplies tracks such as "Dwarf Star" and "Christian Soldiers" that are more spoken than sung.  This album only leaves me afraid of one thing; Rasputina will more than likely fail to live up to it with their third release.
[Victor Mejia]

SEASONS OF THE WOLF
Seasons of the Wolf
(self-released)

SOTW play what they term “New Age Metal,” which is actually a pretty unique blending of styles.  Classic power metal is the basis but they incorporate elements of prog-rock and gothic to create something off the beaten track.  Opener “Victim of Darkness” builds a nice little groove, thanks to the excellent teamwork of bassist Phaedra Rubio and drummer Wayne Hoefle, highlighting the band’s darker, moodier side.  “October Moon” kicks off with a classic Randy Rhoads-style riff that mutates into a slower, heavier one, making for one of the best and most complex tracks on this seven-song CD.  Dennis Ristow’s keyboard work must also be mentioned, as it really helps the band stand out and adds a prog touch to tracks like “Misty Shades of Green.”  The medieval, mystical and sci-fi themes covered in the lyrics is a perfect match for the sonic cauldron SOTW have created.

The band has been together since 1988 and the experience is obvious both in the song arrangements and the confident playing.  The production is quite good for a self-released album, allowing everyone in the band to be heard.  The band’s second full-length, Lost In Hell, should be available soon and, with the current resurgence in popularity of this style, I wouldn’t be surprised if SOTW got picked up by one of the bigger metal labels.  More info:  http://members.aol.com/BloodTree/
[Daniel Hinds]

SPINDLE SHANKS
Spindle Shanks
(The Blatant Shape)

Musically, Spindle Shanks create minimal but thoroughly entrancing soundscapes, built on various strings, chimes, pads and other quiet synth patches.  Mr. Watson does an excellent job of making his keyboard work sound organic and the atmospheres range from near-classical (“Clever”) to almost Tangerine Dream-like space textures (“During One Summer”).  Over all this, Jeanne’s voice soars wonderfully, showing a great range and clarity.  At times, she reminds me of Sinead (circa “Troy”) and at others Siouxsie, but overall she has her own sound and it fits in perfectly with the flowing keyboards beneath.

I’ve searched for more info on this duo with little success.  This link was the most informative, but I can’t promise the disc is still available: http://www.cdbaby.com/cgi-local/SoftCart.exe/buy/spindle.htm?E+cdbaby  If anyone knows the band’s current whereabouts, let me know.  They definitely deserve more attention.
[Daniel Hinds]

STORMDRAIN
Tongue
(Subterreign Productions)

“Degenerate” is a great opening track, slowly building ala Hate Dept. before kicking into a thick, funky beat.  The vocals are clean but with a definite edge and after the first verse, the drums kick into high gear and the guitar comes in full-force – a great change-up.  Skott Reyns’ vocals suit the music very well, distinctive as they are and ranging from deep and smooth to an aggrieved shout, as each song demands.  The title track shows off his softer side, while songs like “Plague” show him delivering a bit more venom.  More important than his actual technical ability is the vocal melodies he comes up with, which tend to be the parts of the songs that really stick in your mind.

The rest of the band deliver, too, with some nice solid riffing and diverse programming.  The drums and samples are particularly effective (“Plague” is a great example here, as is “Air To the Thrown”).  One thing I dig about Stormdrain is they're not all that groove-oriented.  They actually have different parts to their songs and make the most of them.

The overall style hasn’t changed too much since the EP and I could still see these guys appealing to fans of Stabbing Westward and their ilk, though Stormdrain definitely have more of an edge and are less concerned about trends.  Also, the diversity displayed on Tongue is quite impressive (the jazzy “Fiend” just defies description, for example).  Probably makes it a bitch to market this album, but it is definitely a bonus for the listener.

On the down-side, the packaging and production are minimal, though certainly not bad for a self-released album.  The recording and mix on the vocals in particular could benefit from improved production.  Overall, though, a great album and, if I had a label, Stormdrain would be top of my list of acts to sign (along with Beauty and a few others).  More info at:  http://www.stormdrain.net/
[Daniel Hinds]

SUBSTANCE D.
Black
(F.A.D.)

This trio are a real powerhouse, mixing up some very brutal, modern-sounding metal.  At times, the band chug along with a nice Cowboys-era Pantera vibe on songs like “Slit the Wrist,” while elsewhere they crank the speed factor up a notch or two to good effect.  The first three proper songs, namely “God,” “Slit the Wrist” and “F.B.I.” (which is just relentless!) are the pinnacle of what Substance D. are capable of.  The drums are pounding, the bass growls and the guitars shred.  On top of it all, the harsh and sometimes distorted vox add to the carnage, though they are probably the least interesting element of the band.  On the flip side, the bass playing is killer – a very full sound to begin with and Todd Chaisson breaks out of just playing rhythm on a number of occasions to really liven up the sound.  Guitarist Mike Parnin is no slouch, either, ripping out some wicked leads.  Everything comes together very nicely on the free-for-all instrumental “Los Angeles,” and it never comes across as self-indulgent, thankfully.

Later in the album, the band lose a bit of steam and the creative edge seems to falter as well.  “Dark Gift” and “Useless” aren’t bad, just nothing special.  Also, the acoustic “Strange 48” is a bit too ponderous for its (and our) own good.  The little phone-tag bonus track doesn’t help either, starting off as slightly amusing and progressing to annoying.

Still, this release shows some real potential and the band are scheduled to release a follow-up in mid 1999.  With a little better production and more focused song-writing, Substance D. should really start snapping necks.
[Daniel Hinds]

SUNDAY MUNICH
Pneuma
(Kyan)

The music is driven mostly by Sarah's wonderful singing.  Her voice helps create a vibe that falls somewhere between the Cranes and Mazzy Star. While not really sounding like either band, that same entrancing feeling exists that haunts as well as captivates the soul. Avis' music helps create the same sort of effect with his use of some sublime trip-hop beats.  The music is far more organic than trip-hop and will hold your attention for years more as well. The sound is grounded by Avis' use of cello as well as other instruments.

While not being able to come up with a real idea for a single while listening to the album, I almost think the addition of a really catchy song would ruin this album.  Even the more upbeat songs are incredibly laid back and they all help to create a tangible atmosphere.  It works just fine as it is.
[Victor Mejia]

THEATRE OF TRAGEDY
Aegis
(Century Media)

The one thing that strikes me right away about Aegis is the band’s confidence.  This album doesn’t sound forced in any way.   A lot of the goth/metal releases I’ve heard have a tendency to sound a bit unnatural and self-conscious, but not ToT.  The eight tunes on Aegis unroll at their own steady pace, exuding a definite sense of beauty and majesty without becoming pretentious.  Raymond I. Rohonyi provides deep, clean, male vocals on most of the tracks, mostly to good effect.  His style is almost a little too subdued at times, but he has a strong and fairly unique voice (no Andrew Eldritch impersonator here!) Liv Kristine Espanaes adds soprano female vox that are a wonderful counter-balance to Raymond’s voice, especially on tracks like “Aode” where they sing together.  Liv’s style is even more distinctive, with a very soft, floating quality that is both beautiful and soothing.

The music on Aegis is all about building an atmosphere and giving the instruments room to do their job.  The songs are long and not overly complex, but they build layer upon layer to achieve a sound that isn’t catchy but still ultimately entrancing and memorable.  The band do a great job of utilizing different guitar sounds (clean, distorted, ethereal) whenever the songs demand them.  They keyboards are minimal but effective, particularly the piano bits.  “Cassandra” is a slower track that beautifully demonstrates all of ToT’s strengths, while “Lorelei” is one of the more upbeat songs, featuring a Sentenced-like riff and a great chorus.  The rest of the songs are of similar high quality, though “Angelique” is perhaps a bit opaque.

Theatre of Tragedy build a dark atmosphere, yet one that isn’t depressing.  The fact that there are 7 members of this band and the rehearing and recording process is something of a logistical nightmare just makes the coherence and depth of this release that much more impressive.  Everything about this release is top-notch.  The production is clean and spacious, the artwork and packaging is very smooth.  Of course, the music is excellent and should appeal equally well to the more discerning gothic and metal fans out there.
[Daniel Hinds]

TYRANT
Under The Dark Mystic Sky
(Pulverized)

The vocals are grim in that classic Norwegian style and, while not particularly interesting, are reasonably listenable, if a bit monotonous at times. Ayumi handles the keyboards and she does a great job, adding plenty of piano and atmosphere, all of which is well mixed alongside the raging guitar riffs and pummeling drums.  Like bands such as Old Man’s Child, Tyrant place a premium on melody, musicianship and production.  The effort is worth it, as the listener is rewarded an excellent-sounding disc full of dark, violent compositions that also convey a sense of beauty and power.  One final note:  guitarist Hidenori adds some truly inspired leads on this album (check out “Ghost Waltz” for an example).

The songs themselves aren’t exactly radio fodder, so don’t expect to come away humming any of the tunes upon first listening.  There are moments, such as on “The God of Winter,” where they synth line or guitar riff is pretty memorable, but overall, this is much more of an album than a collection of songs, if you know what I mean.

Nice packaging and good production just add to the effect of this album.  I’ll admit I’m a bit behind the times and Tyrant are the first band of this ilk from Japan that I’ve checked into, but they do a great job with this release and it bodes well for the Eastern scene.
[Daniel Hinds]

[various artists]
Machines In The Garden – Part 1 of the Cataclysm Singles
(Blacklight Records)

Caul set the mood well with their claustrophobic, creepy ambience. Globalwavesystem are next and introduce a beat, but still keep things fairly obscure. Signalbleed shift gears completely, opting for a highly minimal collage of rhythmic noises.  Red Rum Trance seem a bit out of place with their sparsely plucked guitar notes, though Torn Skin bring the industrial element back in, utilizing an up-tempo, noisy sound with processed vocals that would probably sound killer with better production. Autovoice blend droning sounds with echo-y voice samples for an okay but ultimately forgettable track. Thymikon (one of the few artists I was familiar with coming into this comp) deliver one of the best cuts, a very minimal affair of processed sonic textures.  It’s cold, it’s effective. Fatal Blast Whip are another of the more known bands and they provide a decent bite of EBM-ish darkness.

Twitch return us to the field of Non-like droning for 3 minutes and 49 seconds, followed by Cradle->Grave who provide an excellent combination of tribal rhythms, ambience and melody. Joshua Bourke gets things moving again with a very techno-y dance track that crosses into d ‘n’ b territory on occasion.  Evonica are another of my faves here.  “The Elven Moon” is a really cool mix of trancey goth, with spoken male/female vocals - very beautiful.  The legendary Blackhouse are next and are, sadly, represented by a too-minimal piece of looped samples that put me in mind of Hafler Trio – that’s never a good thing.  Dendrography’s track is also pretty minimal, but it has a few different sections, sounding almost like two or three different songs fused into one.  Aphorism concoct a potent blend of old-school industrial with epic strings, not unlike some of Attrition’s more experimental moments. Dopple Kode finish out the album with a very non-descript instrumental.

While the range between the good and the bad tracks is rather extreme on this comp., I will give Blacklight credit for keeping the atmosphere pretty consistent throughout – dark, mysterious and with a hint of bleak beauty. Caul, Thymikon, Fatal Blast Whip, Cradle->Grave, Evonica, and Aphorism are by far the most interesting of this lot – not too bad an average for an industrial comp these days.  Those looking for some more experimental industrial brain-damage, this might be worth checking out, due to the fairly obscure stature of most of the participants.  BTW, this is part one of a 3 CD series, which seems a little excessive to me, but hey, it’s not my label!
[Daniel Hinds]

[various artists]
The Blackest Album -- An Industrial Tribute to Metallica (comp)
(Cleopatra)

Still, the coordination behind this comp is terrible as several bands are covering the same songs.  And to make matters worse, I was recently informed that Cleopatra edited several of these songs to fit time constraints, so that they would not have to pay excess royalties.  What makes this whole thing worse is that the bands were not even contacted about their songs being tampered with, so if you buy this album, you will have no way of knowing if you are actually listening to the song the way the band wanted you to hear it.  I just can't help wondering how much Cleo tampered with past tribute CDs like Bauhaus, Siouxsie, AC/DC or Skinny Puppy.  I just think the whole thing really stinks.
[Victor Mejia]

[various artists]
Strangeland: Original Motion Picture Soundtrack
(TVT)

The Dee track, “Inconclusion,” kicks things off with a slowly building, modern-rock vibe not unlike Tool, which segues well into Sevendust.  Highlights of the disc are “A Secret Place” from Megadeth, Anthrax’s rockin’ “P & V,” and…er, guess that’s about it.  Nothing on here is terrible, it just mostly falls into that mid-tempo, downtuned, hardcore-fueled, modern-‘metal’ genre that does very little for me.  (hed) p.e. and Kid Rock alter the formula a bit by adding rap vocals.  System of a Down are probably my fave, coming up with a pretty unique, off-kilter sound that gives me flashbacks to Mr. Bungle.  Nashville Pussy stand out by playing their own brand of gritty, southern rock ‘n’ roll and Crisis deliver an interesting interpretation of Twisted Sister’s “Captain Howdy.”  The actual, new Twisted Sister track, however, is very blah and poppy – the exact reason no one was too upset when they broke up in the first place.  The first 3 TS albums had some great songs, but you’d never guess this is the same band.

While I’m not overly fond of most of these bands and a lot of this material has been previously released, the album does flow well and the artists included should insure some definite interest from the younger listeners out there.
[Daniel Hinds]

VOLUPTUOUS HORROR OF KAREN BLACK
Black Date
(Cleopatra)

The title track is one of the examples of when VHOKB are at their best. Kembra's vocals are much better when she is singing fast and really rhythmically.  My favorite track is the slowed down "I Believe In Halloween".  Kembra really pulls this song off really well.  It could very well be a punk anthem at a different time.  Overall, even with its flaws, I have to admit this CD is a very welcome addition to my collection just because this kind of music seems to be more of a dying breed.  In all the horror, they manage to amuse the singer just as well.  You really need to have been part of the 80s to fully appreciate this album.
[Victor Mejia]

YEARNING
With Tragedies Adorned
(Holy)

“Bleeding For Sinful Crown” does well to showcase the range of this band.  Starting off with a churning, old My Dying Bride rhythm and clean, mournful vocals, the song slowly builds into a slab of epic doom.  From there, it crosses into a speedier vein with deathier vocals, then on to an almost Voivod-ian section with haunting keyboards, before closing up as something akin to a neo-classical war march.  Not unlike Opeth, Yearning create these monstrously long songs that are impressive yet almost too much to take in at once.  Unlike Opeth, fortunately, Yearning’s songs tend to flow smoothly from one section to the next.

Juhani Palomäki has a very distinctive voice (when he’s actually singing, that is) and also handles the keyboards on this album.  The rest of the band are no slouches either – you couldn’t be to play some of this stuff – and the addition of a session flautist rounds out the band’s sound nicely.  The riffs tend to be sorrow-filled and wistful, but not as doom-laden as some of their contemporaries.  The use of harmony between the two guitarists is partly responsible, as is the generally more folk-inspired song structures and occasional acoustic instrumentation.

Yearning play slow, moody metal that defies the cliches and plays on the emotions.  While there were a few points when I found my attention wandering (due mainly to the lethargic tempos and lack of interest in writing catchy songs), I was still impressed by Yearning’s debut.  With a clear and full production and some clever packaging from the folks at Holy, With Tragedies Adorned should find some very receptive ears the world over.
[Daniel Hinds]