ADAGIO
Sanctus Ignis
(LMP/SPV)

"Second Sight" is up first, with a nice mid-paced riff, big keyboards and speedy leads.  British-born David Readman (PC69) does an excellent job throughout the album, his strong yet melodic vocals more than a match for the elegant music beneath.  Richard Andersson (Majestic) must also be credited for his incredibly dexterous keyboard work (see "The Inner Road" for a particularly fierce example).  Guitarist Stephen Forte is the mastermind behind Adagio and his love for classical music is obvious, as it shines through much more so than on many other so-called 'classical metal' albums.  The mini-epic "The Seven Lands of Sin" clocks in at over 11 minutes, showcasing the band's wide-ranging abilities quite adeptly.  A unique and very dynamic instrumental take on Zep's "Immigrant Song" makes for a nice album ending (I'm ignoring the dismal-sounding demo 'bonus track' that actually ends the album).

I will be honest here - it is difficult to review albums like this anymore simply because there have been so many of them lately.  Part of my brain can appreciate the incredible musicianship and the well-written tunes, but another part just says 'Enough already!'  It's the same thing that happened to me with death metal in the early 90s and metalcore in the late 90s.  So, while I doubt I'll be pulling this album out to listen to again anytime soon, I would still rate it at as above average for this highly competitive genre.
[Daniel Hinds]

HERB ALPERT
Definitive Hits
(A&M)

Herb’s trumpet playing is of course the focus of all the tracks here and his playing is very versatile, playful at times and moving at others.  As a kid, I grew up with songs like “The Lonely Bull,” “A Taste of Honey,” “Spanish Flea” and “Tijuana Taxi” and still recall fondly the alluring cover art on Whipped Cream & Other Delights.  All of these are here, as well as other greats from the 60s like “Zorba the Greek” and “The Work Song.”

As I got older, I discovered Herb Alpert’s more contemporary (at the time anyway) work, most notably the Rise album.  This disc is represented here by its two biggest hits (and best cuts, I might add), the groovy jazz numbers “Rotation” and “Rise,” both of which have a more sensual, R&B flavor than the livelier 60s tunes.

On the down side, there are a few song here with vocals that just don’t work for me at all, including one from 1987 with Janet Jackson at the mic.  Still, this is by far the best collection of Herb Alpert’s biggest hits I’ve seen yet and the extensive liner notes make for interesting reading.
[Daniel Hinds]

ANDROMEDA
Extension of the Wish
(Century Media)

When the soloing isn't going on this album, all I can really think to say is who cares, and even when some of it is going on, I still have to say who cares. I can't point out how much better the music is when the vocals are not part of it. What is really lacking from this is something really heavy to counter set some of the guitar playing. I have no idea if Johan Reinholdz plays for some other band. His playing is incredibly technical and varies from more classical to more rock guitar, but as a whole, I think his playing would compliment a heavier speed metal band.

I don't know, this type of music really has never progressed. I don't care if it is deemed as some sort of progressive rock/metal genre...this CD still sounds very 1980s. It's sad because so many bands out there could use this kind of lead playing on some of their songs...but I don't know if Johan is like so many other of the guitar "gods" out there and is unwilling to give up some of the control and not just make it into a boring exercise in ego over the course of a whole CD. That's what this is sadly...a boring exercise of ego.
[Victor Mejia]

ARISE FROM THORNS
Before an Audience of Stars
(Dark Symphonies)

“Dreaming” opens with an uptempo, folky romp, while “Time Alone” features a far more laid-back vibe, reminding me a tad of As Divine Grace’s last album.  The band’s progressive edge is subtle but becomes more obvious on songs like “Among the Leaves,” which is also the point at which I really began to realize just what an incredible singer Michelle Loose is.  She can do the sweet and delicate thing, but she can also belt it out with plenty of power when she wants to.  She is one of those singers that seems to really feel the lyrics as she sings them, rather than just reciting them.  “Surrender” is beautiful piece that should please darkwave fans, while songs like “Remember the Stars” could even rope in some more mainstream, Sarah McLachlan fans.  “Persia” returns to the folkier sound, with a slightly Celtic feel to it.  Sadly, the post office ignored the ‘HANDLE WITH CARE’ notice on the promo envelope, as there is a large crack in the CD that makes the last four cuts unplayable.

This is an all-around great and highly listenable album, one to put on after sunset and relax into.  The band has inexplicably changed their name to Brave since releasing this, but as long as they keep recording music this good, they can call themselves whatever they want!
[Daniel Hinds]

BIGELF
Money Machine
(Record Heaven Music)

Musically, Bigelf mix together very odd, technical guitar riffs with psychedelic keys, Beatles-esque melodies and a disturbing carnival atmosphere.  The vocals are sung, but often go through a few layers of effects.  “Side Effects” is probably about the most normal sounding song on here.  There is also some of that 70s glam rock vibe winding through this album (check out “(Another) Nervous Breakdown” for example).

Bigelf definitely look to the past for inspiration, mainly the 60s and early 70s, but there is a certain element that could almost cast them into popularity with some of today’s more tripped-out rock fans.  This isn’t really my style and the vocals tended to wear me down after a bit, but I can’t deny the band has definitely got something all their own going on here and they do it very well.
[Daniel Hinds]

CENTROZOON
The Divine Beast
(self-released)

Only two tracks make up this release.  First up is the fifteen-minute “The Cult of: Bibbiboo.”  This cut is a journey through alien forests that doesn’t seem as long as it is.  “Thúsgg” is shorter, a little dreamier, and the guitar comes through a bit more obviously.

Centrozoon aren’t an obviously dark band in sound or image, but there is a subtle eerie strangeness to their music.  Crafting ambient soundscapes that actually work is difficult and Centrozoon have done a pretty damn fine job of it, creating some unique sounds and fitting them together almost seamlessly.   http://www.centrozoon.de
[Daniel Hinds]

COUP D'ETAT
Death of an Image
(self-released)

"Disdaine" is on the more organic side of the band's style, with guitars scraping against the slow but driving beat, with various samples completing the picture.  "Umbilical" takes the band in a more electronic direction, as does its follow-up, the aptly named "Anxious."  "Sustain" shows the softer side of Coup D'etat, opening with some almost ambient synths and a removed drum beat.  Eventually, the song builds up and some nice, trippy guitar washes over, making this the most atmospheric and probably my favorite cut on the disc.  "Abandon Frequency" is an uncomfortable blend of gothic melody and noisy industrial experiments and "Conversions" is alright but doesn't do enough to justify its length.

Is the recording quality perfect?  Is the artwork breathtaking?  No and no, but by the same token both are functional and improve on the band's previous release, plus you get the lyrics to all the songs in the booklet and a good band photo.  For more info and song downloads: http://artists.mp3s.com/info/63/coup_detat.html
[Daniel Hinds]

COVEN 13
Book of Shadows
(Akashic)

“Carnival Ride” features a fairly simple drum machine rhythm with Amanda Adam’s excellent piano establishing the mood.  Vocalist Teisen Russel has a very clear and rich singing voice and he puts it to good use, never falling into any of the obvious traps many male goth singers do.  The interplay between the vocals and the piano is far more impressive on the next track, “Fallen Angels.”  The moody ballad “Book of Shadows” is another of my favorites here, while “Haunted” shows that Coven 13 are at their best with just the piano and vocals delicately intertwining.  The band does cross the line into slightly sappy territory on occasion, though, such as the kinda cheesy sounding “This I Know,” but they don’t make a habit of it.

The material on Book of Shadows is pretty consistent and, while not my cup of tea exactly, quite unique-sounding.  The only real weak area is the somewhat simplistic drum tracks and a slightly uneven mix from one song to the next.  This seems a little odd, considering the obvious talent and effort behind the vocals and the piano playing.

This album reminds me of something you might have stumbled across on a lesser-known label in an eccentric rock record store in the 70s.  The song writing is self-absorbed but confident, not so much avoiding current trends and obvious genres as not even being aware of them.  If you want to hear something new, go to their web site and check out the MP3s for yourself:  http://www.coven13.com/
[Daniel Hinds]

DIABOLIQUE
The Green Goddess
(Necropolis)

 “On Through the Night” sets the twilight tone, with a very Cure-like guitar riff that winds and wraps itself around you, drawing you down into the darkness.  “Remedy” has ‘hit single’ written all over it, with a more straight-forward rhythm and catchy vocal lines that remind me of a more tempered Moonspell.  “Innuendo” takes a misstep with a rather goofy “lalalalala” chorus, but “White Nights” sets things right again, featuring some nice female backing vocals.  The second half of the album isn’t quite as memorable, but it never falls too far from the standard set early on.

One thing I appreciate about The Green Goddess is the subtle use of keyboards.  A large portion of the music here is electronic in nature, but it is so well integrated with the other instrumentation that the songs still have a very organic, acoustic feel to them.  The band also does away with heavy guitar, using a more somber, reverbed-out clean style instead.

Fans of bands like Katatonia, Moonspell, Cemetary/Sundown and Tiamat should really dig what Diabolique is doing, as will more open-minded fans of Siouxsie, The Cure and Joy Division.  While it is less metal than any of the former acts, it creates the same kind of depressive atmosphere, utilizing the tools of the latter.  All vestiges of Diabolique’s death/doom metal past are gone now, but they have been replaced with some incredibly beautiful new elements to create a tender yet powerful album.
[Daniel Hinds]

EARTH CRISIS
Last of the Sane
(Victory)

Opening with the lead-in to Slayer’s “Hell Awaits” is an inspired move, cutting the song just where it speeds up and moving into the second track, Led Zeppelin’s “The Wanton Song.”  They do this track up rather nicely, making it sound more like Helmet than Zep.  Staying in the same vein, the band pump out Sabbath’s “Children of the Grave” in pretty standard form, while the Stones’ “Paint It Black” features a far more vicious vocal attack during the verses.  This song has been covered to death already, so this was a nice touch to give it a little something new.

Moving back into the 80s, the Dead Kennedy’s “Holiday in Cambodia” gets a nice sludgy revision very much in the EC style.  The DYS tune “City to City” is a bit of a ho-hum affair, while the Misfits’ “Earth A.D.” is a bit on the chaotic side.  Of the four originals, “The Order” is slow and tripped out enough to almost be a Neurosis tune, at least until the shouted vocals kick in.  “Broken Foundation” and “Gomorrah’s Season Ends” follow in a similar, one-dimensional vein.  These tracks were done back in ’96 it appears, so they might hold some appeal to the fans that were put off by the band’s stylistic changes on Slither.  For me, it’s quite the opposite – these tracks just feel overly simple and static to spark much interest.  The more up-tempo final cut, “Panic Floors,” was recorded in 2000 and displays far more melodic sensibility in its riffing than the older material.

I must admit, I have always admired Earth Crisis more for their political ideals than their actual contributions to the music world.  Slither did show some real growth though and I have high hopes for the band’s future.  Last of the Sane is a bit of unnecessary release, as the influences acknowledged here are generally pretty obvious in their own music, but it is an enjoyable release that is mainly for the fans.
[Daniel Hinds]

EARTHBOUND SMOKE GHOST
Karma's Grave
(self-released)

The guitar sound that bursts out as "Asphalt Green" kicks in is just plain sick.  And not in a bad Electric Wizard way, either, but just nice and crunchy.  Pheroze's vocals are a unique mixture of seething anger and regret, morphing to suit the mood of each song.  He is particularly impressive on the mini-epic "Outer-Self," which also features some great Pentagram-like riffing.  "Black Saturn" is an even more sprawling trip into heavy stoner rock territory.

Doom metal can sometimes get a little too introverted and involved for the average metal fan, but ESG create a slightly more accessible sound without losing any integrity.  The production is suitably chunky and retro, with a nice heavy bottom end.  Fans of Crowbar, Sheavy and Kyuss will all want to check ESG out and can find more info at: http://www.earthboundsmokeghost.com
[Daniel Hinds]

ENTOMBED
Uprising
(Metal-Is)

While the music itself is still quite listenable, the notable progression on each of the band’s early releases is really missing from Uprising.  While I have not had a chance to hear the previous album (the generally hated Same Difference), the material on Uprising is very much in the same vein as Wolverine Blues and To Ride, Shoot Straight and Speak the Truth! 

“Something Out of Nothing” opens with a Slayer riff before settling into a more typical mid-tempo chug, while “Scottish Hell” is a slower, grinding track attempts to be moody but is too barren to achieve the goal.  “Time Out” boasts some of the energy that is lacking on most of the disc.  “Year In, Year Out” includes some fuzzed-up vocals but little else of interest, while “Returning To Madness” is a super-heavy, super-slow sludgefest.  “Come Clean” is a good AC/DC track, harking back to “Kicked in the Teeth” and “Beating Around the Bush.”  Another highlight is “The Only Ones,” which has a kind of bluesy swagger to it.  “Words” ends it all, a bizarre mix of modern Slayer and old Sabbath.

This album is much like a more restrained version of To Ride, Shoot Straight…  The songs are a bit more diverse, yet they still seem to blur together after a while.  Not necessarily a bad thing (as The Ramones will tell you), as the songs are generally pretty good.  One thing I liked is the very spontaneous-sounding leadwork throughout the disc, which gives it even more of that classic rock ‘n’ roll vibe.  Uprising isn’t a progression and it won’t bring back their death metal fans, but it is a decent, solid album with a few standout cuts.
[Daniel Hinds]

EVOKEN
Quietus
(Dwell)

Evoken are a band I’ve seen mentioned quite a lot over the past few years but never managed to actually hear.  They play a very foreboding brand of doom metal, with deathly arcane vocals and funeral melodies.  “In Pestilence, Burning” begins the descent into Evoken’s underworld, complete with lumbering riffs that make St. Vitus sound fast and haunting keyboards that never cross into goth cheesiness.  “Withering Indignation” reminds me of a darker, slower version of some of Celtic Frost’s more epic material.  All light has been extinguished by the time you reach the ten-minute leviathan that is “Where Ghosts Fall Silent.”  And while others might be satisfied with that, Evoken follows it up with two more songs that are even longer!  A brief glimmer of daylight appears in the shorter instrumental track that closes this subterranean jaunt.

I haven’t heard an album of such coal-black, unrelenting doom metal in ages.  Evoken have really captured a mood on this record and, while I don’t see commercial success in their future, they are bound to turn more than a few heads in the metal underground.
[Daniel Hinds]

EXTREME NOISE TERROR
Being and Nothing
(Candlelight)

The current incarnation of ENT shares the two-vocalist format that the original line-up had, but only vocalist Dean Jones remains from way back when.  The band sound just as tight and aggressive as I remember, with the requisite overdose of speed and total lack of melody.  The band flirts with slower rhythms on occasion, such as on the churning “Man Made Hell,” but they never let up on the intensity for a second.  And then there are the all-out blasts on songs like “Damage Limitation” that bring back memories of Napalm’s glory days.  Ahh….to be young and hate the world!

The music here isn’t terribly technical, yet must be a challenging to play due to the sheer speed.  The band all deliver their parts in style, with Zac O’Neil drumming up an absolute storm throughout.  The production gives the guitars a good, chunky edge, with only the distant-sounding snares suffering a bit in the mix.

ENT are a band that have never really done much for me in terms of writing memorable tunes, yet impress nonetheless.  The sheer crushing weight of their music is amazing and their obvious refusal to bow to fashion garner them plenty of points in my book.
[Daniel Hinds]

THE FORSAKEN
Manifest of Hate
(Century Media)

This kind of upswing always guarantees plenty of new bands hitting the scene, many of whom aren’t completely up to the task.  It’s a tough call, but I am afraid I have to list The Forsaken in this category.  They have the skills, no doubt about that, and the Tommy Tägtgren/The Abyss production packs quite a wallop, but the album as a whole lacks any real identity.  The generally brutal assault mixed with flashes of technicality and melody is what you would expect from a Swedish death metal outfit, but the songs just aren’t that memorable or interesting.  By the same token, I suppose, none of them are bad either – they are just kind of there.

There were a few moments that sparked up my interest on Manifest of Hate.  The wonderfully fluid leadwork on “Betrayal Within Individuals” is impressive, as is the thrash-influenced “Dehumanized Perspective.”  The band tend to play fast and faster, with the vocals alternating between a mid-range growl and a very guttural one.  The few times the band does slow down are actually pretty cool and the band would do well to add more of this kind of variety in the future.

The Forsaken are a young band and I have high hopes for their future evolution.  If your collection is in need of yet more extreme, well-played, well-produced Swedish death metal, you could do far worse than Manifest of Hate.  Just don’t expect anything terribly original.
[Daniel Hinds]

FREEDOM CALL
Crystal Empire
(SPV)

“Freedom Call” and “Rise Up” are both speedy bursts of melodic metal with very slick vocals and crystalline keyboard lines.  “Farewell” suffers from some rather goofy choruses, but “Pharao” reigns the band in a bit.  This one has a slower riff, going for more of an epic feeling and succeeding for the most part.  “The Quest” is an interesting track, as it takes on a heavier, more American sounding power metal tone at times.

Trying to decipher the storyline is less frustrating than, say, what you get with Rhapsody, but it also seems less inspired.  Perhaps I’ve heard too many fantasy-themed albums or read too many books, but the plot outline and characters detailed in the booklet are very much clichés of the genre.

This is a good album and that is all.  By present-day standards, that actually makes it one of the best currently out there, but in the grand scheme of things, Freedom Call still need to pour a little more creative energy into their sound before they can record a truly great album.
[Daniel Hinds]

GANDALF
Rock Hell
(Wicked World/Earache)

Opener “LSX Queen” has a slight AC/DC vibe amidst the grooves, while “One More For the Dead” takes a much more blues-based approach, right down to the slide-laden solo spot.  “Morning Sun” screams ‘filler,’ while “Human Value Zero”’s harmonies evoke In Flames a bit.  The spaced-out keyboards on “The Dragon” demonstrate Gandalf’s desire to not be pigeonholed, as do the thrash leanings on “Nightderanger.”

While the music on Rock Hell is fairly straight-forward, the band sound incredibly tight and do a good job of injecting some very non-death metal elements into their style.  The vocals are of the raw-throated variety that Sweden is known best for and actually make for a nice contrast with the backing vocal choruses.  The production is fairly basic, but the guitars are nice and full, retaining plenty of edge even in their more melodic moments.

More rock ‘n’ roll than Entombed, yet still far more metal than the Hellacopters, Gandalf walk a fine line quite confidently.  I’m sure some fans of the band’s earlier, more distinctly death-oriented material will be disappointed with Rock Hell, but I applaud the band for following their hearts and creating a distinctly enjoyable new sound in the process.
[Daniel Hinds]

GB ARTS
The Lake
(Pavement)

"A Voice" opens the album well with its mixture of keyboard pomposity and guitar-heavy determination.  "The Surface" and "Silver Rain" explore more conservatively prog territory, while "Break Free" is an interesting mix of classic metal riffery and modern chop.  The band can deliver the power ballads, too, as evidenced by "My New World" and "Shadows of Faces."  "Old Warriors" is another unusual track, blending emotive rock with clicky electronics.

If the prospect of another German power metal band fills you with dread, give GB Arts a shot.  They are definitely defining their own style, bringing together classic hard rock, prog metal and modern power metal in a unique combination.  It's just sad that the utterly dismal artwork and layout on the CD will probably turn away potential fans.
[Daniel Hinds]

GOD FORBID
Determination
(Century Media)

Following a short intro, the intense “Nothing” slams in full force.  The vocals are of the brutal hardcore variety, but never get on my nerves the way many in the genre do.  Musically, the band mix things up constantly, changing tempos all the time, throwing in some ultra-tight start/stop riffs, and even adding quite a bit of melody, a very nice surprise.  “Divide My Destiny” shows off some quick-fingered harmonies and abrupt change-ups without losing the thread that makes it a complete song.  The band also know when to give it a rest, never extending the songs past their needed length.

I would lump God Forbid in more with the European acts like Meshuggah and Dog Faced Gods, as the complexity and neatness of the band’s arrangements far transcend the likes of Sepultura (old or new) and Pantera.  This is what Shadow’s Fall should sound like and I can safely say God Forbid is one of the most promising American bands to come along in years.
[Daniel Hinds]

HOMICIDE HAGRIDDEN
Where Angels Work (MCD)
(self-released)

Opening track "Where Angels Work" is a heavy, mid-paced affair that brings to mind Sacred Reich circa Independent, though Homicide Hagridden certainly add their own stamp.  The vocals are the main area or originality, coming across as a bit higher than most thrash singers but still aggressive.  "The Inner Sinner" is the ultimate tribute to Slayer's South of Heaven, with a whole slew of killer riffs that build on each other.  "Violated" shows the band can kick things into overdrive when they want, too, with a speedy crossover appeal to it.  "Eternal Rage" has the most interesting arrangement, fusing frantic thrash bits with longer, slower passages.

The playing is generally pretty tight on all of these tracks and the drummer has an obvious thing for Dave Lombardo's work, which is never a bad thing in my book.  Usually, I have to think of a nice way to tell demo band's that the production sucks, but the recording quality here is actually very good.

If you loved bands like Nuclear Assault, Slayer, Sacred Reich and Hirax in the 80s, Homicide Hagridden will bring back some fond memories (and no doubt create some fond new ones as well).  This is pure, 100% thrash metal, untouched by any black, death or nu-metal influences.  For more info, contact:  hagridden@libero.it
[Daniel Hinds]

HORCHATA/OCOSI
Horchata/Ocosi
(Zero 1 Media)

Track one, “Slip Away,” is little more than a looped beat with some subtle electronics behind it and not very riveting.  “Something For Nothing” features a sturdier beat and funkier feel to it.  While the song still has trouble finding direction, it is more interesting than the majority of tracks here, thanks in part to some variation in the rhythms.  “Transfiguration” scores points too, thanks to its unusual chime and bell samples.

This disc has some good ideas sonically but the arrangements are just not involved enough to keep me listening.  Maybe they need to be shorter or maybe my attention span needs to be longer, who knows?  Not a terrible album, just not a terribly good one.  Cool graphic art, though. http://www.zero1media.com/horchata
[Daniel Hinds]

IMMEMOREAL
Temple of Retribution
(Blackend)

The album proceeds pretty well along similar lines throughout, though it always maintains interest.  There is a bit of an epic feel to the tracks "My Will to Power" and "Blazing Glory," though I hesitate to use the term 'Viking metal' as it is just too damn fast.  The band does vary the tempo now and again, but usually it is going from fast to faster.  Usually, that would bore me senseless, but like Naglfar, they pull it off with superior song writing.

This is a tight, professional-sounding slab of blackened death metal that is all the more impressive as it is the band's debut.  Morfeus from Limbonic Art provides some haunting keyboard intros, fully rounding out an already excellent album.  Along with Anata (whose vocalist lends his talents to a few tracks here as well), Immemoreal are one of the bright new hopes for the scene in 2001.
[Daniel Hinds]

IMPALED
Choice Cuts
(Deathvomit/Necropolis)

This is my first Impaled encounter and I must admit they impressed more than imagined.  If you can handle the grisly artwork and obsession with anything that comes out of the alimentary canal, the music is quite a potent mix of speed and heaviness (sans melody of course).  Personally, the slow(er), grinding cuts worked best for me, such as “Until Death..” and “From Here to Colostomy.”  The Impetigo and Carcass covers (“I Work For the Streetcleaner” and “Carneous Cacoffiny,” respectively) are lovingly recreated in all their gory glory.  Even when the instrumentation gets lost in a blur of bad production (the unreleased version of “Spirits of the Dead” for example), there is a raw charm that shines through.

While I’m sure their actual album (The Dead Shall Dead Remain) is the more necessary release to own first, this makes a nice collection for those that find the band’s blood-soaked repulsiveness addictive.  Fans of Napalm Death, Autopsy and Carcass are highly encouraged to check Impaled out.
[Daniel Hinds]

THE J.J. PARADISE PLAYERS CLUB
The J.J. Paradise Players Club (EP)
(Tee Pee)

“Hog Jowel” revs up slowly but packs quite a punch with its shambling, monolithic heaviness.  “Beware the Ides of Moose” has a little more repetitive feel that is more in line with some of the nu-metal losers on the scene, but the band bounce back with punky “House of Torment” calling to mind some of Tad’s wilder moments.  The band shift gears yet again on the churning “No” to finish off the album.

The J.J. Paradise Players Club do their thang with plenty of gusto, but I’m afraid it just ain’t my thang.  Those who dig their rock straight from a dark alley with plenty of muscle might wanna give ‘em a spin though.
[Daniel Hinds]

KRS-ONE
A Retrospective
(Jive)

KRS-ONE wasn’t afraid of blowing his own horn, but he also had a lot of commentary to make on society at large.  “My Philosophy” touches on many topics including vegetarianism, while “Sound of Da Police” is one of the most scathing indictments of the tactics used by the boys in blue.  Drawing a correlation between the words ‘overseer’ and ‘officer,’ there is little doubt how KRS feels about the NYPD.  “Love’s Gonna Getcha (Material Love)” is one of the best examinations of life in the ghetto, a tale of how poverty, crime and a desire for material things can tear people and their families apart.  “You Must Learn” deals with the important message that people need to always be questioning things, not just blindly accepting them.  And there is always a thread of subtle humor running through his work, as the Billy Joel re-write in the middle of “The Bridge is Over” demonstrates.

I find it kind of strange and a bit sad that the social awareness that artists like KRS-ONE had back in the day has all but faded form popular rap music in recent years.  Fortunately, we can at least still play the classics and this is a damn fine collection of sixteen great tunes that will get your body and your brain moving.
[Daniel Hinds]

LABYRINTH
Sons of Thunder
(Metal Blade)

Songs of Thunder seems to be a conceptual piece, based around Louis XIV.  The lyrics themselves aren’t terribly poetic, but at least the band has chosen a topic that hasn’t been done to death already by a million other bands.  This may seem like a trivial point, but I really do applaud Labyrinth for making the effort to create something new.

Musically, the songs here are fairly consistent.  No tracks really leap out as particularly moving, but neither are there any real losers in the lot.  “Kathryn” is one of the strongest cuts, with a more pronounced progressive influence and a very catchy pre-chorus/chorus combination.  Another favorite is the rather mellow “I Feel You.”  This song is a rocker, but is strangely soothing and has some of the most memorable melodies I have yet to hear from Labyrinth.  The keyboard work tends to be pushed into the background on most songs, which is a shame as Andrew McPauls is quite a talented player and deserves a bit more of the spotlight.  The piano ballad “Love” is at least some consolation, though it’s kind of a weak song despite the playing.

For power metal bands, the whole package – music, lyrics, art – is important, which is why I can’t understand why Labyrinth continue to decorate their otherwise above-average releases with such gaudy artwork.  They even recycle the naked woman from the Timeless Crime EP on the back of the CD booklet!  If they are going to put so much effort into writing the songs and creating the story, they should really hire someone else to do the artwork and the booklet’s graphic design next time.

Essential albums have become a bit rare lately and this certainly isn’t one of them, but Labyrinth does craft a good, solid piece of work with Sons of Thunder.  While I don’t see it appealing much outside of the hardcore power metal scene, I think there are plenty of folks there that will give this CD a happy home in their collection.
[Daniel Hinds]

LAHKÁ MÚZA
Cesty Svetla Plynú Temnotou
(Black Flames)

While opening tracks “Imago Dei” and “Korene” are both strong compositions, it is “Úplnos?” that first really captured my attention fully.  This song is so beautifully crafted, with just the right balance of percussion, keys and soulful vocals.  “Plynutie” is just as good, as are most of the remaining tracks.  There is a real flow to this album that makes it difficult to interrupt – the songs compel you to listen through to the very last note.

The recording is just right for this music, adding enough reverb to give everything a sense of grandeur without drowning anything out.  The lyrics (kindly translated into English in the CD booklet) carry a sense of obscurity and introspection that matches the music to a tee.  Checking the band’s website reveals they have quite a history, with releases dating back to 1989, and that experience really shows on this album.

All of the musicians in this band do an amazing job.  Vocalist Gudrun in particular turns in a wonderful, heartfelt performance throughout the album.  Guitarist 677 uses his instrument more for broad texture, rather than the usual lead position it takes in many bands.  But it is the way all of the musical and vocal elements combine that make ?ahká Múza such a pleasure to listen to.  This is music you can dance to, sway to or just close your eyes and absorb in the warmth of darkness.  More info:  http://artist.music.sk/lahkamuza/
[Daniel Hinds]

THE LEFTOVERS
667: The Neighbour of the Beast
(Fueled-Up)

The album slams straight into “Knockin’ Me Dead,” an electric stormer that immediately gets the head noddin’.  Other highlights of the disc include “Highclass Hellcat,” which comes across like “Let There Be Rock” on amphetamines, and “13 Needles and a Doll” an even faster cut that is tempered by a singalong chorus that puts most so-called ‘pop-punk’ bands to shame.  “Gimme Danger” is the kind of action-packed track that the better glam/sleaze bands in LA were turning out in the mid-80s, jacked up a couple of decibels of course.

667: The Neighbour of the Beast (a truly bad name guys, esp. since it’s been used a couple of times already) never relents and rarely disappoints.  This is pure, street-level rock ‘n’ roll as it should be.  Fans of everything from Backyard Babies to the Hellacopters to [REO] Speedealer should be able to appreciate The Leftovers quite easily.
[Daniel Hinds]

MAHARAHJ
Repetition
(Now or Never)

If you like this kind of shit, this is one of the better bands I've heard attempting it in a while.  The song titles are printed too small to be readable (smooth move guys), so let me just say that the third song shows a bit of a more mellow side to the band, going so far as to include some keyboards with the clean guitar.  Other highlights, let's see…  song 5 kicks off with what can only be described as an Iron Maiden riff gone horribly aggro…and the length tenth track shows a more careful balance of the various styles that make up Maharahj's sound.  Ending on a positive note, the silly bonus track is actually pretty amusing in a King Missile sort of way.

Sadly, the irritating vocals become increasingly that as the album wears on, mussing up what would otherwise be a decent listen.  Sharp production and subtle artwork help make this a presentable release that should appeal to those who can look beyond or even (gasp!) appreciate the vocals.
[Daniel Hinds]

YNGWIE J. MALMSTEEN’S RISING FORCE
War To End All Wars
(Spitfire)

“Prophet of Doom” is a bit of inauspicious start, sounding a bit by-the-numbers, but “Crucify” follows in much more interesting style.  The song has a very disjointed arrangement, with some really interesting breaks throughout.  “Bad Reputation” is a more straightforward rocker that is built around a cool riff.  “Catch 22” ups the tempo again to good effect, while “Masquerade” falls more into the ‘ho-hum’ category, despite strong verse music.

The first real show-off instrumental cut is “Molto Arpeggisosa.”  Impressive, but it does nothing for me whatsoever.  Acoustic guitar kicks off “Miracle of Life,” a rather mundane ballad (Yngwie should really avoid doing ballads), but the album gets back on track with “The Wizard,” a driving chunk of good ol’ power metal with one of my favorite solos on the album.  The more traditionally classical “Preludium” is boring instrumental #2, which fortunately leads into the Riot-like riff-fest “Wild One.”  “Tarot” takes a slower, moodier turn.  Reminding me a bit of the classic “I Am a Viking,” this track is clearly one of the album’s best.  Following the third snooze-filled instrumental comes the title cut, probably the heaviest song here, with one of the most interesting main riffs.  I wish Yngwie would build more songs around complex riffs like this rather than just layering hyper speed solos over really basic ones, as he has done so often in the past.  The album closes with a reggae song called “Black Sheep of the Family,” which Yngwie has called “just a joke,” but it is actually kinda cool.

War To End All Wars is still very melodic, even by power metal standards, but it lacks the sickeningly commercial gloss of albums like Odyssey or even Trilogy, staying truer to his more recent, heavier albums.  Marc Boals is back to handle the vocal duties, delivering his usual good-but-not-great performance.  The man has the voice but just doesn’t seem to put his soul into it as much as he should, though it could just be the material.  The overall production of this album is a bit weak, too, especially compared to what bands like Stratovarius are turning out, but it is serviceable.

Does Yngwie overplay and throw in excessive solos only to show off?  Sometimes, but at this point, that is half the fun of an Yngwie album and you pretty much expect it.  The man has always been far better musician than songwriter and there are several filler tracks to be found on War To End All Wars, but the ratio of good to bad is much higher than usual.
[Daniel Hinds]

MASQUERADE
Flux
(Metal Blade)

“A Me and An I” is a very direct opening song, showcasing their melodic but no-nonsense approach to writing rock songs.  “Incomplete” is a bit deeper, with vocalist Tony Johansson putting a little more soul into his performance.  “Freedom” is marred by a truly irritating chorus, while “Back on Earth” sounds like a heavy version of 70s Bowie (I will leave it up to the reader to decide if that is good or not).

It’s about this point in the album when I realized that Masquerade should really stick to the harder-hitting material.  The Soundgarden-esque title track rocks and “Infinite Am I” approaches prog-metal territory, with its big chorus and modern-day Fates Warning feel.  On the flip side, the post-grunge meanderings of “Faith” and “Wish” do little more than take up space between the better cuts.

This isn’t a bad album.  Looking at the comparisons I’ve made, it looks kind of lame on paper, but Masquerade manage to inject enthusiasm and enough of their own identity into the album to make it come alive.  It isn’t something I plan to listen to a whole hell of a lot, but there are some good tracks to be had and it makes for a somewhat distracting listening experience.  One final question though:  how could a (seemingly) intelligent band choose a name as non-descript as Masquerade, even in 1988?  Even Queensryche had more sense than that!
[Daniel Hinds]

MEMORY GARDEN
Mirage
(Metal Blade)

After a short intro, “A Long Grey Day” sets the pace for the album.  Slow (but not pure doom slow) riffs blend with powerful vocals and beautiful guitar harmonies to create Memory Garden’s massive sound.  “Hallowed Soil” treads closer to Candlemass’ Ancient Dreams.  Vocalist Stefan Berglund has a clean style that thankfully doesn’t derive itself from any other vocalist, giving Memory Garden an even more unique sound.  “Shade” is a slightly longer and more complex piece, while “Navigate” puts me in mind of some of Solitude Aeturnus’ moodier works.

Just when you begin to expect the slower tempos, “Revelation” kicks things up a bit, sounding not unlike a more melodic Nevermore (with very different vocals, of course).  “River of Sludge” opens with almost precisely the same riff as Sabbat’s classic “Mythistory,” but eventually morphs into the album’s doomiest affair.  “The Search” ends the album with some enchanting acoustic work and some of Stefan’s best singing yet.

After literally months of crap album covers (thanks in large part to Napalm, Nuclear Blast and Metal Blade), I was so pleased to see the beautiful piece that adorns Mirage.  The delicately muted colors perfectly match the reflective nature of the music contained within.

Mike Wead produced Mirage and the album has the usual punch, clarity and class of his own works.  Fans of doom, prog, power and even classic metal should all find something to enjoy on this record.  There is nothing modern or trendy about Memory Garden, yet they don’t sound dated either.  Timeless, as all good music should be.
[Daniel Hinds]

MORTIFER
If Tomorrow Comes
( Valiant-MetalAgen)

If you’re looking for something fresh or innovative, Mortifer are not for you.  This album sounds like it could have been recorded in 1988, which isn’t a bad thing at all.  I wish the band had made the songs a little more engaging though, as only “If Tomorrow Comes” and “Slave of Fate” really have staying power.  The band throw in a cover of Running Wild’s “Realm of Shades” that fits fairly seamlessly into the album, too.

This isn’t a ‘must-own’ album by any means, but there is some worthy material to be found here.  Check it out if you love the late 80s German thrash scene and want to hear someone doing it nowadays without it being a total retro rip-off affair.  http://valiantmusic.musica.mustdie.ru
[Daniel Hinds]

MURDER SQUAD
Unsane, Insane & Mentally Deranged
(Pavement)

After a couple of good but fairly standard tracks, “Depravation” kicks in.  This sorrowful assault of doom/death would make Obituary proud, with a riff of pure fucking evil.  Another somewhat offbeat track is the title cut, which features a disturbing riff that lightly creeps up on you before pouncing and pummeling you into submissive bliss.  The band can kick it into high gear, too, as evidenced by the raging “Spraying Lead.”

Lyrically, this album is almost comical in its brutality, obsession with torture, death and anal rape.  Easily offended folks aren’t likely to explore a band called Murder Squad anyway, so there shouldn’t be much misunderstanding here.  If you love Dismember and older Entombed, this is a nice, thick slab of the same done with plenty of style.
[Daniel Hinds]

NONPOINT
Statement
(MCA)

“Mindtrip” is a good opening track, as it ably demonstrates the band at their most daring.  The song features some truly off-the-wall riffs and change-ups, showing some potential progressive influences.  I also was quite pleased with Elias Soriano’s vocals.  His aggressive style is strong but never overbearing and his actual singing voice is clean and never whiny (so much for that Deftones comparison…)  “Victim” and several of the other tracks like “Back Up” have a much more hardcore feel to them, though the band clearly focus on making each song catchy and to the point.  “What a Day” has the kind of narrative and catchy chorus to make it big on MTV

Not every song is a winner, with “Endure,” “Mislead” and “Levels” doing very little to hold my attention.  “Double Stacked” is the only really lengthy track on here, with a kind 70s/Tool breakdown in the middle.  It isn’t bad but not really what the band do best.  The far more rockin’ “Orgullo” is much better, reminding me a bit of Puya in the way some of the vocals are delivered in rapid-fire succession.  “Hive” is the most energetic cut, with a couple of short bursts of speed that really make you wish they did that more often.

Nonpoint must be doing something right.  Normally, I hate anything in this vein, usually with great passion, but this isn’t bad at all.  Like Puya, they seem to be able to assemble the typical nu-metal elements in just the right way to make them work, balancing technical playing with clear-cut pop song sensibility.  It isn’t as consistently good as Puya’s Fundamental and loses steam about halfway through, but it still impressed me far more than I expected.
[Daniel Hinds]

ONE FOR JUDE
Figures
(Audioglobe)

"Helmet" is first up, featuring some oddly angled lyrics, while "Refuge" really fleshes out the band's sound with the addition of accordion and trumpet.  "Inside" brings in some clean electric guitar and muted drumming to create a slightly different, more Cure-like atmosphere.  Another key piece of the One For Jude sound is the driving basslines, as evidenced on songs like "Sonic."  "Goodboy" takes a little too ordinary alterna-rock turn and I much prefer the more folk-oriented trax like "Journey."

The vocals are really the only part of One For Jude's sound that doesn’t completely work for me.  They aren't terrible, but are a bit whiny at times and don't mix with the rest of the instrumentation that well.  This is a minor point though and one that will hopefully be erased as the band get more recording experience.  As it is, Figures is a wonderful piece of melancholy that collects many elements and styles and forges a unique sound. http://perso.worldonline.fr/oneforjude/
[Daniel Hinds]

ONWARD
Evermoving
(Century Media)

Formed by Toby Knapp (one of the countless Shrapnel guitar wizards from the late 80s), there was the initial fear that Onward would just be another band put together as an excuse for one guy to show off.  Not so, as opening track “The Kindness of Strangers” readily establishes.  Melodic but driving riffs are combined with a good sense of song-writing and some clean, neo-progressive vocals.  The vocals on this song are interesting, as they are multi-tracked at times and the result is a relentless vocal attack that works really well.  Michael Grant has a rock-solid voice and is careful to not imitate anyone.  Toby gets to demonstrate his skills, too, with an explosive solo, but it is the rhythm playing that really hits home on songs like “The Waterfall Enchantress” and “Witches Winter Eternal.”  The closest the band comes to a ballad is the majestic “The Lost Side of the World,” which features some clean guitar during the verses, but even this song rocks and has one of the best choruses on the album.

Despite all of this wonderfulness, Evermoving isn’t spotless.  The band attempt some Omen-like speed metal on “Absolution Mine” that rings a bit hollow, especially when the more melodic chorus comes in to remind the listener what Onward does best.  The song “Storm Coming Soon” simply fails to be as memorable as the other tracks and also suffers from a somewhat awkward-sounding chorus.

There is a certain Yngwie vibe I get from Onward, though it is rather subtle.  I think it has to do with the way Toby phrases some of the harmonies, but, unlike most of Yngwie’s work, Onward never loses the big picture.  Evermoving is a surprising and inventive release that exceeds expectations and promises much for the future of the band.
[Daniel Hinds]

OPETH
Blackwater Park
(Koch/Music For Nations)

So it goes with Blackwater Park.  Opeth stick pretty much to the same formula that has worked so well for them in the past – long, detailed songs that cover all the bases without repeating themselves.  The progressive elements are perhaps a touch more present this time, with a serious atmosphere of melancholy draped over the entire record.  The mood is very similar to what Katatonia creates, though where they take a minimalist approach that varies little from song to song, Opeth do just the opposite.  Rarely does a track remain the same for long and even rarer does the band repeat themselves.

Generally speaking, I would have to say this is my favorite Opeth record so far.  The elements that I like the most are better represented this time out and it just feels like the band is more comfortable with the material here.  Plus the album art is wonderfully gloomy, a perfect companion to the music.  So I guess the verdict is that even I, a non-fan, am being slowly won over by these Swedes, damn them.
[Daniel Hinds]

OXYGEN LAW
Arbeit (EP)
(self-released)

The DCD influence is most pronounced on the eleven minute opener “Arbeit Macht Frei (extended),” with distant bells punctuating the billowy synths.  “Exael” takes an even softer approach, while “Song of Nations [2]” is probably my favorite track here.  It features some very moody piano dabbling, creating a very effective level of creepiness, not unlike a good movie soundtrack.  The final cut, “Vacant Nursery,” has a much wider, more open feel to it than the others.  I like the atmosphere it creates, but at over twelve minutes, it is almost a little too minimal at times.

Oxygen Law have really done themselves proud on this EP.  The sound quality and arrangements are superb, especially for a first release.  Fans of neo-classical and dark ambient music should definitely seek this one out.  More info:  http://www.oxygenlaw.com/
[Daniel Hinds}

PECCATUM
Strangling From Within
(Candlelight)

“Speak of the Devil (as the Devil May Care)” includes some ripping riffs and wild vocal acrobatics, while “The Change” mixes in some actual classic heavy metal riffs.  Ihriel gets to demonstrate her soprano charms to their fullest on “I Breathe Without Access to Air.”  The album closes with a rather elegant little instrumental called “An Ovation to Art” that is simultaneously somber and dramatic.

On the downside, the different vocal styles, as interesting as they may be, don’t really sit well next to one another.  And there are also a few naff songs like the lurching, tedious “The Song Which No Name Carry” (damn I like that title though!) and the rather melodramatic “And Pray For Me.”

As the Emperor longship sails over the horizon into redundancy, it appears that two new forces will continue to shake the metal scene for years to come.  Samoth is taking Emperor’s brutality to new levels with Zyklon, and Ihsahn is injecting the complex neo-classical side of the band into Peccatum.  And now American fans can experience the journey from the beginning, though I still recommend Amor Fati as the best Peccatum to start with.
[Daniel Hinds]

PENETRATOR
Prettier
(self-released)

"Prettier" is one of my favorite songs, as it is a good mix of atmospheric electronics and clean vocals.  The vocals throughout the album are a bit hit and miss, often sounding a bit underproduced.  Still, they do work at times and at least they are kept free of pointless fx.  The guitar playing is similarly recorded - a bit thin, but the actual playing is pretty good (see "Scabs").  Closer to the end of the album, Penetrator moves into more ambient/soundtrack territory and pulls that off quite well, too.

The lyrics are bizarro to say the least, most notably the aforementioned "Scabs" and the song following it, which gives me flashbacks to Crispin "Hellion" Glover's album.  It has that same level of calm insanity that just says 'creepy…'

Penetrator will likely have to focus their sound more to find a label or a larger following, but it is kind of cool to hear a band experiment with so many different styles and actually make it work.  The programming and sonic palette utilized on Prettier are quite impressive, really lending the music that retro-future sound that many IDM folks attempt and fail at on a regular basis.  For more info:  global@jonnyglobal.com
[Daniel Hinds]

PSYCHE
Misguided Angels
(ArtOfFact)

"Unveiling the Secret" features a spiffy little melody that is maddeningly catchy and almost too happy.  But it works, especially with the clean, non-confrontational vocals.  "Exhale" takes a far more laid back vibe, with an almost soulful vocal performance.  A slightly more modern EBM flavor turns up on the dancey "Murder in Your Love," while "Brother Suicide" adds some distortion all around for a harder approach.  "Assassin" has a great dark pop feel to it, with yet another great chorus.

Not that it needs to be covered again, but Psyche does a decent job with Soft Cell's "Sex Dwarf."  The LOE collaboration "Misery" sounds a little sterile in contrast with the rest of the album, just as the haujobb track "Nightmare" sounds too, well, haujobby.  "The Dying Rose," the !AiBoFoRcEn<- cut, is much more upbeat and feels more at home with Psyche's other material.  The album closes with an interesting song, "Torture," which is a demo from back in 1982, written and performed with Dwayne Goettel in his pre-Puppy days.  It's experimental, yet strangely melodic at the same time.

Psyche's music is deceptively simple.  The underlying beats and synth lines are far from complex, often sounding under-written if you focus too much on specific elements.  But once the songs are put together and listened to as a whole, they work.  There is just enough variation and added flair, plus the addition of the melodic vocals, to make the songs come alive. http://www.psyche-hq.de/
[Daniel Hinds]

RAGING SLAB
The Dealer
(Tee Pee)

Well, ten-plus years have passed and here we have the latest from Raging Slab.  If anything, the music on The Dealer is even more drenched in classic, 70s boogie rock.  Not sure if the band has grown or if my taste has, but I found The Dealer to be a much more satisfying musical feast.

One of the more interesting songs on The Dealer is “Sir Lord Ford,” which has a “Rockin’ Into the Night”-like chorus, before breaking down into a really bluesy instrumental called “When Electricity Came to Arkansas.”  The band also show they know how to rock when need be with the song “Too Bad.”  “Chasin the Dragon” is the kind of sludgy jam that a fair number of Seattle acts attempted in the 90s but never quite sounded this authentic.  “That Ain’t What I Meant” is another goodie, with one of the most memorable progressions on the album.

The band sound incredibly confident, like they’ve been playing these songs their whole life (which is probably true).  Vocalist/guitarist Greg Strzempka has a powerful voice, with just the right mix of grit, twang and feeling.  Slide guitarist Elyse Steinman also does a lot to add to the unique personality of Raging Slab.

Raging Slab are never going to be one of my favorite bands, nor will this be an album that I am likely to spin terribly often.  But, the quality and sincerity of the band’s work on The Dealer is unmistakable.  If you have anything more than a passing interest in groovy, 70s-styled southern boogie rock, you would be doing yourself a major disservice if you didn’t check this album out.
[Daniel Hinds]

REACH THE SKY
Friends, Lies and the End of the World
(Victory)

The first two songs kind of serve as bookends to Reach the Sky’s style.  “Let Us Be Damned” is fast, unapologetic punk/hardcore in the classic NY tradition.  “This Sadness Alone,” on the other hand, is far more accessible, with some melodic guitar licks and a smoother, more pop-oriented vocal delivery.  Not too surprisingly, I prefer the former, along with similar cuts later in the album such as “The Crowded Streets of Boston,” the inspired “Stealing My Soul” and “Wherever You Go.”

There are a few strange songs that try to walk a middle ground, such as “Good Bye and Good Luck,” with fairly dismal results.  The riffs just kind of drag and the drums sound like they constantly want to take off but are kept in check.  Closing track “Stars Lead the Way” (clocking in at the near-epic, by hardcore standards, length of  3:56) is equally ineffectual.

So let’s add it up.  On the plus side, many of the songs rock, the band play enthusiastically and there are a couple of standout tunes to be had.  In the minus column, the vocals tend to wear out their welcome about halfway through, the more pop-flavored numbers suck and there is really no originality to speak of.  Not bad, not great, Reach the Sky deliver a solid B- of an album.
[Daniel Hinds]

THE REIGN OF TERROR
Sacred Ground
(LMP/SPV)

The one-two salvo of "Save Me" and "Sacred Ground" pound along nicely like a more metallized version of latter-day Rainbow.  "The Unknown" strikes out into fresh territory - a bit more modern without sacrificing any of the melody.  Plenty of variety to be had here, from the instrumental "Paganini's Purgatory" to the onslaught of "Set Us Free" to the rock 'n' roll vibe of "Undercover" (another Rainbow screamer).  Joe does a good job of letting loose with the flashy solos without overshadowing the songs themselves.  The obligatory cover of "Kill the King" (since Congress enacted the law requiring all metal bands to cover this song at some point) ends this rather impressive disc in style.

Melody is the underlining element of Sacred Ground, whether it is the searing leads, the dramatic riffs or the soaring vocals and catchy choruses.  The production is a bit thin in the rhythm department, but the sound is clean overall and all the instruments are audible.  If you are looking for some kind of genre-defying, ground-breaking album, this isn't it, but if you want a solid chunk of highly listenable metal played the old-fashioned way, this is it.
[Daniel Hinds]

ROACHPOWDER
Atomic Church
(The Music Cartel)

“House of the Wicked” features a slippery, scalding riff with distorted vocals and a tripped-out middle section, while “All Hail and Kneel Before Me” takes more of a wall of sound approach.  Later, there is a beautiful little harp instrumental called simply “Harp,” an oasis in the midst of the sonic fury.  “No Reasons” and a couple of the others here remind of the more drug-laden jams that Monster Magnet used to make their career off of.

I can’t say that I’m in love with this band, as the songs tend to drag on just a bit too much for me usually.  But they do have a pretty good sound and the fact that they use a theremin scores them some extra points.  Grungy and heavy, Roachpowder are definitely the less refined end of the The Music Cartel’s line-up, for better or worse.
[Daniel Hinds]

SEA OF GREEN
Time to Fly
(The Music Cartel)

“Annihilation” kicks off the festivities in fine style.  Big riffs that never smother the music joust with a fairly elaborate rhythm section while the vocals sail over top.  “Women Today” is a bit catchier, though suffers from rather dodgy lyrics (probably the biggest downfall of the record as a whole).  “Ever After” grooves along in a trippier fashion, while “Come Down” shows off the heavier side.  “Long Time Coming” is a chunk of more straight-forward rock ‘n’ roll, while their cover of “Breathe” sounds like, well, Pink Floyd.

Recording-wise, Time to Fly has a back-to-basics feel, yet the very clean mix gives it a bigger sound than it might otherwise have.  If you dig heavy rock from the olden days with a pinch of psychedelia thrown in, Sea of Green are here to bring back hazy memories and forge some new even hazier ones.
[Daniel Hinds]

SERPENT ECLIPSE
Thy Bleeding Heavens
(Void Sector)

Once the joke of the scene, American black metal has come a long way in the last few years and Serpent Eclipse are another example of the genre being done right.  Fans of the primitive and symphonic should both find something to like with Serpent Eclipse and it will be interesting to hear where they take their sound in the future.  Just don’t lose that killer guitar sound though!  http://www.voidsector.com/
[Daniel Hinds]

[soundtrack]
The Wheel of Time
(Magna Carta)

The first obvious thing about The Wheel of Time is the Celtic influence.  The melodies and the rhythms all have that distinctive Celtic folk feel to them, at once happy and a bit wistful.  The variety of instrumentation, particularly the use of mandolin and flute, really gives the album the proper medieval touch.  Vocals are used sparingly, allowing the user to fill in their own visions of what should accompany each track.  There is also a wide range of moods on offer, from dark and menacing to lively and joyous and Berry does a convincing job at both extremes.

The bio's reference to this as a 'Celtic Pink Floyd' is a bit misleading and unfair to this album, IMO.  Floyd came from a more personal and introverted angle, while The Wheel of Time has a much more epic and cinematic feel to it.  This is a very well thought-out, complete piece of music and easily one of my favorite progressive albums in recent years.
[Daniel Hinds]

STIKPIN
Stikpin (MCD)
(Self-released)

“Done In” starts the show with a plenty heavy riff, some thudding double-bass work and a cool slap bass line during the verses.  “Child Shadow” has a very groove-oriented main riff and works as probably the catchiest track on offer here.  “My Way” is a bit more straightforward and has a subtle punk flavor to it.  “Scream” is a back to the groovier sound, but not as interesting and is followed by an acoustic hidden track that didn’t do anything for me at all.

Stikpin could be big if they develop a bit more and get the right people to notice them because they know how to write memorable tunes and have a sound that is familiar without being easily pigeonholed.  More info: Stikpin_ct@hotmail.com
[Daniel Hinds]

[various artists]
Candlelight Collection vol. 4
(Candlelight)

Kicking off with Zyklon was a wise move, as they have a very punchy and determined sound that sets a good pace.  This band is of course the collaboration of Samoth and Trym from Emperor with Destructor from Myrkskog and Daemon of Limbonic Art.  This tune (Zyklon only get one song for some reason), “Storm Detonation,” is very much a mesh of all of those bands’ styles.  Fast, heavy, dynamic, complex and plenty fast, with lots of strange chords and Trym’s always amazing drumming, Zyklon soar confidently above any easy genre categorization.  Old faithfuls Extreme Noise Terror are next, with two stabs of their patented brutal grindcore.  Failed Humanity is almost indistinguishable, though they take a slightly more death metal approach with a brighter sound.

The long-suffering goth rock act Christian Death pop up next with two typically bad songs.  “In Your Eyes” tries to fuse the band’s more traditional death rock sound with some groove-oriented hardcore choruses that just sound ridiculous.  “Zodiac” starts off in a nice atmospheric vein, but quickly turns to the same-old, dated-sounding plod that characterizes most of Christian Death’s work.  Fortunately, Peccatum are next and wake you up with their highly unusual mix of neo-classical, avant-garde and extreme metal styles.  Daeonia deliver some fairly classy goth metal, with deep male vocals, moody piano and plenty of guitar melody.  The two songs offered here aren’t particularly memorable, but they do show some promise.  Killing Machine’s rather tepid power metal debut is represented here with two of the less memorable cuts, “Killing Machine” and “In the Dark.”

Like I said, this isn’t the classic collection that Candlelight’s first volume was, but it has some moments.  The real bright points are the two Emperor-related bands, Peccatum and Zyklon, though Extreme Noise Terror and Daeonia clearly have something to offer, too.  I think Candlelight is probably on the right path, but their roster needs to develop a bit more still (and they need to drop Christian Death asap…)
[Daniel Hinds]

[various artists]
Leonardo - The Absolute Man
(Magna Carta)

After a rather typically restrained opening instrumental, the real story gets underway.  James Labrie sings the part of Leonardo and does his usual brilliant work, especially on the the more mellow tracks like "With Father."  The album's first truly rocking moment happens on "Reins of Tuscan," though true to the progressive spirit, there are still plenty of twists and turns, running the song through many different styles and emotions.

As a conceptual piece on the life and achievements of Leonardo da Vinci, I couldn't ask for more.  The artists could have easily expanded the story into a double disc, but I think this shorter, more to the point opus actually works better.  Perhaps the one downfall of this album is its predictability, but in terms of sheer skill and execution, Leonardo is an impressive work.
[Daniel Hinds]

[various artists]
NYC Takeover vol. 1 and 2
(Victory)

All Out War is up first, displaying a fairly typical but effective approach.  Aggressive, screaming vocals overlay crunchy guitar riffs and mosh-pit rhythms.  The band wisely mixes up the tempo a fair amount to keep things interesting, with “Claim Your Innocence” impressing the most.  With different vocals, “Redemption For The Innocent” could be a Slayer-inspired death metal song – very intense.

Boston’s Reach the Sky is next with a less heavy, more hardcore style.  The poppy elements I noted on their album fall by the wayside here, in favor of speed and energy that the band seem to have in abundance on stage.  All four songs move in a large way, making Reach the Sky the most enjoyable band on NYC Takeover next to Skarhead.

…which makes Grey Area’s set all the more dismal sounding.  The band’s attempts to fuse pop with hardcore might work for some folks, but to me it just falls flat.  It is too weak to really rock and too unfocused to work as pop music.  Definitely the low point.

Skarhead set things on fire with some incredibly catchy (and strangely danceable) tunes that remind me a bit of Biohazard, but are better.  Featuring two vocalists that deliver the uncensored lyrics in a near-rap style at times and a more traditional hardcore shout at others, these guys just sound like they’d be a blast to see live.  The stage raps and funky rhythms of songs like “Kings At Crime” and “Dogs At War” kick serious ass, no two ways about it.

Buffalo’s own Buried Alive feature probably the grittiest, dirtiest guitar tone on this collection.  Their songs, like “Poison” and “Worthless,” are lurching and a bit tough to follow, but this is one of the attributes that sets the band apart from their peers.  Bile-ridden vocals complete the picture on this unusual but quite promising band.

Final act River City Rebels employ trumpet and trombone players, adding a twist to their snotty, old school punk approach.  I applaud the effort, but the horns clash with the guitars more often than not, making it more of a chore than a pleasure to listen.

This is a pretty cool collection overall and I guess I would recommend vol. 2 over vol. 1, but not by much.  The recordings are most definitely live, but reasonably clear and well mixed, allowing each band’s particular brand of energy to shine through.
[Daniel Hinds]

[various artists]
Overload 2: A Tribute To Metallica
(Dwell)

The little known Osmose act Mystifier gives their primitive death/thrash touch to “Phantom Lord.”  This is how tributes should be, as the band stays relatively true to the original but manage to inject plenty of their own style into in the process.  Underground legends Krabathor strike a similar balance, though suffer a bit from a slightly dry production.  Imagine “Four Horsemen” with the dryer sound of …AJFA, if you will.  Nice solo, though.  Solarisis (an unknown entity to my ears, hailing from the Netherlands), sparks up a wonderful, melodic-death metal version of “Nothing Else Matters.”

The first real disappointment is New Eden’s by-the-numbers take on “Ride the Lightning,” hampered by a wet-blanket production and a general lack of energy.  Last Chapter play it nearly as safe on “Escape,” though at least this one features some more distinctive American power-metal vocals to spice it up a bit.  Soulless rip through “Motorbreath” and inject some serious bile into the vocals, while Noctuary’s “Leper Messiah” is surprisingly tame beyond the tortured vocals.  From the Depths (new to me) follow Noctuary’s lead, delivering “For Whom the Bell Tolls” almost note-for-note, with only the vocals showing a slightly more extreme nature.

Diabolic choose well, picking “The God That Failed,” one of the few redeeming cuts on the black album.  Their run through is pretty convincing, too, though the vocals sound a bit tuneless at times (it may just be the way they were mixed).  Abominant, who seem to hail from Kentucky, serve up an extreme “Battery,” but suffer from the worst recording on the disc.  Satanic metallers (I’m guessing, since they have an upside-down cross in their logo) Blasphemy Divine churn out a deathly version of “Welcome Home (Sanitarium)” before Coffin Texts close the album with a competent but unspectacular “The Call of Ktulu.”

Overload 2 is the usual mix of innovation and complacency that turns up on most tributes.  If more bands tackled the songs the way Mystifier, Krabathor and Solarisis did, this would have been an outstanding collection.  On the plus side, though, at least no one slaughtered the material, leaving Overload 2 average at its worst and quite enjoyable at its best.
[Daniel Hinds]

[various artists]
Requiems of Revulsion: A Tribute to Carcass
(Deathvomit/Necropolis)

There are 18 cuts on here so I will just highlight the best moments.  Rotten Sound delivers a full tilt “Reek of Putrefaction” with top-notch production to boot.  Exhumed deliver “Exhume to Consume” with nice, gurgling vocals, while Disgorge utterly rip through “Hepatic Tissue Fermentation.”  General Surgery does a nicely precise take on “Empathological Necrotism.”  Impaled rock “Carneous Cacoffiny” as Avulsed bash out a decent “Embryonic Necropsy and Devourment.”

The production quality varies even more on this comp than most tributes, sadly swinging more often to the ‘shit’ end of the spectrum.  More annoying is just the variation in mix levels, but oh well.  Can’t say that I whole-heartedly recommend this, but if you absolutely love Carcass and extreme metal in general you may enjoy this tribute.
[Daniel Hinds]

ZERO HOUR
The Towers of Avarice
(Sensory)

The title track kicks off the disc and features a fairly heavy main riff, along with some very detailed bass playing.  The song structure is more than a bit complex, bringing to mind some of Dream Theater’s most elaborate arrangements minus the keyboards.  Most of the disc takes a similar approach, although “Reflections” is a surprisingly minimal little ballad that makes for the perfect break halfway through the album.  It also leads into the album’s centerpiece, the sprawling 15-minute “Demise and Vestige.”  This song is truly an epic and the band do a great job of building it up and breaking it down at just the right times.

Zero Hour are kind of a middle point between Dream Theater’s precise, classical influences and Spiral Architect’s more freeform jazz eccentricities.  Some of the chording and rhythms remind me a bit of older Voivod, too, which makes for a cool change of pace.  The vocals are a bit generic, but they also carry a bit more feeling than I often hear in this style.  Overall, I would highly recommend this to anyone looking for a new prog band to check out.
[Daniel Hinds]