AURORA BOREALIS
Northern Lights
(Diehard)

From the get-go, it is obvious Aurora Borealis mean business.  Highly charged riffs battle fiercely with exceptionally brutal drums on "Thrice Told".  Ron Vento handles all the guitars and bass, as well as delivering the quite grim vocal tirades (think Schmier meets Toxine).  "Draco" is one of my favorite cuts, with its seamless melding of great thrash riffs, blackened vocals and kick-ass soloing.  "Distant" is an atmospheric percussion instrumental that serves as a cool bridge from the album's original eight songs to the 5 bonus tracks that Diehard added when they re-released Northern Lights.  The bonus cuts are pretty solid, with "Constellations Embellished with Chaos" standing out with its twisting riffs and impressive drumming.

Production-wise, you couldn't ask for much more - punchy drums, raging guitars and a good, clean mix overall.  The quality of material on this disc makes it a worthy investment even if you have to pay import prices.  Metalheads who love prime-era Sepultura (Arise), Necrodeath, Vader and other similarly uncompromising outfits simply must check out Northern Lights.  More info: http://www.auroraborealis.org
[Daniel Hinds]

BETHLEHEM
Schatten aus der Alexander Welt (2CD)
(Red Stream)

First off, this is a two-disc conceptual work and all the lyrics are in German.  Not being fluent in that particular language, I will reserve my comments to the highly diverse music that accompanies said words.  Disc one features nine cuts, with widely varying intermezzi between each.  "Mary Samuels NFB 418" pours out over a restrained trip-hop beat, dripping with dreamy piano melodies, ambient textures, a subtle bassline and intersecting guitar fills.  The vocals here are clean and could almost fit any number of German (dark)synthpop outfits.  "Tod einer Dieselkatze" has wonderfully building verses and morosely relaxed choruses.  And if all that wasn't enough, the album closes with a thirteen-minute clusterufuck of everything that precedes it, moving from experimental and choppy to smoothed out jazzy electronica by the end.

Apparently, the original second disc contained monologues and dialogues in German, so for the American release, the storyline has been interpreted musically.  The industrial and experimental electronic elements are much stronger here, with the album taking on a warped IDM feel much of the time.  I was kind of dreading this one, expecting a self-indulgent excursion into needless 'weird for weird's sake' territory, but the material here is just as engaging as that on the first CD.  The mood morphs from relaxed to disturbing to irritating (track #5, please make it stop!) to almost pleasant.

There is something David Lynchian about Bethlehem's sonic vision - it is madness descending into a nightmare, observed with crystal-clear vision.  It is difficult to fully appreciate this album without understanding the words, but from a musical standpoint, Bethlehem have given 'dark metal' a whole new meaning.
[Daniel Hinds]

BETTY'S TRASH 
Itsy Bitsy 
(Princezz of Power) 

BINDING 
Relict (MCD)
(Unmutual) 

The programming on this CD is by far my favorite element.  Nothing too complex, but everything fitting where it needs to be with a nice variety of different sounds that provide a groundwork for the rhythm playing of Nels B.  I love the guitar sound on this EP as well.  The riffs are fairly straight forward, but kick you soundly in the ass. 

If there is anything that could stand some improvement, it might be Dan H's vocals.  This being the first of his side projects in which he does provide lead vocals on a grand scale, this is something that might come with time.  They are somewhat monotone, which works well with the distortion.  I like the coldness behind them which mixes with the subzero fusion of his lyrics and the electronics that bind the music together. 

If this doesn't sound like your ball of wax or cold piece of steel, I suggest picking up this EP, if for no other reason than the sweet cover of Devo's "Girl U Want."  Looking forward to see what other songs these two will cover in the years to come and to see them grow as a industrial-metal tagteam duo.   More info:  http://mp3.com/binding
[Victor Mejia]

BORKNAGAR
Empiricism
(Century Media)

Fortunately, the new blood has given Borknagar the proper kick and Empiricism is probably the strongest album since The Olden Domain.  New vocalist Vintersorg (does this guy ever sleep?) brings his charismatic voice to the proceedings, going from clean and majestic to evil screams without blinking an eye.  The progressive element is still going strong, with some nifty drum and keyboard work to accompany the complex guitar riffs.  Check out "Gods of My World" and "Four Element Synchronicity" for two particularly good examples.  The keyboard-led instrumental "Matter & Motion" stands out as a rather experimental piece, taking in some jazz influences as well.  It is nice to hear the folk elements still present, too, as witnessed by the acoustic melodies on "Inherit the Earth" and "The Stellar Dome."

Production is strong without being overly slick and the cover art is typically obscure Borknagar stuff.  Vintersorg's presence is surely a key to this album's success, but I would also point to the more diverse songwriting and clarity of direction.
[Daniel Hinds]

BURNING POINT
Salvation By Fire
(LMP/SPV)

After a brief intro, "Under the Dying Sun" rushes forward, full of virtuoso guitar, speedy riffs and bigger-than-life vocals.  It is the latter department where I think Burning Point distinguish themselves the most.  Guitarist Pete Ahonen handles the mic as well and his full, vibrato-rich tone lends the otherwise ordinary tunes a sense of authority and emotional balance.  His leadwork also helps color the music to a certain extent and he wisely doesn't overdo it the way many other do (though he comes close a couple of times).

Other noteworthy cuts include the darker, more mid-tempo chug of "Lake of Fire," the Dio/Sabbath power of "Black Star" and the propulsive catchiness of "Signs of Danger."  The band falls short of making a completely satisfying album, with the Dream Theater-meets-Maiden plod of "Higher" and far too ordinary "Stealer of Light" slowing the momentum.  Also, the production, while tight and generally very full sounding, gives some of the material a slightly sterile feel.

If the European power metal scene was crowded before, it looks like it will be almost crushing under its own weight in 2002.  Salvation By Fire is a strong contender, but whether or not it will have what it takes to surmount the rest of the pack and grab people's attention is difficult to say.  I don't see it appealing much to folks outside the power metal scene, but within that context, there is plenty here for fans to dig into and enjoy.
[Daniel Hinds]

BURNOUT
Thundertits
(12th Planet)

"Speedway King" stomps out of the speakers like some of the more ballsy grunge bands from way back when (think Tad rather than Nirvana), while the utterly leaden "Bangzilla" is inescapable in its crushing, slowchurn assault.  "Transmissions From the Solar Queen" shows the (slightly) softer side of Burnout, but even this one rages once it gets moving.  "Dirty Man" was the only instantly memorable track, with both a catchy chorus and unforgettable chorus ("I'm a dirty motherfucker, yeah that's what I am/Spreading like the plague all across the land" - magnifico!).  "Superfuzz" more than lives up to its name, while "Gas, Grass or Ass" is probably my favorite cut on the album (thanks to its sheer heaviness and classic lyrics).

The production at first seemed unnecessarily muddy, but as the album wore on, I began to appreciate the sound that Burnout sets up.  It gives the bass-heavy riffs the proper girth and power to devastate brain cells as well as eardrums.  The vocals are generally strong but falter a bit from time to time, while the musicianship is equally solid and non-flashy.  If I had to ask for one thing next time around it would be some slightly more memorable songs rather than just cool riffs, but I do hope they keep the fuzzed-out atomic acid drop sound that permeates every note on Thundertits.  More info:  http://www.burnout666.freeservers.com
[Daniel Hinds]

CALLENISH CIRCLE
Flesh_Power_Dominion
(Metal Blade)

As a statement of intent, you don't get much bolder than "Obey."  This track just roars forth in no uncertain terms, brutalizing the listener with the edgy lyrics and massive riffage alike.  Despite the fact that Callenish Circle are Dutch (I think), there is a serious Swedish vibe permeating many of the tracks, particularly the faster parts.  The album proceeds along these lines until "Bleeding," the first real departure for the band.  This track could almost be called a ballad if it didn't get so fucking heavy at times.  The vocals calm down to a near-whisper at times, but the roar kicks in when the guitars do.  "Your Final Swansong" has a kick-ass riff change midway through that will guarantee some head nodding even in the most comatose listener.  "They Have Chosen" kicks in with a hauntingly familiar riff, but takes the usual tempo and riff turns along the way to make it an original.  The somewhat nondescript outro is a bit of a letdown, but fortunately we get a bonus track in the shape of an industrial strength cover of Death's "Pull the Plug."

Part of what makes this disc so powerful is the utterly solid and crisp production, courtesy of Andy Classen.  The guitars are crunchy and the drums are so fucking huge, it is simply beautiful.  Of course, the band should be congratulated as well, writing top quality songs and then unleashing them with such fury.  Albums like this are a reminder as to why I keep doing The Plague.  Killer stuff.
[Daniel Hinds]

CANNIBAL CORPSE
Gore Obsessed
(Metal Blade)

The band actually piqued my interest with the song "Pit of Zombies," as it moves from a speedy, descending riff to a mid-tempo mosh that becomes the central theme of the song.  "Sanded Faceless" (Cannibal Corpse have that Hallmark skill of saying so much with just a few words) is a bracing burst of frenzied speed, following a nightmarishly psychedelic intro.  "When Death Replaces Life" is the kind of slow, doomy death metal that few bands carry off well, but this track works and features very cool, wah-ed out solo at the end.  The dank and utterly heavy take on Metallica's "No Remorse" makes for a surprisingly fitting  album closer.

There are still things I could be happier about with Cannibal Corpse.  A few of the songs (like "Grotesque" and "Hatchet to the Head") feel a bit by-the-numbers and the lyrics are still a little too obvious for my tastes.  Having said all that, however, I must admit the band just continue to get better with age and Gore Obsessed is their best yet.

As a matter of coincidence, the big news item yesterday was the discovery of a crematory in Georgia that had been storing corpses in various sheds and in the woods rather than properly cremating them.  There were over a hundred bodies in all, some dating back ten years or more.  Somehow, Cannibal Corpse came to mind immediately.
[Daniel Hinds]

CENTINEX
Diabolical Desolation
(Candlelight)

"Demonic Warlust" detonates in a fury of raucous death metal, ranging in style from classic Entombed to At the Gates and beyond.  The vocals are hard, the guitars precise and vicious and the bass growls like a motherfucker.  Not to forget the blinding speed of the drumming, which unfortunately gets a bit lost in the mix at times.  "Forthcoming Terror" takes a more varied approach, breaking down into some almost bluesy riffs near the middle.  Similarly, the band breaks into a surprise clean guitar passage in "Spawned to Destroy," ending the song with an even more surprising keyboard interlude.  These little twists combine with the well thought-out arrangements to make this album destined for repeated spins.  Some of the later tracks such as "The Bloodline" and "Hellfire Twilight" are a little less interesting, but the band keep the quality generally consistent throughout.

Diabolical Desolation isn't a revelation of originality, but it is thoroughly enjoyable and there is more than enough going on to separate Centinex from the crowd.  This is one of those albums where I actually enjoy the delivery and the sound more than the songs themselves.  That's not a knock, either, as the tight, fist-slamming sound that Centinex blasts forth is infectious.  If you love the raw energy of bands like The Crown, Defleshed and Dismember, Centinex are sure to please.
[Daniel Hinds]

CHALICE
An Illusion to the Temporary Real
(Modern Invasion)

The album opens straight into "The Jester's Banquet," a prime example of Chalice's strengths.  Heavy almost doomy riffs are layered in a complex arrangement with clean guitars and Shiralee's heartfelt soprano vocals.  The band has also enlisted the services of flautist Alana and her work adds a great deal to round out the band's sound.  The title track follows in a softer, slightly more ethereal vein and the flute makes its presence felt even more, weaving in and out and winding itself perfectly around the guitar melodies.  "Vista" sustains the mood, while "Catalepsy in Staccato Rain" is a bit livelier and "To Death Betrothed" has some very exquisite classical touches to match its medieval rhythms.  "Abyss" starts with all clean guitar, has the folkiest flavor on the whole album and, in my opinion, is one of the best songs Chalice has come up with to date.  The heavier riffs come in about halfway through it, but it never loses the atmosphere.  The band closes the album out with probably the most rocking and generally upbeat track, the excellent "The Stigma of an Age."

To say this is a better album than Chronicles of Dysphoria is difficult, as that record will always have a special place in my heart.  But it is clear that Chalice has progressed, matured and diversified their sound on An Illusion to the Temporary Real without losing the sense of melody and wonder that made me love them in the first place.  Contact: http://www.thechaliceroadie.cjb.net
[Daniel Hinds]

DAWN OF DREAMS
Darklight Awakening
(Mercenary Musik)

DECAPITATED
Nihility
(Earache)

My initial impression of Decapitated was rather dim, but I've grown to appreciate what they are doing a bit more on further listens.  Their sound shares some qualities with their national brethren, namely very intense, precise death metal with an almost clinical feel to it.  What sets them apart and makes this album interesting is the highly technical arrangements, approaching Meshuggah territory in many cases, and fluid lead guitar work.  Not content with just tossing out the typical Hanneman/King whammy-wank, Decapitated's guitarist carefully places some almost delicately crafted solos in each song.

The vocals are probably my least favorite element of Nihility.  Not that they are bad per se, they just are so non-descript, it could be any of a thousand death metal bands you are listening to.  Fortunately, the music transcends such mundanity and I just kind of tuned it out after a while.

Solid production caps this fine release, another success from the land that loves its death metal like no other.  This is the kind of band that has just got to be awe-inspiring to watch live (like Nile).
[Daniel Hinds]

DETERIOROT
In Ancient Beliefs
(WWIII)

The thing I like best about Deteriorot is their love for slow, utterly dark riffs in many of their tunes.  "Fallen Misery" is one of the most doom-laden death metal songs I've heard in a while and it isn't alone here.  Not that the band can't move when they need to, it is just the slower passages that really set the mood.

Rock solid production completes the picture, making this a very worthwhile investment.  With all the releases coming out on WWIII lately, this might get lost in the shuffle, but hopefully it will find its audience.
[Daniel Hinds]

DIABOLICAL
Synergy
(Mercenary Musik)

Diabolical is no exception on their debut full length, Synergy, which is bristling with Soilwork like energy and an even share of brutality and melody.  The main thing that separates these guys from the likes of In Flames, et all, is the sheer technicality of the riffing and arrangements.  There is almost a machine-like fluidity to the speedy, intricate riffs and I often lose track of what else is going on in the music as I am concentrating so much on just what the fuck the guitarists are doing.  And the leads, oh man, don't get me started on the leads!  Stunning, to put it simply.

Upon further examination, there is also some rather tasty drumming going on and some reasonably vicious (if somewhat pedestrian) vocal growling to be had.  Wrap it all up with some punchy, up-front production and you've got one hell of a debut.
[Daniel Hinds]

EDENBRIDGE
Arcana
(Sensory)

Somehow, the formula that has worked so well for Nightwish (though maybe wearing a bit thin on Wishmaster) fails Edenbridge.  Arcana is not a bad album by any means, it just never comes together to make it a particularly good record.  Vocalist Sabine Edelsbacher has a beautiful voice, but, much like Candice Night of Blackmore's Night, it is just a little too soft and elegant for the music.  Much of the music itself borders on bland, despite some excellent playing (particularly in the keyboard and guitar departments).

The album does have its merits, though.  The power ballad "A Moment of Time" is well balanced, builds nicely and marks the best union of music and vocals.  It also has some soaring melodies that remind me of ABBA for some reason (that's a compliment, honestly!).  "The Whisper of the Ages" has a slightly heavier feel to it with some very cool Indian accents.

If you are looking for the softer, sweeter side of melodic metal, you might indeed find your match with Edenbridge.  But if you want any kind of edge or more than a miniscule amount of passion in your music, best give Arcana a pass.
[Daniel Hinds]

THE ELECTRIC HELLFIRE CLUB
Electronomicon
(Cleopatra)

So it came as a bit of a surprise that Electronomicon wasn’t the utter crapfest that I have come to except, nay, demand from EHC.  First thing that I noticed was the vastly improved production.  Winging on over to Sweden, the band laid down the tracks at the Abyss with the help of Tommy Tägtgren and the result is a punchy, powerful sound all the way around.  The other factor in the album's favor is the migration from bad synth-based rock music to a full-on metal sound with some well-placed electronics to spice things up.  "Sons of the Serpent" is a good example and "Hyprochristian" offers up the band's most memorable chorus since the one-off classic that was "Unholy Roller."  "Broken Goetia" is a hard-hitting almost-thrash track, while "I Dream of Demons' is a pummeling mid-tempo rocker.

Thomas Thorn's vocals still veer a bit close to silly at times, but by and large his sneering delivery complements the music well.  The lyrics and samples utilized similarly vacillate between dead serious and rather tongue-in-cheek, but the band seem to have found a much better balance than in the past.

Now, I wouldn't be doing my job if I didn't also point out the album's shortcomings and, yes, there are some.  First off, they start the album with a rather meandering intro that flows into "Wired in Blood," a seven-minute plodder that should have been placed last not first.  Also there is still the tendency to overextend some of the songs.  So, it ain't a perfect record by any means, but (a) it is easily the band's best album ever, and (b) there are actually some good songs on it.  Guess we'll have to go back to making fun of Christian Death now…
[Daniel Hinds]

EPHEL DUATH
Rephormula
(Earache)

Opening track "The Embossed" takes as many twists and turns as your average Opeth song in about half the time.  This is both good and bad, as there is a lot to listen to but it feels a bit rushed at times and as soon as you start digging something the band is doing, they are on to something else already.  The band uses some very celestial-sounding keyboards, particularly on the tracks "The Danza" and the lengthy "Phormula."  "The Flickering Warmth" is a step in the right direction stylistically, as it feels a bit more relaxed, allowing each section of the song to breathe more.  Another highlight for me was the eerie acoustic guitar and synth instrumental "Myriads," a very beautiful little piece of work.

Clean vocals are used sparingly, which is good as the more wicked variety are a lot more convincing than the rather timid, gothy style.  The guitar playing is the most impressive element overall, though, moving effortlessly from soaring and diving leads to twisted, angular riffs to all-out black metal speed.  There are some well-placed keyboards throughout the album, too, though it is difficult to tell if they are all sequenced or not.

The first eight songs are actually from the album Phormula, but Earache has added a couple of remixes and three demo tracks to make Rephormula a more complete package.  The remix of "The Embossed" by Homo Homini Loops is a rather blah effort, relying too much on fx and loops for its own good, whereas someone named Paso takes a shot at "Pursuing the Instinct" (I think) with better results.  The three demo cuts show the promise of the Phormula tracks with slightly less distinct production.  At 73 minutes in all, the disc is a bit hard to take in one sitting, but you certainly can't argue against the value for money factor.

It is always interesting to hear bands trying new things, mixing old styles in new ways, and Ephel Duath have succeeded better than most in this respect.  Whatever preconceptions you might have about an Earache release, leave them at the door because Rephormula will be only too happy to smash them to bits for you in a matter of seconds.
[Daniel Hinds]

ETOILE NOIRE
Sleeping Black Eyes
(self-released)

"Ascension" kicks in with a nicely primitive guitar sound and unique vocals.  Pasquale Scotti may not be that great a singer technically, but he certainly has variety on his side as he goes from screeches to moody goth to whispered ambience to an almost old-school punk flavor.  His crazed style is a perfect match for the mixed-up musical style the band pursues and the result is surprisingly harmonious.  The balladic "Eyelids Covering Mirrors" is notable for some rather pretty violin playing, while "Melt" has the kind of killer main riff that hasn't been in vogue for like twenty years.

I think Etoile Noire are on the right track and have already established a pretty unique style.  The only thing really holding back this disc is the usual lack of production values that come with demo recordings.  The vocals jump out too often, the drums are kind of muffled and the guitar could hardly be thinner.  That is the easiest part of a band's sound to fix, though, and I look forward to seeing where these guys go in the future.  Contact:  http://www.etoilenoire.net
[Daniel Hinds]

FLOODLAND
Ocean of the Lost
(Wait & Bleed/SPV)

"White Skin, Black Soul" is a chilling opener, touching on the grim subject of the deathless Nazi plague.  "Ocean of the Lost" has a more traditional feel to it, mixing elements of everything from folk to Nick Cave to The Wake.  Christian Meyer's vocals are very deep, though occasionally they get a bit higher in his more excitable moments.  "Never" is a pretty little ballad, which mixes in some nice female vocals during the chorus, while "The Dawn" is a very powerful, full-bodied goth rocker.  "Prague" is a dreamy tribute to that city's Old World charm, featuring some very picturesque lyrics that match the music's vibe perfectly.  "1648" seems almost overbearing in its intensity, but it is quickly followed by "The Camp," featuring some well-placed sax along with its more relaxed clean guitar riffs.

While the vocals get a little overly dramatic at times for my tastes, I enjoyed Floodland overall.  They have a healthy commitment to individual song composition, rather than slavishly following any predetermined 'style.'  Bits of prog and alternative (in its glory days, ala The Cure, The Bunnymen, etc.) are woven into the band's dark, melodic brand of gothic rock.  The trade-off for this kind of diversity is that not everyone is going to like every song, but it makes for a hell of a more interesting album than ten carbon copies of the same tune. http://www.floodland.org/
[Daniel Hinds]

GREENWOOD
Horus on the Horizon
(12th Planet)

"Morphine" starts off all innocent, not unlike some of the intros you hear on modern alternative bands, but once it kicks in proper, look out.  The guitars are huge and the rhythm section is just as impressive.  "Dirty Bob" has a faster groove to it, harking back to Kyuss in their finer moments, while "Cosmic Rebirth" has a main riff that is like "Paranoid" put through a shredder.  That = good in this case, in case you were wondering.  "Deep Green Hollow" is more akin to an extended jam session than a typical song.  The latter tunes aren't quite as gripping, but nothing truly disappoints either.

Marc Faulkner tries hard with the vocals, but he sounds rather strained on the more intense sections.  On the plus side, he isn't just another Ozzy or Dave Wyndorf clone, so at least he has the distinctiveness down.  In my opinion, that's a bit more important than pure talent, but hopefully he will improve a bit on the next outing.

Horus on the Horizon is not exactly an essential purchase, but it is definitely an enjoyable slab of powerful hard rock, played with no frills and plenty of passion.  Not sure where 12th Planet keeps finding these bands, but this one is one of the best yet. http://www.greenwoodmusic.com/
[Daniel Hinds]

GWAR
Violence Has Arrived
(Metal Blade)

Mixing up everything they are known for - metal, thrash, punk - GWAR put together one of the ore consistently good records this time.  Songs like the breakneck "Apes of Wrath" and Bay Area thrasher "Licksore" rock just like the GWAR I remember.  Sexual perversion and ultimate violence are the general themes this time out, which isn't exactly shocking. 

I remember loving GWAR when Hell-O and Scumdogs of the Universe first came out, but also thinking, "Too bad these guys will be gone in a year or two."  Since then, they have practically become an American institution, with their legendary tours always a good draw and album after album being unleashed on the puny humans.  Love 'em or get your ass reamed (or both, if you're lucky), GWAR are here to stay and this is one of their better recordings to date.
[Daniel Hinds]

HYPOCRISY
Catch 22
(Nuclear Blast)

"Don't Judge Me" rips out of the speakers with a primal intensity lacking in many such seasoned death metal acts.  The guitars are painfully sharp and the bass is pleasantly full sounding and upfront, while the vocals are as nasty and vicious as ever.  "Destroyed" utilizes a slower, denser sound that rivals Peter's other project, Pain.  The piano lead-in to "Edge of Madness" hints at a more refined approach ala Sentenced, but the main riff takes an ugly turn as the first verse kicks in.  This dichotomy of melody and brute force works perfectly and really defines Catch 22 as a whole.

Other highlights include the catchy "Uncontrolled," the noisy, punky attitude of "Turn the Page" and the thrashfest known as "Another Dead End (For Another Dead Man)."  The latter amply demonstrates Hypocrisy's penchant for writing subtly infectious choruses, a trait you might not immediately ascribe to the band at first.  "Hatred" is as close as the album gets to a filler track, but even this one is reasonably decent.  "All Turns Black" features a slightly gloomier vibe, with clean vocals throughout, ending the album on a strong note.

Despite being permanently labeled a death metal outfit, Hypocrisy really has grown beyond any simple categorization these days.  Catch 22 is as much Overkill as it is Dismember and benefits greatly for its lack of contrived conformity to any style, even what the band itself has defined in its earlier years.  A compelling piece of work that shows Hypocrisy at their absolute best.
[Daniel Hinds]

IMMORTAL
Sons of Northern Darkness
(Nuclear Blast)

After the hard-edged, almost death metal approach on Damned in Black, I wasn't sure what to expect from this, the band's first for Nuclear Blast.  All qualms were crushed as the band plows into "One by One," a ripping, twisting slice of hatred that is pure Immortal.  And it only gets better from there.  "Tyrants" is a landmark track, slowing down the usual Immortal whirlwind but not sacrificing one iota of power.  This is truly epic metal, the kind few bands have ever properly captured on tape.  "Within the Dark Mind" charts a similar course, harking back to some of the slower tracks on At the Heart of Winter.  "In My Kingdom Cold" brings the speed back without sacrificing the wintry atmosphere that has been built up, while "Antarctica" and the eternal frost of "Beyond the North Waves" provide the perfect culmination to this soon-to-be classic opus.

As much as I enjoyed Damned in Black, it felt a bit like an exercise in brutality in much the same way that Battles in the North did. Sons of Northern Darkness is all about atmosphere, the Viking feeling that permeates the work of Hades Almighty and Bathory.  Only time will tell for sure, but this album is well on its way to rivaling At the Heart of Winter as my favorite Immortal album and "Beyond the North Waves" alone makes it a mandatory purchase.
[Daniel Hinds]

LAW OF THE PLAGUE
The First Infection demo
(Sinternational)

Opening track "Piss on My Grave" has a good balance of meaty riffs and angry vocals, though the overuse of the word 'fuck' makes it seem a bit silly by the end.  "Inside Out" is better, with a more involved arrangement and some seriously moody, slow riffs.  "Moribund (penetrate)" sees the band shifting into overdrive, a style the band carries off particularly well.

Despite sounding very modern in every way and owing as much to the hardcore scene of the 90s as to the extreme metal field, there is little in common with the commercial schlock going under the tag 'nu-metal' out there.  This is a strong first effort and I detect a band that is willing and able to build on this and create something truly powerful in the future.  More info: http://www.sinternational.net/firstinfection.html
[Daniel Hinds]

MARS ON EARTH
Mars on Earth (MCD)
(Red Stream)

"Mars on Earth" is a damaged war march, filled with sinister snares and alien textures.  "Planets" continues the cold ambience, but quickly introduces some harsh riffs, programmed drums and bleeding throat vocals.  The disturbed, quirky rhythm does well to keep the listener off guard, while the synths grind and mutate throughout the song.  "Die Stadt Ist Im Krieg" brings back the martial beat, with the guitar following right along only to soar off into feedback land between verses.  "Bleeding Underwater" is the lengthiest cut and generally follows a slightly more traditional path (only slightly though).  It is a good song, but the extended section at the end with clean vocals left me a bit flat.

Not sure if I could survive a full album by Mars on Earth, but this four-tracker is definitely a unique and enjoyable find.  This one is for the more adventurous black metallers out there who are still curious to see where the more artistic bands can take the scene without losing integrity.
[Daniel Hinds]

MEGADETH
Killing is My Business…And Business is Good!
(Loud)

When I first heard Killing Is My Business… there were two things that bugged me  - the thin guitar sound and the terrible drum sound.  The guitars are still a bit thin compared to later 'Deth outings, but at least they are somewhat fuller and louder in the mix.  More importantly, the drums are 100% better - nice and full sounding.

Judging the actual music on here is difficult from this standpoint.  There are some undisputed thrash classics here, namely the title cut, "Loved to Deth," "The Skull Beneath the Skin" and the speedy "Rattlehead."  Dave's take on "Mechanix" still sounds a bit forced in the speed department and both "Chosen Ones" and "Looking Down the Cross" are rather clunky compared to the other compositions here.  As a bonus, the demo versions of "Loved to Deth," "Mechanix" and "The Skull Beneath the Skin" are included.  Raw and horribly underproduced (particularly the latter tune, which is almost illegible), they still serve as a cool view into the genesis of Megadeth.

One of the dangers of completely remixing an album, particularly one that is a semi-classic like this, is changing it too much and losing its authenticity.  Take for example Steve Loeb's remix of the classic Riot album Fire Down Under that came out a few years back on High Vaultage.  Sure, he made it generally sound better, but the additions to the vocal track (little odds and ends that were originally edited out) infringe a bit too much on my memory of how that album should sound.  No such problem here, as the remix only enhances the original without losing any of its integrity.

The only downside to this release is the edits that had to be made to the song "These Boots."  Dave's utterly hysterical alterations to the lyrics were apparently not appreciated by its author, so all the changes are now bleeped out.  It is annoying and distracting, as he changed over half the lyrics, and a better idea would have been to just re-record the proper lyrics.

Overall though, this is a very successful update of one of Megadeth's finest albums.  The booklet contains lyrics and extensive liner notes from Dave Mustaine, Dave Ellefson and Scott Ian, all of which make for a intriguing read (particularly Scott claiming this was his fave of the debuts by the Big Four thrash bands of the day).
[Daniel Hinds]

MENTAL HORROR
Proclaiming Vengeance
(Deathvomit/Necropolis)

With Proclaiming Vengeance, things have improved.  The sound is still murky, but at least you can tell what the hell is going on and gain some appreciation for the musicianship that goes into Mental Horror's sound.  The band plays at maximum speed pretty much all the time, but they still manage to work some nuances in here and there.  "Genocidal Inquisition" features some extended (and fairly impressive) leads, while "Screams of Tiamat" is one big flanged guitar freakout.  The album closes with a final respite, the medieval tones of the clean guitar instrumental "Proclaiming Vengeance."

The relentless brutal and guttural vocals are the perfect match for the band's sound, though hardly adding anything in the originality stakes.  The one thing that Mental Horror does do that some others don't is write long damn songs.  Several tracks exceed the five and six minute mark, never letting up in intensity the entire time, making for an exhausting or rewarding experience, depending on your level of masochism.

The bio claims this release "was created only for fans of the most excessively intense musical punishment" and I could not agree more.  There is no room on Proclaiming Vengeance for melody, dynamics or even much variety, so unless you are an incurable death/grindcore maven, you will likely find your attention wandering after a couple tracks.  Mental Horror isn't for everyone, but they succeed in creating the intensity and chaos that they set out to in their own particular idiom.
[Daniel Hinds]

MIDNIGHT SUN
Metalmachine
(LMP/SPV)

The album opens with "Metal Gods," which features a compact, mid-tempo riff and a fun chorus.  The song has some distinct Priest overtones, not surprising considering the title couldn't be less original.  "Dungeons of Steel" is halfway between classic MSG and modern-day Riot.  "Temple of the Graal" starts off with a laid-back riff that is thoroughly reminiscent of another band (just can't quite put my finger on it), then rolls into a moody rocker.  "Steel to Steel" is a speedy number, with some unexpected breaks and OTT Manowar-esque lyrics.  The band can turn around and grind out slow, heavy numbers with equal conviction, such as the menacing "Your Blood Burns in Hell" (I'm trying not to laugh, I really am…).  As a 'bonus,' there is an unlisted ballad that should have been unrecorded as well.

Apparently Midnight Sun has received rave reviews in the past from the Japanese metal press and I can understand why.  The songs are clean, well-arranged and feature some superb guitar-playing.  On top of that, Jakob Samuels vocals have a very classic sound to them, evoking such greats as Graham Bonnet, Jeff Scott Soto, and Joe Lynn Turner.  The band don't sound dated, though, as the digitally-precise production and varied use of keyboards and samples here and there balances out the more traditional elements.

Midnight Sun could still use some improvement in the lyric department, but if you push that aside for the moment, Metalmachine is an enjoyable record.  Fans of Priest, HammerFall, Rainbow and Riot will all find something to sink their teeth into.
[Daniel Hinds]

MYSTIC CIRCLE
Infernal Satanic Verses
(WWIII)

Opening with a dark operatic piece that reminds one of the music from The Omen, the album kicks in proper with "Undestructable Power of Darkness" (christ, did I read that right?  'undestructable??' wow…)  This is keyboard-rich symphonic black metal, done up nicely with sweeping string arrangements, female backing vocals and the usual mix of grim vocals, speedy riffs and relentless drumming.  "Hordes of the Underworld" is more interesting, with some slow, gloomy passages and a return of the more operatic elements.  This is the kind of stuff that goes the furthest towards defining Mystic Circle's style and hopefully they will steer even further in this direction in the future.  The band doesn't rely solely on the keyboards to drive the melody though, offering some nice guitar bits here and there (in addition to the raging riffs that provide the foundation for most of the album, of course).

This isn't groundbreaking material and the production could be a tad cleaner overall, but I still enjoyed Infernal Satanic Verses quite a bit.  The symphonic black metal thing seems to be fairly played out these days, but for those that care not for trends, Mystic Circle will happily keep them supplied with fresh tuneage.  And, of course, the overt anti-christian lyrics and imagery are always welcome.
[Daniel Hinds]

ORIGINAL INSTRUMENT
Original Instrument
(Kracfive)

The first few tracks are, well, interesting to say the least.  The attention is drawn more to the process behind the songs, how exactly they processed and sequenced the sounds, rather than the songs themselves.  "Rosetta" is more the direction that I prefer, coming across as a semi-ambient piece, like distant sirens from a bygone era.  Another fave is "Bird for Beginners," a funky, dancey track that features a main vocal that reminded me of Devo's classic "U Got Me Bugged."

Original Instrument continues in similarly warped fashion, with "Conversong" featuring the coolest bit of spaced-out ambience.  The bouncy, quirky "Happy We Do" conjures up some of the less serious IDM on the market and the cleverly-titled "Coughio" uses various coughs as a percussive foundation.

This may not be an album that I am likely to spin on a regular basis, but there are some songs that I'm sure I'll come back to from time to time.  At the very least, this is like nothing I've heard before and it is always encouraging to hear artists exploring uncharted territory.  Original Instrument do just that and find success more often than not.  More info: http://www.kracfive.com
[Daniel Hinds]

PINK
Missundaztood
(Arista)

Still there are many of the hip-hop elements that made Pink such a crossover sensation.  The first single "Get the Party Started" brings up many of the good time hip hop tracks as does the title track and the pseudo-rap "Respect."  The lyrics in these tend to be a little more jovial than most of the rest of the CD, which is at times both introspective and incredibly sad.

My favorite track on the CD is "Numb."  A track that during the verses sounds a lot like Poe while the choruses take-on a Garbagish sound.  The lyrics in this song bring to mind offer a more personal touch: "But the tears were silent you see / I laid there quiet / And watched you have your way with me..."  Songs along the same line are "My Vietnam" and "Family Portrait"  paint the tribulations of adolescence in today's society.

Linda Perry makes an appearance on one of the tracks: "Lonely Girl," but the most noticeable guest slot is filled by Stephen Tyler on the old school blues siren "Misery."  He doesn't really add much to the song, just a little texture with his back-ups on the chorus that were kept somewhat subtle in the mix.

Waiting to see how the public continues to react to the Pink's growth on this CD...if she can keep the party going once she definitely got it started.  I can see her losing some of her fanbase with much of the material on this album; I just hope those that are able to appreciate what she has to offer are not too shallow not to give this a listen.  I commend Pink for branching out with this CD and hope she doesn't ever stop experimenting and expressing herself through her words and her music.
[Victor Mejia]

REIGN OF EREBUS
Humanracist
(Candlelight/Blackend)

The first thing that I noticed as "Stormwinds of Lucifer" blasted forth is the production is fuller sounding here than on the band's Of Blackest Magic… MCD from a while back.  The band's thick, brutal brand of black metal is harsher than ever, with the melodic keys subdued a bit more this time.  "The Darkest Pride" is heart-warming in its utter intensity and even features the same 'Antichrist!' movie sample that Ministry used on "Golden Dawn" way back when (taken from the movie The Devils, I believe).  Interestingly, "Inquisition: Christ" uses the other sample that Ministry used in "Golden Dawn," namely the 'You have been found guilty of commerce with the devil…'  Not a coincidence, perhaps, as this track eventually develops into a near wall of noise with serious industrial overtones in both the rhythm and vocal departments.  The album only continues to get more extreme from here, moving to the blasting "Prelude to Genocide" and the pure adrenaline of "Execution: Peace."

Reign of Erebus is, in my mind anyway, in the same category as bands like Dark Funeral, Mork Gryning and Gorgoroth.  They don't play music quite as memorable as the really standout bands of the genre and they weren't the first bands to come along, but they deliver the goods with conviction make for a fairly enjoyable listen now and again.  Nice cover art, too - very old school.
[Daniel Hinds]

RHAPSODY
Rain of a Thousand Flames
(LMP/SPV)

Though the title track is a bit of an uninspired opening choice, the gorgeous portent of the piano instrumental "Deadly Omen" sets things on a the proper course.  "Queen of the Dark Horizons" is a thirteen-minute piece that actually lives up to the word 'epic.'  Operatic female vocals, symphonic keyboards, huge choruses and catchy melodies combine in just the right doses to make this song work splendidly.

The last four tracks comprise the "Rhymes of a Tragic Poem - A Gothic Saga," uh, saga.  "Tears of a Dying Angel" is marred by a cringeworthy vocal narration, but is followed by a nice little folk instrumental and  "The Poem's Evil Page," which moves from ballad to full-throttle rocker and beyond.  The final piece of the puzzle is the eleven-minute "The Wizard's Last Rhymes," proving again that Rhapsody works their best in the epic song format.

Rhapsody's debut, Legendary Tales, was chockfull of incredible folk and classical elements, with performances by a band obviously out to prove something.  Symphony of Enchanted Lands and Dawn of Victory had a more orchestral sound, while Rain of a Thousand Flames charts a slightly more grandiose style.  The operatic and choral elements are heart-poundingly intense on this album and there is a bit more variety than usual.  Strange note - while Rhapsody's music remains as flowery and triumphant in style as ever, their album covers keep getting progressively darker and more violent.  Not sure the significance of this, just felt like pointing it out.
[Daniel Hinds]

ROYAL HUNT
The Watchers
(Century Media)

"Intervention" is the colossal centerpiece, a thoroughly satisfying slab of intelligent progressive metal.  The song builds in that 'slowly but surely' manner that sets Royal Hunt apart from the pack and features some wonderful keyboard and guitar leads.  Vocalist John West has such a strong voice, reminding me a bit of Glenn Hughes with his very soulful expression.  The live cuts included are "Lies," "Flight," "Message to God" and "Epilogue."  All are well recorded and mixed and have a bit more edge than the band's studio outings.  As for the re-recorded tunes, I don't have a frame of reference having never heard the originals, but all come across as strong and very much in the vein of Royal Hunt that I have heard.  "Clown in the Mirror" is a piano-drenched power ballad, while "Day In, Day Out" is a straight-ahead rocker with a very catchy chorus.

While some of the more progressively-minded metal acts sound like their influences date back to Dream Theater and no further, you can hear everything from Deep Purple to Yes to Yngwie and beyond in Royal Hunt.  I would obviously steer anyone new to the band to the proper album The Mission first, but if you enjoyed that one, The Watchers makes for a very satisfying follow-up release.
[Daniel Hinds]

SECRETS OF THE MOON
Stronghold of the Inviolables
(Red Stream)

Opening intro "Inverted Kaos Principles" features a steady riff over an almost funky beat, but it quickly transforms into the far grimmer "Praise the Kaos."  "Asleep" is a short spoken piece that leads into "His Fire / My Flame," where the band returns to the more chaotic style.  Fast blasts of pure blackness are shuffled with slower, Frosty passages.  "Nemesis" in particular has a Warrior feel in parts (ala "Procreation of the Wicked,"), but when the band pick up the pace, they exist in a world all their own.  "The Rite of Mercury" is an utterly dreary funeral hymn that captures more of bleakness and pure evil than most black metal bands do in an entire album.

The production quality on Stronghold of the Inviolables is very much of the basement variety.  The guitars are indistinct, the drums sound literally like the classic 'hellish crossfire on wooden coffins' and the vocals are drenched in reverb.  Does it enhance the album's atmosphere or detract from it?  Generally, I'd say it adds to the underground vibe considerably, but a slightly better drum sound wouldn't kill the band either.
[Daniel Hinds]

SERPENT ECLIPSE
The Seven Desires & Wolves' Blood
(Void Sector)

After a brief intro, "A Sorcerer's Suicide" makes its appearance.  Raw from the very start, this track just rages all the way through.  Hints of a modern edge creep in, mainly in the sequenced drums and overdriven vocals, but it isn't until "Cosmic Waveform Alchemy" that you truly get a taste for Serpent Eclipse's sense of adventure.  Primitive guitar riffs run neck and neck with techno beats and a splattering of electronic synth work.  With the somewhat basic production values, this sounds like a recipe for disaster, but it somehow all works out well.  "Twitch of the Death Nerve" takes an equally varied approach, taking in some of Cradle of Filth's thrash influences in the process.  "Daimon Dementia" is the last proper track here and it is pure cult, calling to mind the rawness of Mayhem back in the day.

Given a decent budget in a good studio, I think Serpent Eclipse could really unleash a deadly album.  They've got the songs, the drive and the willingness to experiment so it is just a matter of time before a label out there wises up and makes it happen.  More info:  http://www.voidsector.com/se.html
[Daniel Hinds]

THE SEVENTH GATE
None So Bloody as the Kingdom of Christ
(Satan Rock)

"The Rubble of Glory" is one of the best examples of The Seventh Gate coming into their own.  It combines sneering, mid-tempo thrash riffs with both high and extremely low death metal vocals.  "To Forget" twists and creeps along like an evil offshoot of Hellhammer and Obituary, while the forty-second "The Mary Shelley Song" could almost be old Brutal Truth.  The mini-epic "Battered Skin" features some brutal lyrics, along with a riff that harks back to Sabbath's "Heaven and Hell."  The juxtaposition is odd at first but the band makes it work.  There is a strange bonus track, the bong-happy "A New High."  The vocals are clean and the music, while still dark, is a bit more esoteric than the album proper.

The mix of crunchy, slow death metal with grindcore and the odd thrash riff makes The Seventh Gate worth checking out.  They are quite adept at creating that evil atmosphere that many bands find it difficult to capture, so they're already ahead of the game in that respect.  Production is typical for an underground American band - unpolished with a lousy drum sound, but overall not bad and the mix is good.  Personally, I'd lose the spoken vocal bits, too, as they kind of kill the mood, but other than that None So Bloody… is a solid debut that promises much more to come.  More info: http://www.satanrock.com
[Daniel Hinds]

SEVERANCE
What Lies Ahead…
(WWIII)

These elements could have added up to something special but, alas, Severance fall dangerously close to mediocre.  I can't quite put my finger on it, there is just something lacking on What Lies Ahead…  The general lack of originality (or seeming lack) is fairly understandable, as this is a well-tried and tested style (even by the band themselves, as it says here they started out in 1989), so I can't fault them there.  And the playing is all decent - not spectacular, mind you, but they pull of some reasonably complex transitions well.

I think it just comes down to the weak production and the songs themselves: there just isn't enough there of interest to keep me listening.  Granted, I'm a sucker for melody and catchy riffs and Severance don't play that game, so perhaps this will find a better reception among the more die-hard underground death heads out there.  If nothing else, you get value for your money - 12 songs totaling 74 minutes, as WWIII added four bonus tracks to the original album.  These four extra songs actually sound better production-wise and one is a longer and cooler version of the track "Cross-Breeding," which appears earlier on the disc.
[Daniel Hinds]

SIC SEED
3-track promo
(self-released)

"Subliminal Envy" starts off at full speed and rages along for less than two minutes of hardcore fury.  The vocals are screamed throughout, matching the music's abrasive and relentless quality.  "Disconnect" starts off with a slightly groovier vibe, but is just as dense and uncompromising with a few bouts of speed thrown in for good measure.  "Last Right" is more of a mid-temp mosher that I usually associate with nu-metal, but again about ten times as brutal.

It's a demo so I wasn't expecting a sterling recording and, indeed, the sound here is pretty dismal.  The bass is the one instrument that cuts through the rather murky sound consistently, which is cool as it is generally doing far more interesting things than the guitar or drums anyway.  It still ain't my particular poison and the vocals wear out their welcome after about five seconds, but at least it's more listenable than the likes of Korn or the Deftones. http://www.one40.com/sicseed/
[Daniel Hinds]

sunnO)))
Flight of the Behemoth
(Southern Lord)

The two opening tracks, "Mocking Solemnity" and "Death Becomes You," are utterly monolithic, in a good way.  They conjure cyclopean images of extinct empires, facing slow erosion under a cold sun.  There is constant movement, but it is more the kind of thing you notice when you're not concentrating fully upon the music as it is so slow in coming.  Following those are two tracks mixed by the mighty and disturbed Masami Akita (aka Merzbow).  While he maintains the bowel-churning atmospheres below, he also chops and severs some much harsher noises and dumps them clattering on top.  Final cut "F.W.T.B.T." is perhaps a bit more in line with the stuff in this genre that I don't like, but it is passable and well placed at the end of the disc.

So often, difficult and experimental bands like sunnO))) receive far more praise than the deserve simply because the critics attach too much of their own visions to the minimal compositions and sparse soundscapes.  This is one of those rare cases where the band actually deserves the kudos, however, as sunnO))) has crafted one of the best ambient/noise releases I've heard in a long time.
[Daniel Hinds] 

TOTTENKORPS
Tharnheim: Athi-Land-Nhi; Ciclopean Crypts of Citadels
(WWIII)

Playing a mixture of modern death metal and grindcore, the band tear through some fairly fast and involved tunes with the proper enthusiasm.  The slower bit in the midst of "Slaughter Nocturnal Butcher" was the first real standout moment in my mind and I would like to see the band explore these dimensions further in the future.  In those moments, they remind me of Nile and Morbid Angel, but the sub-guttural vocals and frequent descents into blastbeat hell give nods to grindcore folks like Cenotaph.  The mix of these styles is fairly interesting and goes some way toward giving Tottenkorps their own identity.

Tharnheim is not a fantastic release, nor is it one that I am likely to come back to very often, but it is a solid piece of death/grind metal.  As a bonus, the five-song MCD Our Almighty Lords is tacked on at the end and boy can you tell when the transition is made - the sound quality goes from decent to stuffed-in-the-trunk-under-several-corpses.  Let's just say it is murky at best.
[Daniel Hinds]

VERY METAL
Hit and Run
(Beer City)

The opening speedalong "Livin' a Lie" rocks in a serious way and the refrain of "Go fuck yourself!" on "Jealousy" is simply irresistible.  "Worthless" opens with a nice Motorhead-like bass line, while "Lie, Cheat, Steal" is just raw aggression that conjures up the early NYHC scene in all its glory.  "Behind Bars" and "Terminal Boredom" are similarly raucous, while "Nightstalker" is about as close as the band come to penning a catchy punk tune in the traditional sense.  Don't expect to see these guys on MTV any time soon, though.  This is still unruly, unkempt, underground punk rock that would no doubt scare off the mainstream kids in droves.

My main love has always been metal, but there are certain bands of the punk and hardcore persuasion that have managed to win me over.  It has been a while, but Very Metal have come up with just the right mix of frenzied riffs, raw vocals and driving rhythms on Hit and Run.  Fourteen songs, twenty-three minutes - it's the perfect hardcore album.
[Daniel Hinds]

VULGAR PIGEONS
Summary Execution
(Deathvomit/Necropolis)

Just looking at the track listing, you know you're in for something extreme.  There are 26 songs.  Ah, must be a double-CD, right?  Nope.  Not only that, the total running time is a mere 38 minutes.  In the 80s, that would have meant an enjoyable blast of hardcore ala D.R.I. or Adrenaline O.D., but this ain't the 80s.

I suppose credit must be given for the bludgeoning effect this album has as a totality, but I can't say that any of the individual tracks really did much for me.  It's all pretty well played and fairly complex (and fucking fast, let's not forget that), but the recording quality is barely above 'live in the basement' quality and the strangled vocals wear thin, like, immediately.  At least the band lives up to its name pretty well.
[Daniel Hinds]

WARMEN
Beyond Abilities
(Spinefarm/Century Media)

The opening salvo, "Beyond Abilities," is what I kind of expected the whole album to be like - an uptempo speed metal instrumental with almost non stop fret and keyboard runs.  The song works because it doesn't overstay its welcome and features some tasty melodies among all the noodling.  "The Spark" is a more traditional Stratovarius/Helloween romp, with Timo Kotipelto himself contributing the lead vocals.  To keep the variety going, Kimberly Goss lends her spirited voice to the more traditionally metal sounding "Hidden."  "Trip To…" is another instrumental, while "Dawn" is a slightly darker piece with rough, almost hardcore sounding vocals courtesy of Throne of Chaos' Pasi Nykanen.  I like this song because bassist Laurri Porra really gets to show off.  Timo returns tot he mic for "Singer's Chance," a somewhat progressive track with a storyline reminiscent of the Scorpions' many road songs.

The album takes an odd turn next, with the ill-chosen cover of Heart's "Alone."  Kimberly Goss does her best with the song, but there are so many better Heart songs that could have been chosen - "Dream of the Archer," "Mistral Wind" or even something like "Straight On" would have been much cooler.  Following that are four instrumentals, with my favorite being the utterly pummeling "War of Worlds."  Between the breakneck double-bass work, there is some stunning guitarwork that mixes elements of classical and blues in a rather unique way.  The cleverly titled "Finale" is long and gives everyone a chance to show off, but ultimately felt a bit pedestrian after the many better songs preceding it.

As is the case with his warn with Children of Bodom, Warman's playing is simply phenomenal.  His fingers dance across the keys at superhuman speed, with each note falling precisely into place.  This is definitely a very clean, technical sounding record, but I think the diverse and catchy material will lure in more than just hardcore musicians.
[Daniel Hinds]

WITHOUT FACE
Deep Inside
(Dark Symphonies)

On the surface, Without Face's style has been explored before by the likes of The Gathering, Lacuna Coil, Chalice, etc., but there are a significant number of differences.  For one thing, the gothic melodies are offset by some really chunky, modern metal riffs.  Also, while many of the vocals are harmonies between the two singers, Juliette and Andras, there are also some angst-filled, near-hardcore outbursts by Andras solo.  Each style is matched to similar musical terrain and the band somehow make breakneck transitions between them without sounding forced or awkward.  "Hymn to the Night" adds some almost Indian-sounding instrumentation and a slightly progressive feel.

This isn't an easy album to make heads or tails of, but it is well worth the effort.  My only real complaint is a couple of the songs are a tad overlong, but it's a minor problem.  Fans of everyone from Testament to Lacuna Coil to Dead Can Dance should appreciate what Without Face is doing and it will indeed be intriguing to see how they develop from here.
[Daniel Hinds]