1349
Liberation
(Candlelight)
You know those songs where it starts off all processed and thin sounding
for the first half minute or so and then it REALLY kicks in, making the song
seem even heavier than it would otherwise? Slayer did it on "Ghosts
of War" and some other song and numerous other bands have, too. Well,
that's what I was expecting when album opener "Manifest" started, but alas
- it never kicks in. Nope, it's just shitty fucking production from
start to finish on this album.
Okay, it's a stylistic choice, obviously - no one could purposely make accidentally
make their album this washed out and underproduced sounding. Necro
is all well and good when it suits the music, but here it hampers rather
than enhances. What worked for Darkthrone and precious few others in
the past just does not fly with 1349, sorry.
Which is not meant as a slam on the band - quite the contrary really.
The playing and songwriting here is quite solid and if it had been recorded
and mixed with any kind of bottom-end or sense of dynamics in mind, Liberation
would have been one lethal record. Songs like "I Breathe Spears" and
the hollowed-out "Pitch Black" are raw, grim wrecking machines of speed and
relative complexity. Frost from Satyricon impresses the most throughout
with his amazing skill behind the drums; it's just a shame you can't hear
what he's playing a bit better. Did I mention yet that I wasn't too
found of the sound on this record? "Legion" shows off the bands skills
at writing more mid-tempo tunes, though it eventually launches into overdrive
as well.
Once you work your way into the proper head space for Liberation, it's a
good album and ranks as probably one of the best black metal releases in
the last year or so. The only real downside is the 'what could have
been' factor, but at least what is here is impressive by itself. http://www.candlelightrecords.co.uk
[Daniel Hinds]
BLOOD RED THRONE
Affiliated With the Suffering
(Hammerheart)
Sheer mind-crushing power can go a long way to making an album successful
and that is Blood Red Throne's chief strategy. After you wade through
the gruesome (and silly) cover art and toe-tag band photos, this is essentially
an over-amped death-thrash album that brokers in torrents of brutality that
flood away any hints of subtlety (and most traces of originality).
After some sweet sentiments in a vocal sample, "Unleashing Hell" gets the
ball rolling with a flurry of fast, quick-change riffs that follows straight
into the utterly brutal "A Dream of Death." The song "Mandatory Homicide/Death
Inc." is like a sped-up, gore-drenched version of Exodus' "Parasite."
The Bay Area influence can be felt in many of the songs actually, though
it is coupled with some definite Germanic abandon and modern death metal
intensity. A faithful rendition of Obituary's "Deadly Intensions" closes
the album on a high note.
The lack of distinction evident on Blood Red Throne's split CD with Severe
Torture last year left me expecting very little from this follow-up.
Yes, the death growls are generic as can be and the riffs and song structures
are nothing even slightly revolutionary, Affiliated With the Suffering does
make some impact. They've got the tools so let's just hope they use
them to carve out their own style next time around. http://www.bloodredthrone.tk
[Daniel Hinds]
BLUE EYED CHRIST
American Whore
(Ultraplanet)
Set the Way-Back Machine for 1991, the golden age for electro-industrial
music of all kinds. Skinny Puppy was still alive, Ministry hadn't lost
it yet, FLA was riding high and NIN was kicking ass on Lollapalooza.
Chicago was the place to be and one of the coolest, catchiest albums of the
year came out of nowhere as Blue Eyed Christ released Leaders & Followers.
First single "Catchy My Fall" was an instant classic that I still hear on
the radio from time to time.
Sadly, the follow-up was very slow in coming and BEC disappeared from everyone's
radar. Then, again out of the blue, I get a copy of a brand new album
and here we are with American Whore. The rock-infused industrial core
hasn't changed much in a decade, though the production is bigger and cleaner
and there is a bit more guitar than I remember. Is it a stunning comeback
of epic proportions? No, but it expands and evolves BEC's sound and
there are a few really great songs to be found, too.
Case in point, opener "Suicide Beauty Queen." Bitter lyrics mesh perfectly
with the electronic groove and rockin' guitars. The man behind the
curtain is John D. Norten, who handles vocals (as well as most everything
else), has a good, clean voice that doesn't try to imitate or step all over
the music. "Ashamed" is another in the classic vein, very catchy with
a great rhythm section driving it onward. "Sink or Swim" has the most
metallic riffing and should please fans of old Chemlab, Diatribe and the
like. "Break Away" has a bit of that choppy funk SMG is so known for
and "Captivate" has that dark yet grandiose feel that the debut album had
going on. "#1Bestseller" blends a serious groove with some mammoth
riffs to make one of the album's finest.
As good as much of American Whore is, there are some bits I could have done
without. "Safe" is a weak acoustic-lead bit of melancholic fluff.
Similarly annoying is "Still Searching" where happy little piano lines clash
badly with a simplistic drum machine beat and some sadly out-of-place vocals.
"(The Me) Inside of Me" also suffers from some misplaced orchestral synths
and a general feeling of lethargy. John should really stick to the
more rock and industrial-oriented tracks, the harder stuff.
Given that there are fifteen songs on this album (plus two 'clean' mixes
of "Doll" and "Suicide Beauty Queen"), there are plenty of good songs on
here to make this worth getting. American Whore is a strong statement
that BEC is back and bringing some life back to a dying scene. Check
this out and also the band's 1995 release, Crash. http://www.blueeyedchrist.com
[Daniel Hinds]
BURNOUT
Armour of the Gods
(12th Planet)
Another slab of ultra-heavy stoner rock from this beauty-challenged mob has
arrived in the form of Armour of the Gods. After debuting with the
storming Thundertits just over a year ago, Burnout are back again and prove
willing to progress, both in terms of diversifying their sound and improving
the production.
Getting down the songs themselves, there are some definite winners in the
lot. "Backstabbed Again" has that dirty, bass-heavy throb of the real
grunge bands, owing as much to bands like the Melvins and Tad as to the more
obvious Black Sabbath. "Drink it Up" has one of those great start and
stop riffs, where the drums really get to help bludgeon the listener, and
features one of the catchiest choruses this time out. "Life No More"
features cleaner vocals and acoustic guitars, coming as a bit of a shock
after the first four leviathan assaults. "The Next Day" is a virtual
bulldozer, with the guitar and bass plowing forward with gleeful abandon.
Burnout does a fine job on the Mountain classic "Mississippi Queen," though
one wonders just how many times this song can be covered and why other less
obvious choices weren't pursued instead.
The production is fuller and (somehow) even heavier than it was on Thundertits,
offering no gloss, no polish, just pure, back garage rock 'n' roll power.
The songs are perhaps a bit less memorable at first, but the quality level
is still quite high. While I would still recommend Thundertits first
to potential new fans, Armour of the Gods is a solid follow-up that will
no doubt please fans of the band and 70s worshippers in general. http://www.burnoutrawks.com
[Daniel Hinds]
CALIBAN
Shadow Hearts
(Prosthetic)
Metalcore as a genre ceased to interest me much after about 1997, but somehow,
even without my attention, the scene continued to grow and evolve over time.
Once in a while I'll hear a band of this persuasion (like Shadow's Fall or
Hatebreed) and think, 'Well that's not so bad really,' but then I'll hear
just as many that remind me why I lost interest (uh… Lamb of God springs
to mind). Fortunately, Caliban is one of the best I've heard in ages
and Shadow Hearts is a powerful recording.
My big complaint with a lot of metalcore bands it heir unwillingness to play
fast, content to just fall into a mid-tempo groove for 45 minutes and call
it an album. Caliban aren't one of those bands. After a short,
portentous intro, "Forsaken Horizon" launches the album into high-gear.
A distinctly Slayer-esque flavor can be detected in some of the riffage,
but there are just as many other influences at work. Like all the songs
on Shadow Hearts, this one is restless, never content to stick with one tempo
or riff for very long. The vocals are just as willful, ranging from
the caustic screech that is part and parcel of metalcore to half-spoken (ala
NYHC) to clean, almost commercially accessible singing parts. By and
large, this variety works, as the harsh style isn't unbearable irritating
and the clean bits aren't overly whiny. There are even a few growls
that remind me of newer Testament thrown in for fun.
Other notable tunes are "Screams From the Abyss," which features some remarkably
melodic power-metal style riffs in the mix, and "A Piece of My Life," which
is perhaps the best balance of all the metal styles at play in Caliban's
sound. Siggi Bemm delivers a fine production job at Woodhouse, with
nice up-front guitars and drums that thump.
As often occurs with songs (or at least arrangements) as complex as the ones
here, none of the tracks really stands out above the rest, but similarly
the quality remains pretty steady throughout. Only the rather annoying
nu-metal flavor of "Detect Your Liberty" made me wince a bit, but if you
can get past that, there is plenty to sink your teeth into here. http://www.prostheticrecords.com
[Daniel Hinds]
CULT OF LUNA
The Beyond
(Earache)
Cult of Luna is a disturbing band, I grant them that title without hesitation.
Blending the gloom of Katatonia with the smashing industrial fist of Godflesh
and lethargic doom of Neurosis, they have created a sound that successfully
extinguishes all light and joy within its presence.
After a disarmingly industrial intro, "Receiver" rolls in like a black cloud
that slowly fills the sky. Clocking in at over 8 minutes, it seems
like a happy memory once the eleven minute "Genesis" crawls in to take its
place. And on it goes for the rest of the 74 minute album, with only
occasional respites from the sonic onslaught (though the dank atmosphere
never fades for a moment). The first half of "Circle" has a soft, almost
country feel to it, and wouldn't be at all out of place in a David Lynch
flick. "Further" winds down the album in proper slow-motion apocalyptic
fashion.
I've made it pretty clear in the past what I think of Neurosis and their
ilk, so I am as surprised as anyone by how much Cult of Luna actually impressed
me. Sure the vocals are strained and irritating, but if you tune them
out (which isn't too hard, as they're also very monotone), the music is really
successful in building layer upon layer of the bleakest, most bitter doom
rock. Still not my cup of tea but at least I can respect what these
Swedes are doing and they are very good at it (almost frighteningly so).
http://www.cultofluna.com
[Daniel Hinds]
D.R.I.
The Dirty Rotten CD
(Beer City)
Have I gone on a rant yet about how much more credit D.R.I. deserves than
they get? Probably, but I will again. These guys were among the
first and certainly most extreme hardcore bands to come out of the early
80s punk scene. Their incredible mix of speed, angry political lyrics
and sense of humor was unique and helped push back the boundaries of what
was possible.
Although later albums like Dealing With It and Four of a Kind are usually
my first choices when it comes to listening to D.R.I., there are many, many
classic songs on this, their very first album. In fact, the utterly
simple "Who Am I?" is one of those songs that I find myself singing out of
the blue just way too often. "I Don't Need Society" is a great way
to open the album, as it slowly builds up and then just crashes out into
the most mind-blowingly fast assault I'm sure anyone had heard at this time
(and it still sounds fucking insane by today's standards). A similar
approach works for the "Balance of Terror," where vocalist Kurt Brecht spits
out the words with venom and utter contempt. "Reagonomics" pounds its
message home through sheer repetition (certainly forgivable for a song that
lasts a mere 40 seconds) and the one-two punch of "Draft Me" and "F.R.D.C."
are as relevant in today's insane gone world as they were twenty years ago.
On the lighter side, you have the school daze of "Yes Ma'am" and the ultimate
anti-pig song "Busted."
In addition to the 22 songs from the original LP, this disc adds another
22 tracks, taken from various demos, EPs, comps and radio shows. Included
among these are a demo version of "I'd Rather Be Sleeping" (raw as hell but
lacking the real charm of the eventual album cut), the epic "Violent Pacification"
(nearly 3 minutes long!), and a really early version of "Nursing Home Blues"
that is barely recognizable. The scariest moment has to be the most
lo-fi recording of "Louie Louie" ever - amusing to say the least and I think
they may have taken some liberties with the lyrics (but then again, who's
to say?).
In addition to all the music, you also get a nice booklet with lyrics and
art from the original LP cover and the Violent Pacification EP. Plus
there are 5 videos that can be viewed via a PC, taken apparently from a show
in 1984 that is being released on DVD soon. All in all, this is a truly
excellent enhanced version of a landmark record and as good a way as any
to introduce yourself to the wonders of the Dirty Rotten Imbeciles.
http://www.dirtyrottenimbeciles.com
[Daniel Hinds]
DARK FORTRESS
Profane Genocidal Creations
(Red Stream)
Just when it seemed like everyone in the black metal scene was content to
either wallow in the past or go out of their way to not play actual black
metal, along comes a band like Dark Fortress to reignite the hellish flame.
My experience with German black metal outfits in the past has been lackluster
to say the least, so I was doubly surprised by just how good this album is.
The album starts with a truly magnificent keyboard intro. Usually these
types of tracks are mere fluff thrown in to try to set a mood or contrast
with the rest of the album, but Dark Fortress really put together a gem.
It begins very dramatically, with a cymbal crash and various horns, but quickly
subsides into a really subtle mix of chimes and (synth) woodwind that slowly
builds back up to an inspiring crescendo. Following on from here, the
band adeptly mixes grim vocals, raw-edged riffs and a variety of tempos to
create a highly effective (if not completely original) style. The band
can pull off the aggressive, fast material ("Battles Rage in the Infernal
Depths" for one), but really shine when they loosen up on the more tempered
tracks. Take "In Morte Aeternitas" for example. The song fades
in with some great acoustic licks before settling into a heavy yet very melodic
mid-tempo groove. Like many of the songs, this is a lengthy affair
that takes the listener on many paths before releasing them (including at
least one trip near Iron Maiden's neck of the woods near the end).
Along with the highly atmospheric keyboards, the band manages to elicit some
real doom qualities here and there, such as the start of "Blood of the Templars"
and "A Fortress Dark." They have really nailed that rusty yet precise
guitar tone that I love so.
Keeping with tradition, Dark Fortress does the corpse-paint, the black and
white band photos, and the insanely overwrought band logo. Couple that
image with diverse, well put together songs and reasonably good production
and Profane Genocidal Creations quickly ascends to one of the best black
metal releases this year. http://www.thetruedarkfortress.com
[Daniel Hinds]
DIRTY POWER
Dirty Power
(Dead Teenager)
Dirty Power is a high voltage rock band from San Fran that has cranked out
a rather smokin' debut. Power chords, boogie rhythms and some gritty
vocals add up to a good time in the tradition of real rock 'n' roll bands
of the 60s and 70s. It's the riffs that really make this album transcend,
though - those crazy-ass, catchy-as-all-hell riffs.
Let's get one thing straight: this is not the most original slab of rock
ever, as Dirty Power tend to wear their influences on their sleeves.
Which is cool because they have many and they mix them up enough to make
it sound fresh. The AC/DC vibe of "Hey Superman" cozy up nicely to
the dirgy, Sabbath bends that close out "Asthma Pimp" and the Fu Manchu combustion
of "Penny Eyes." Jack Endino gives the album a good 'live' sound without
sacrificing recording quality, coaxing every ounce of energy out of the band
on songs like "Drag You Down," the infectious "Tastes Like Burning" and the
frantic "Lady Danzig." If I had to pick at one aspect of the album,
it would be the slightly repetitive choruses the band tends to fall into
by the end of each track.
Much like my experiences with bands like Astroqueen and Solarized, the first
spin through Dirty Power didn’t do much for me. It wasn't until I sat
down with it a couple more times that it started to fall into place and the
head began to nod in time with the songs more and more vigorously. http://www.dirtypower.net
[Daniel Hinds]
DORO
Fight
(Steamhammer/SPV)
I've been a fan of Doro Pesch's unique metal style since first hearing Warlock's
debut album, Burning the Witches, way back when. She combines strength
and passion in her voice, sounding like no one else I had heard before or
since. Although I'm still more partial to her work in Warlock, she
has persevered through the dark times and kept her solo career going strong
to this very day.
Fight is probably not Doro's finest solo outing, but it is still pretty good
and features a few really great songs in the bargain. The title track
kicks things off and its propulsive, aggressive style seems a little too
catered to modern metal tastes for my liking. Doro belting out "Fiiiiiiiiiiiiight!"
on the chorus just doesn't sound natural. "Always Live to Win" is better,
a straight-up heavy metal rocker with a nice positive, 'never say die'
lyric to match. "Descent" is a write-off, mainly due to the addition
of Peter Steele's god-awful vocals, but again Doro bounces back with the
far more inspired "Salvaje" and the very sweet power ballad "Undying."
Doro has always done surprisingly well with ballads and this is yet another
great one to add to her repertoire. The only problem with it is that
it seems to end too soon, just when an extended guitar solo should come in
(well, if it were a Scorpions song anyway). "Legends Never Die" follows
with a similar mix of mellow and heavy bits and, while I don't know if it's
quite as good as "Undying," it does go the extra mile at the end. "Rock
Before You Bleed" fills the part of the big rock anthem for the album, complete
with faux crowd cheering behind it. Not a bad track but just a bit
too repetitive at the end. "Sister Darkness" features a cool bassline
and snaky main riff, while "Wild Heart" has a really good, 80s feel to it.
"Fight By Your Side" is a less successful ballad and "Chained" suffers from
a rather bad rock chorus. The German track "Hoffnung" is the most atmospheric
cut on Fight and ends the album on a definite high note.
Fight might have too many mellow moments for the more demanding headbangers
out there, but the quality of the songs really wins out in the end.
Doro delivers one of her best vocal performances ever, which is truly impressive
nearly twenty years into her career. Classic metal lives on.
http://www.doropesch.com
[Daniel Hinds]
DRAGONFORCE
Valley of the Damned
(Noise/Sanctuary)
Goddamn, another quality power metal band from the UK? Having just
reviewed Shadow Keep, it comes as a nice surprise to now hear Dragonforce
doing their part for the cause as well. Their sound isn't quite as
original or heavy as Shadow Keep, as it owes a bit more to the tradition
of Iron Maiden and Helloween, but it is well done and shows that the British
haven't given up to the Germans or the Italians (or the Finns I suppose).
The title track kicks off the disc in fine galloping metal style. The
majestic keyboards are there, the big sing-along chorus is there, and the
playing is tight and professional. Some of the widdly guitar bits are
a little too much, sadly, and that's really the one thing that brings down
the enjoyment level of the album as a whole. Herman Li's guitar playing
is technically stunning, but it often fails to really sit well with the music
behind it when he goes off on one of his Vai-like shred fests. He does
list Tony MacAlpine as one of his main influences, though, so that's kinda
cool. He wisely restrains himself on the ballad "Starfire," though
the song kind of fails on its own as one of those ballads without any real
emotional center. "Disciples of Babylon" breaks down into smooth little
jazz section in the middle that makes for a nice break and hints at what
the band might explore more in the future. As happy-sounding as the
rest of the album is, the finale of "Heart of a Dragon" is almost too much
- it makes HammerFall sound positively dark and moody by comparison.
No points for originality, as there is really nothing here that you haven't
seen or heard before, from the fantasy-themed cover art right down the line.
You've heard it all before, but if you have yet to tire from this style,
Dragonforce do it pretty well. There are some fine songs, cool change-ups
and the musicianship is above reproach. http://www.dragonforce.com
[Daniel Hinds]
DRUNK HORSE
Adult Situations
(Tee Pee)
It's been a while since I've heard anything on Tee Pee and it's good to see
they're still out there, scrounging through the garages, basements and barns
of America to find the heart of rock 'n' roll. And let me tell you
folks, if Drunk Horse is any indication, it is indeed, as a poet I believe
once said, still beating. (I was going to put in some kind of witty
comment about "beating a drunk horse" at this point but I couldn't think
of one).
And this album does rock, though in perhaps a more restrained way than a
lot of retro releases. "Lube Job" has a bit of a Stones swagger mixed
with that rootsy stuff that Nazareth did on their early records (remember
the really, really early Nazareth stuff? Even earlier than that). Elsewhere
songs like 'Legions" and "The Bitch is Bach" evoke a bit of the early Nuge
material, again in a good way. To be honest, I get the feeling that
listening to Drunk Horse, they were inspired by a bunch of bands from the
60s and 70s that I never actually heard properly, so my comparisons are merely
as close as I can come with what I grew up with. "Company Man" has
a Santana groove and "Ascension Strut" has that chaotic jam feel of the early
70s that we all know and love. This tactic is actually used on several
songs, lending an almost (dare I say) progressive feel to the music.
The main thing that Drunk Horse does differently though is they reign it
in - they pull it off over the course of a bridge in a 4 minute song rather
than letting it spiral out of control into a fifteen-minute sleeping pill.
While there is no contesting the out-of-time quality of Drunk Horse, it's
cool to see they don't limit themselves in the process. This album
has hints of everything, from blues to boogie, from stoner rock to acid rock,
and it all adds up nicely to a little thing called Adult Situations.
One final note: the true genius of the album cover can't be fully appreciated
until you see the back of the booklet. http://www.drunkhorse.com
[Daniel Hinds]
FINGERTIGHT
In the Name of Progress
(Columbia)
It's very rare these days that we receive anything from a major label here
at The Plague, which isn't too hard to understand when you look at what we
cover (good music) and what those labels tend to release (shit). Fingertight
fall about halfway between those two - not what I would call a great listen,
but certainly displaying a good amount of musicianship and some decent songwriting
skills.
The two bands that keep coming to mind while listening to this are the RHCP
and Live. Most of the tracks have a lively, funky beat, but it is always
tempered with emotional and often downbeat vocals. So, yeah it is definitely
more in tune with the modern Redli Peppers, not the fun band of their glory
days. "Nathanial" is the first really obviously commercial (in a bad
way) song, going for a very straight-forward, ballady style that will no
doubt be decorating alternative radio and MTV soon and giving people a bad
impression of Fingertight's real talents. The song is followed by the
equally dreary "Things Have Changed," but things get generally back on track
with the ironically titled "Emo This."
It's about this point on the album when I really find myself disliking the
vocals. They're not whiny particularly, but definitely mopey and tend
to degrade many songs that could otherwise have a chance of rocking.
Some of the lyrics are interesting, when they tackle social subjects like
on "Speak in Tongues," but mostly it's the usual angsty, introspective blather.
One thing I thought was funny was the use of the term 'heavy metal' on a
web page to describe one of the styles Fingertight plays. Let me assure
you here and now there is NO heavy metal on this album, not even close.
When the band cranks up the energy, there are some slight hardcore influences
(see "track11"), but calling this metal is about as laughable as calling
Incubus or Korn metal. It's funny but kinda sad at the same time, though
I suppose mainstream people have always had a problem recognizing metal (remember
when bands like Warrant and Great White were called metal?).
Semantics aside, this strikes me as an album with real potential to be a
hit given the right exposure. It's close enough to what is trendy at
the moment for kids to make an easy transition, yet well played and original
enough to hold their attention for more than a couple minutes. Personally,
I couldn’t stand more than one or two of the tracks and I would just as soon
see this album flop and have some real rock bands like The Datsuns and Dirty
Power have that success instead. http://www.fingertight.net
[Daniel Hinds]
FOREST STREAM
Tears of Mortal Solitude
(Elitist/Earache)
After a nice atmospheric build-up, Forest Stream break into the song "Legend,"
which has that distinctly folky flavor that Dimmu Borgir had back in the
For All Tid days. Some may find that comparison less than complimentary,
but I always loved that album and Forest Stream is the first band I've heard
that comes close to capturing that same mood.
Formed back in 1995, this Russian trio likes to do things in a very grand
manner. Most songs clock in above the eight-minute mark and they make
the most of that time, running through many time changes as well as mood
swings. Everything from an almost beautiful, light folk melody to foreboding
doom riffing surfaces in Forest Stream's sound. Keyboards are used
extensively but effectively, setting just the right backdrop for the grim
guitars and deathy vocals.
The vocals are the one area of needed improvement. The hoarse style
employed by drummer/programmer Somn the Darkest (sounds like a Vulcan outlaw)
falls short of the majesty evoked by the music behind it. It's not
embarrassingly bad or anything, just the weak link in the band's sound currently.
There is a flowing, organic grace to Forest Stream's style that perfectly
matches the moniker. Russian bands that I've heard in the past seem
to always have a unique take on whatever genre they've chosen and this lot
is no different. The gloomy mix of black metal, folk and doom elements
is excellent and makes for quite an enjoyable and even beautiful debut.
http://www.earache.com
[Daniel Hinds]
FORLORN
Hybernation
(Napalm)
Going back a bit, this Norwegian lot released a decent slab of Viking/black
metal didn’t win any awards for originality but nevertheless made for a pleasing
listen. The follow-up, Opus III - Ad Caelestis Res, was far less interesting
and I'm sad to say the trend downward is continued on Hybernation.
The songs themselves are probably the strongest element on the album.
Other-worldly keyboards dance over dark riffs in familiar yet intriguing
ways. The execution and everything surrounding the basics, however,
tends to detract from the core quality. The vocals are croaked out
in a simplistic, monotone manner, with only the rare group chorus breaking
the tedium. Production values are also severely lacking all the way
around. The triggered drums are rigid and plastic sounding, while the
guitar has a somewhat muffled, demo-quality. All the modern, sci-fi
imagery made me think Forlorn may have gone industrial, but were that only
the case - instead we just get a stripped-down, less interesting version
of the last album.
I just don't get it. Forlorn has a big label like Napalm behind them,
so a good quality recording certainly seems feasible. And the band
has enough experience; they should be able to put together a far more interesting
record. Maybe my memory of The Crystal Palace is generous, but it really
does feel like Forlorn has lost ground with each release since then and it's
sad. http://www.forlorn.no
[Daniel Hinds]
GENOCIDE KOMMANDO
Black Metal Supremacy
(Moribund)
Kultish black metal that embraces speed, war, genocide (duh), and Satan,
and renounces subtlety, color, melody and homosexuality - that's pretty much
all you need to know about this duo. I must admit I've never quite
understood the widespread homophobia in the black metal scene - you'd think
something that was so overwhelmingly opposed by Christians as 'immoral' and
'against the ways of God,' they'd be right on board for that, but I digress…
The vocals are very much in the grim, shrieky style and rarely relent.
Both Kommander Noktu and Kommander Horrendus (these are great names) are
responsible, though the former supplies "Nuclear Screams" while the latter
merely "Dictatorial Screams." Noktu truly does deliver the more devastating
vocal torture and handles all but 3 of the cuts. The drums are handled
by a drum machine (I guess) and rarely budge from the same high-speed bass/snare
pattern for very long. The change-ups that occur once in a dark moon
(like the middle of the title track or that one guitar break on "Era of Terror")
are really the only thing that keeps the album interesting for me.
Note should also be made of the final song, "Apocalyptic Prophecy," as it
manages to outdo the rest of the album in terms of sheer aggression and kind
of hints that these guys might actually be capable of a much better album
if it could all be this good and intense.
Genocide Kommando seem to fall neatly into that already overfull category
of "not bad, but not that good." This is extreme to the point where
it could just be silly, but it succeeds in at least avoiding that trap.
For fans of bands like Belphegor, Antaeus or Black Dawn, this is right along
those lines but don't expect it to blow you away. http://www.moribundcult.com
[Daniel Hinds]
GOD DETHRONED
Into the Lungs of Hell
(Metal Blade)
Isn't that a Megadeth song? This lot has been at it for a while now
and has really perfected its own brand of death metal. The contrasts
of heavy and melodic, slow and fast, brutal and thoughtful - it's all here
on Into the Lungs of Hell. The methods haven't changed much over time,
but there is a definite refinement and precision that wasn't as clear on
previous records.
As much as I enjoyed the music here, my favorite aspect of this one is probably
the lyrics. Not only do they include liner notes to accompany each
track, they also touch on some interesting topics atypical for the genre.
"Enemy of the State" for example tackles the all-too-real Orwellian control
that world governments have over our personal data, while "Subliminal" explores
how they can turn around and manipulate us with that same information.
And when was the last death metal band you saw singing against the evils
of animal cruelty? God Dethroned does just that on the punky "Slaughtering
the Faithful," one of the album's best cuts. And what could be more
timely than the anti-war "The Warcult." The band touches on more traditional
areas, too, such as religious hypocrisy, hell, and, of course, death, but
it is really refreshing to hear someone putting a little more thought into
their lyrics, such a rare thing these days.
Something about all of God Dethroned's ho-hum album covers always put me
off of them. Then when I finally pop the disc in, it's always a surprise
just how good the band is. Definitely check out Into the Lungs of Hell,
their finest moment yet. http://www.goddethroned.com
[Daniel Hinds]
GOLDEN DAWN
The Art of Dreaming
(Napalm)
While I was expecting some kind of second-rate goth metal to spew forth from
this disc, I was pleasantly surprised to hear that Golden Dawn takes a far
more extreme and creative approach to their dark art. Keyboards play
a prominent role on the Art of Dreaming, giving the music a very vibrant,
majestic feel, not unlike bands like Bal-Sagoth or even Einherjer.
Fleet-footed drums gallops alongside charging riffs and blackened vocals
to give Golden Dawn its center.
For me, the fast heavy parts are good, but it is the times when the songs
break down into almost tragically beautiful keyboard-only sections that really
elevate this record to a higher plane. Songs like "Nothing But the
Wind" and the title track have extended keyboard arrangements that really
set the mood. Or check out the battle march intro to "My Confession
to War" - it's all about atmosphere with Golden Dawn and they pull it off
quite well on this album.
The production on The Art of Dreaming is generally very good, very rich.
The cover art comes across as a simplified version of Dio's Dream Evil, but
the rest of the booklet is laid out nicely with all the song lyrics.
For those that dig the black metal edge but like plenty of grandeur and melody,
this is a great selection. http://www.goldendawn.at
[Daniel Hinds]
HAMMERFALL
Crimson Thunder
(Nuclear Blast)
Part of the reason it has taken me so long to review this disc is that I
wanted to give it the time to really sink in the way the other albums have.
HammerFall haven't released a really immediate album since Glory to the Brave
and I didn't want to be too quick to judge this one without giving it proper
time. The other part of the reason of course is that I've been incredibly
slow in updating The Plague and this is my first chance to review it anyway,
but hey…
Although there are certainly moments on Crimson Thunder, even after repeated
listenings, it still feels a bit lacking in comparison to their other work.
And I hate to say that because I have always admired these guys, but it just
doesn't have the punch of the first two albums or the number of quality songs
that Renegade had.
Now, having said all that, let me focus in on what is good about Crimson
Thunder, because there is still quite a lot to like. "Riders of the
Storm" has a great, heavy Accept drive to it that makes for a good opener.
"On the Edge of Fire" is quick and sounds just like the material on the band's
debut (a good thing) and the title track has the proper grand sing-along
that any good title track should own. The obscure cover choice this
time out is Chastain's "Angel of Light" and, although I can think of better
Chastain songs to do, this is still pretty good. The American bonus
track of "Detroit Rock City" is something of an eyebrow raiser - a classic
song but not one that really lends itself to HammerFall's style.
On the down side, first single "Hearts on Fire" is a decent song but is spoiled
by a repetitive chorus that the band beats to death during the bridge.
"Trailblazers" smacks of complete filler and the ballad "Dreams Come True"
is good but just doesn't live up to the quality of past ballads. "In
Memoriam" is a rather plodding instrumental that frankly should been left
off entirely.
Crimson Thunder is a decent album by normal standards and still head and
shoulders above most melodic metal albums I've heard lately. But judged
against HammerFall's own catalog, it not only falls a bit short but is the
first time I don't see even a subtle progression in the band's sound.
Enjoyable but not the essential record that HammerFall really could have
used at this point. http://www.hammerfall.net
[Daniel Hinds]
LYNCH MOB
REvolution
(Deadline)
Perhaps my slams on George Lynch in the past didn't make it clear enough
what I thought of his work. He's technically an amazing player, yet
seems to play with no feeling whatsoever. At least not the kind of
feeling expressed by players like Schenker, Takasaki or even Vinnie Moore.
It didn't help any that he played guitar for the biggest puss singer in the
'metal' world of the time, Don Dokken.
REvolution had all the makings of a sad, awful album, as it is simply a collection
of updated Dokken and Lynch Mob songs updated for 2003. And there are
certainly some low points, which is no surprise as neither Dokken nor Lynch
Mob had more than a couple decent songs. On top of that, the production
is rather thin, especially in the guitar department, which is just weird.
Vocalist Robert Mason has bit more of an edge than Mr. Dokken, but it's still
a bit on the wimpy (and predictable) side of hard vocals.
Song selection is reasonable, at least on the Dokken side. One thing
this album points up is the fact that even the mediocre Dokken songs are
better than most of the Lynch Mob tunes. Junk like "All I Want," "River
of Love" and "She's Evil But She's Mine" can't even be remade well.
"Cold is the Heart" is the one exception, a solid rocker that ends up as
one of the more enjoyable cuts. On the Dokken side of things, they
do manage to inject some life into a few of the songs. "Tooth and Nail"
has a very upbeat, almost speed metal feel to it. "Kiss of Death" has
a good riff and "Paris is Burning" chugs along quite nicely. Somehow
they actually made "Breaking the Chains" sound even less powerful than Dokken
did (an impressive but not particularly laudable accomplishment).
I suppose I should be happy that at least this isn't another god-awful attempt
at rap-metal like the last Lynch Mob album and George didn't try to update
these tunes too much, but it is still a half-assed collection of bland commercial
hard rock/metal songs with weak production. http://www.georgelynch.com
[Daniel Hinds]
MARDUK
World Funeral
(Regain/The End)
Trends come and go, but there are always certain bands that weather the storms
and stand steadfast to what they have been doing all along. Bands like
Darkthrone, Cannibal Corpse, Manowar and Motörhead can always be counted
on to deliver what they do best in spite of what may be the current unit
shifter. Marduk is exactly this type of band.
Never fitting in comfortably with the other black metal bands due to the
more obvious death metal elements, Marduk has walked its own path since day
one. Through landmarks like Those of the Unlight, Nightwing and the
blistering Panzer Division Marduk, these Swedish motherfuckers have kept
a clear vision of making fast, brutal, heavy, and extreme metal with no apologies.
The opening concussion of "With Satan and Victorious Weapons" reassures as
it rampages - Marduk is still Marduk.
Having said that, World Funeral showcases the entire range of Marduk's sound
better than any other previous disc. The hyperblast songs sit comfortably
alongside slow, dark, grinding tracks like "Bleached Bones" and "To the Death's
Head True." There is even a fairly complex arrangement, complete with
a somewhat melodic (gasp!) bridge on "Night of the Long Knives." There
are also some mid-temp tracks that manage to sound just as evil as the insanely
fast ones, such as first single "Hearse" and the menacing "Bloodletting."
The album closes with the very grand, doom-laden instrumental "Blackcrowned,"
a fitting dirge to end the funeral.
My mind tends to gravitate more towards bands/songs with a catchy melody
or riff, which is perhaps why Marduk has never been one to really stick with
me for more than a few listens. In the past, anyway. World Funeral
is the kind of bold step forward that Impaled Nazarene's Absence of War Does
Not Mean Peace release was and a crowning achievement for Marduk. http://www.marduk.nu
[Daniel Hinds]
MASTERPLAN
Masterplan
(Painful Lust)
I'm not sure exactly what status band members have to attain before they
can be part of a 'supergroup,' but the guys in Masterplan most likely fit
the bill. Featured in the ranks are Roland Grapow (Helloween), Uli
Kusch (also Helloween), Jorn Lande (Millennium), Jan S. Eckert (Iron Savior)
and Axel Mackenrott (Catch the Rainbow).
Establishing themselves as a metal band with "Spirit Never Die," it is clear
that Masterplan can crank out the heavy, fast tunes with a vengeance.
"Enlighten Me" is the first single and naturally more melodic, but still
a good song. "Kind Hearted Light" has a real Dio-era Rainbow vibe to
it and Jorn really shows off his highly textured voice. "Crystal Night"
is a moodier track with a great, heavy riff that deals with a particularly
nasty event from Germany's darkest days. This is actually one of the
aspects about Masterplan that I enjoyed most - their willingness to tackle
lyrics topics outside the usual fantasy/existential crap that usually comes
with the power metal territory. Of course, that doesn't mean they can't
explore that side of things, too, as the Iron Savior-ish "Crawling From Hell"
amply demonstrates.
Despite the many great songs, there are also a few rather lacking numbers.
The ballad "Into the Light" is strangely weak, even when it tries to heavy
up. "Bleeding Eyes" again makes reference to classic Rainbow but ends
up being just a little too lethargic for its own good. "When Love Comes
Close" is a better stab at balladry, with a slightly bluesier feel to it
that harks back to pre-1987 Whitesnake or even UFO. Still not a great
song though and maybe a sign the band should concentrate more on the heavier
material.
The playing and production are stellar as one would expect and there are
some truly exceptional leads on just about ever song. Masterplan is
a damn fine record that happily avoids the pitfalls many supergroups fall
into. The one question that came to mind though was where does this
leave Helloween? Down to only one even remotely original member, they
really have their work cut out for them with their new album. Personally,
I found much more to like about Masterplan than anything Helloween has done
since Pink Bubbles Go Ape. http://www.master-plan.net
[Daniel Hinds]
NEW YORK DOLLS
The Millennium Collection
(Mercury)
Some bands make their mark thanks to the personality of the band members
or an infectious hit single (or ten), while others rely on a shocking image
to sell themselves. The New York Dolls seem to fall more into the latter
category, but this eleven song 'best of' shows that they did manage to concoct
a few interesting tunes along the way, too.
"Personality Crisis" has that dancey rock 'n' roll vibe that other 70s rockers
banked on, from Slade to Rod Stewart to The Tubes. "Looking For a Kiss"
has a bit more attitude, reminding me in a strange way of the Sex Pistols.
"Trash" has a more upbeat, jangly guitar riff and "Pills" throws a harmonica
into the mix. "Jet Boy" has the most obvious glam appeal, with a great
change-up midway through that really surprises and makes the song my favorite
of the set. The link between songs like "Babylon" and bands like Faster
Pussycat more than a decade later is very clear, while you can also see where
the underground indie/punk scene got inspired by oddball tracks like "Stranded
in the Jungle" and "Lone Star Queen."
It's amazing how many well-known bands I still haven't heard, considering
how long and how deeply I've been into music. New York Dolls is one
of those acts that I somehow heard about and saw plenty of references to,
but never managed to hear until now. I can't say that most of the songs
here did a whole lot to impress me, but for a band so closely associated
with an image scene, there really aren't any dogs here either. Releases
like this are interesting because it kind of helps to complete the picture
of what inspired all the 80s bands and even some of the bands out there today.
http://home.eol.ca/~ifftay/dolls/dolls.htm
[Daniel Hinds]
GARY NUMAN
Hybrid (2CD)
(Jagged Halo/Universal)
The man who helped bring electronic music to the masses in the early 80s
has managed to maintain a loyal following and explore many different creative
avenues over the years. This two-disc set collect nineteen different
mixes of popular as well as more obscure tracks, simultaneously accentuating
the hard rock as well as the electronic elements that have long been part
of Gary's sound.
The first disc kicks off with a deep techno-groove, thanks to Sulpher's remix
of "Hybrid." "Crazier" has a nice corroded bounce reminiscent of mid-era
NIN, while the reworking of "Bleed" approaches Manson territory in terms
of maxed guitar pounding. Curve tackles "Down in the Park" to create
a rather minimal version, while Andy Gray takes "Absolution" into the dreamland
occupied by bands like Paradise Lost and Depeche Mode in recent years.
Perhaps most disappointing (and thankfully last on disc one) is Flood's rather
orchestral cum industrial swipe at "Cars."
Disc two starts off with two rather downbeat numbers, "Ancients" and "Dominion
Day," before diving into highly retro synth land for "A Prayer For the Unborn."
The classic "Me! I Disconnect From You" preserves its charm with a solid,
trance-inducing thump propelling it forward. "Listen to My Voice" has
a slightly forced modern feel to it and "Rip" feels like a song getting started
that never quite gets there. "This Wreckage" is far more likeable,
with warm guitar contrasting nicely with the cold techno. The funkier
mix of "Are Friends Electric?" didn't do much for me and "M.E." balances
rather precariously between the original and Aphex Twin (and that's not a
good thing in my book). The album ends with a good version of "Down
in the Park," though, one that winds its way through several interesting
turns in a very organic fashion and stays faithful to what made the song
great in the first place (mainly Gary's vocal line).
While I've always dug Gary Numan, I can't think of a single album of his
that I've really liked all the way through. Same with this collection,
though maybe that is inevitable when a plethora of different artists are
involved in shaping the sound. You also have to factor in the fact
that these are reworkings of old songs (in some cases very old) and the magic
is almost never secured in these kinds of ventures. Bearing all that
in mind, Hybrid is still highly listenable and has at least a few things
to offer both new and old fans alike. http://www.numan.co.uk
[Daniel Hinds]
OVERKILL
Killbox 13
(Spitfire)
It's been a long, hard road, but thrash veterans Overkill show no sign of
slowing down, let alone giving up. After the somewhat lacking Bloodletting
back in 2000, Killbox 13 is a total blast of fresh energy that is just what
the band needed at this stage.
Sonically, Killbox 13 is very much in the same vein as the last few albums:
heavy, chunky riffs coupled with D.D. Verni's patented bass thump and Bobby
Blitz' ragged vocal snarls. Colin Richardson gives the band a thick,
clean sound that helps punctuate the already brutal, in-your-face songs.
One thing that I really liked was the number of radical change-ups on this
album. Not content to just pound away on the same groove for five minutes,
many of the tracks will shift gears into surprising new riffs, a tactic that
the band employed more in the early days. "No Lights" is a great example
of this approach and also the standout track on the album. Starting
with an epic, somewhat melodic foundation, the song just cooks as it take
the listener on a grand journey to hell and back. "The Sound of Dying"
is similarly successful, while "Devil by the Tail" and "Struck Down" display
a magnificent willingness to turn up the tempo when necessary. The
latter of those two reminds me strangely of Anvil when they're in speed mode.
"Unholy" and "I Rise" end the album on a very potent note, showing a bit
of the band's punky roots.
The slow, doomy side the band has always possessed rears its ugly head on
"Until I Die" and the Pantera-by-way-of-Crowbar "Crystal Clear." Not
my favorite aspect of the band and they'll never be able to top classics
like "The Answer" and "Skullkrusher," both of these tracks are reasonably
good in their own way. All in all, I think the time waiting for this
one was worth it as it feels like the band invested a little more thought
and it really paid off. http://www.wreckingcrew.com
[Daniel Hinds]
PARRICIDE
Ill-Treat
(WWIII)
There are bands that play death metal with a touch of melody, a certain amount
of subtlety. They temper the brutality with atmospheric keyboards or
acoustic intros. They may even stretch out into some neo-progressive
arrangements and off-the-wall time signatures. Parricide is not one
of these bands.
From the first blastbeat of "I Feel Nothing" to the fitting cover of "Hammer
Smashed Face," this lot doesn't stray far from extreme brutality. "One
Step to Deviation" shows off a deranged blues influence ala recent Six Feet
Under and "Burnt Offerings" has a rather wild, chaotic riff at its heart,
but aside from those, it's pretty standard pulverizing death metal throughout.
The vocals are definitely in the rotting corpse register, rivaling Chris
Barnes in his day at times.
Cannibal Corpse keeps selling albums so it is clear that there is a market
for this type of death metal - ugly, simple and excessively brutal - but
it still fails to do much for me. Parricide isn't bad at this style,
but they're not the best I've heard either. That, coupled with the
mediocre production and sickly album art, doesn't exactly make this a must-have.
http://free.of.pl/p/parricide
[Daniel Hinds]
RAINBOW
Catch the Rainbow: The Anthology (2CD)
(Polydor)
A little over two years ago, I reviewed the single-CD 'best of' that was
released to capture Rainbow's years with Mercury/Polydor. While that
was a mere taster, this two-disc set is far closer to what a true 'best of'
should be.
The three albums with Dio singing (four if you can't On Stage) are sampled
for the first disc and the song selection is generally smart. "Man
on the Silver Mountain," "Sixteenth Century Greensleeves" and the incredibly
touching ballad "Catch the Rainbow" represent the band's debut nicely.
The classic Rising album gets the most air time, with "Starstruck," "Tarot
Woman" and the back-to-back epics "Stargazer" and "A Light in the Black."
Not wanting to forget the excellent On Stage live album, the incredible rendition
of Deep Purple's "Mistreated" is here in all of its 13 minute glory.
This melding of blues and rock is the perfect showcase for both Ronnie's
powerful voice and Ritchie's incredibly emotional lead style. Moving
on to Long Live Rock 'n' Roll (the last with Dio and arguably the most complete),
four more gems appear in the form of the title track, the moody "Gates of
Babylon," the ubiquitous "Kill the King" and the band's finest ballad ever,
"Rainbow Eyes." This song relies solely on Ronnie's beautiful voice,
a sweetly sad string section, flute, recorder and Ritchie's clean guitar
tones.
Moving into the more commercial phase of Rainbow's career, three cuts are
taken from Down To Earth. This is the one and only album Ritchie did
with Graham Bonnet, which is kind of a shame as he had a slightly rougher
edge than his replacement (Joe Lynn Turner) that matched Ritchie's style
better. "Eyes of the World" is probably the most traditional Rainbow
song from this era, but the other two contributions - "Since You Been Gone"
and "All Night Long" - are fine songs in their own right. The biggest
loss that is really clear listening to these tracks again is the lyrical
genius of Dio. Songs like "All Night Long" are barely above the standard
of KISS in terms of vapidity. I realize Blackmore was looking for a
more radio-friendly direction, but goddamn. The b-side to "All Night
Long" is included here, a nice little instrumental led by a delicate piano
line and Blackmore's expressive style.
The next chapter includes three albums with Joe Lynn Turner. The poppy
Difficult to Cure is represented here by the boring Russ Ballard tune "I
Surrender," "Spotlight Kid," "Can't Happen Here" and another b-side "Jealous
Lover." Sadly, this bluesy romp is better than any of the actual album
tracks. Fortunately, the band pulls it together on the follow-up, Straight
Between the Eyes, and fields fare more interesting cuts "Death Alley Driver,"
MTV hit "Stone Cold," "Tearin' Out My Heart" and "Power." "Stone Cold"
is an interesting case. I remember thinking at the time that it was
a total sell-out but it has grown on me with time. The verse music
is a clear imitation of Foreigner's "Waiting For a Girl Like You," but the
pre-chorus and chorus sounds like something straight off of Deep Purple's
Perfect Strangers. Turner even sounds a bit like Ian Gillan at a couple
points, it's scary! Perhaps a little presage of the musical chairs
that would later land Turner at the mic for Deep Purple on the underrated
Slaves & Masters disc. The final outing with Turner, Bent Out of
Shape, is measured by three solid cuts: "Can't Let You Go," "Desperate Heart,"
and "Street of Dreams." In a rather odd move, the disc is closed off
with an eleven minute live rendition of "Difficult to Cure" (aka Beethoven's
Ninth Symphony) taken from the Finyl Vinyl comp. This version includes
the backing of a full symphony orchestra and was recorded at Rainbow's very
last show in Tokyo.
The packaging for Catch the Rainbow is decent enough. The thick booklet
includes lots of photos, a detailed discography and a functional bio that
serves mainly to highlight the songs included. The one clear thread
throughout each era of Rainbow is Ritchie Blackmore's stellar guitar playing.
Even though he doesn't get to express it as much on the later records (where
he seems to purposely limit himself into a pop format too often), you can
still get the shivers here and there. The one thing lacking to make
this a complete anthology is any of the songs from the brilliant Stranger
in Us All album, released in the mid-90s with a whole new line-up.
Still, as a representation of Rainbow's Polydor years, this is as good a
representation as you could hope for. http://www.blackmoresnight.com
(since I can't find a decent Rainbow site anywhere, dammit)
[Daniel Hinds]
RUBBER CITY REBELS
Pierce My Brain
(Smog Veil)
Alrighty, anyone who knows me (and who really knows anyone, really?) will
tell you that I grew up listening to metal. I was aware of punk but
generally kept my distance, at least until I discovered some of the more
entertaining hardcore bands out there (Adrenalin O.D., Pajama Slave Dancers,
etc.). Then along came all the new, so-called punk bands in the mid-90s
and I just assumed all the legit bands had given up. Of course, such
was not the case and, just like metal a few years earlier, it just went back
underground and had to be sought out.
Rubber City Rebels date back to the late 70s, hail from Akron, Ohio, and
were pals with the likes of Dead Boys and Devo. That's what I learned
from the bio anyway, as I knew crap about them before getting this disc,
but I'm glad I got it. This is fun, straight-forward punk rock 'n'
roll that is catchy without trying to be. Songs like "Blowout at 108
(mph)," "Pierce My Brain" and "I Don't Wanna Be a Punk No More" tell simple
stories with style and just enough wit to keep you smiling. The band
aren't afraid to acknowledge their age either and the honesty that permeates
these tracks is refreshing - just check out "Punk Daddy." The old school
most definitely rules. Final track "Pinhead" ends with about a minute
from Devo's "Mongoloid" - very nice touch.
The music on Pierce My Brain sticks to the punk rock ethos of keeping it
simple and effective. None of the songs are particularly fast, but
certainly none drag either and it goes without saying that there isn't anything
approaching a ballad. It is albums like this that really make me wonder
how it is so many other 'punk' bands can get it so wrong (and why no one
calls them on it). http://www.rubbercityrebels.com
[Daniel Hinds]
SEVERE TORTURE
Misanthropic Carnage
(Hammerheart)
Having reviewed a split with Severe Torture and Blood Red Throne last summer,
it's kind of cool that I now get to hear full-length albums from both bands.
In the case of Blood Red Throne, the full album was actually more impressive,
but sadly the same cannot be said of Severe Torture.
Heavy, fast, churning death metal with garbage disposal vocals is basically
the start and end to what you get from Severe Torture. The obvious
gore elements of songs like "Mutilation of the Flesh" and "Castrated" is
reflected by the brutality of the music. Despite some moderate tempo
shifts here and there, the band really never gives you a chance to catch
a breath as the half hour album storms past.
Misanthropic Carnage is a niche item at best. There are so many bands
that have beaten this path to death already (and with far more flair), I
cannot recommend this album to anyone save the most impatient and insatiable
death metal fanatic. http://www.severetorture.com
[Daniel Hinds]
STRATOVARIUS
Elements Pt. 1
(Nuclear Blast)
First, a diatribe. This CD is copy-protected so that it won't play
on a PC. I'm as opposed to song-swapping as anyone, but I find this
new tactic reprehensible. Like software copy protection in the 80s,
it's simply a huge waste of time and results in only hurting legal users.
Anyone who is going to pirate an album on the scale that will affect sales
is not going to have a problem bypassing any kind of encryption scheme used,
while the regular purchaser can't even make a legal backup. It's a
lose-lose situation and I hope the obviously flawed logic behind it will
lead it to a quick death.
My first reaction was to not even review the disc, as I have chosen to do
with the so-called 'faded' promos I've received in the past, but the quality
of this album is just too high not to. After the throwaway fluff of
opening single "Eagleheart," the album really begins with the second cut,
"Soul of a Vagabond." This is slow, driving song that is at once surprisingly
heavy and truly epic in scope. The addition of an actual orchestra
works the desired magic, giving this the kind of theatrical bombast that
songs like Rainbow's "Stargazer" have. Everyone turns in a great performance,
with Jörg Michael's drums never sounding more powerful and Timo Kotipelto's
voice more emotive. The band quickly kicks into high gear for the stellar
"Find Your Own Voice," a glorious, speedy number that lets Jens Johansson
demonstrate his amazing talents to the fullest. "Fantasia" is nearly
ten minutes, with a far more spacious, cheerful vibe, but the band never
forgets how to rock as the riff that cuts in at the end of the bridge amply
illustrates.
After three such great tunes, there was bound to be a lull and it comes in
the form of "Learning to Fly." Not a bad song at all, just a little
less involving. "Papillon" quickly sets things right again, flowing
with the kind of elegant beauty that only Stratovarius can deliver.
Timo gets to show off his full range here and the orchestra sets down another
majestic performance. "Stratofortress" is a punchy, fast little instrumental
piece where everyone gets to show off and has almost a klezmer feel to it
at times - bizarre, but it works. "Elements" is album's centerpiece
and rises to the occasion admirably. While it doesn't blow me away
quite the way "Soul of a Vagabond" does, this is still an awesome composition
that rises and falls in ideal measures. The soft and enchanting ballad
"A Drop in the Ocean" makes for the perfect epilogue.
Overall, this is a stunning record and quite possibly the band's best yet
(certainly the most varied). The lyrics are straight-forward but eloquent,
introspective and questioning. The production couldn't be better -
full, clear, loud and dynamic. The album art is perhaps a bit fru-fru
and certainly less appealing than Infinite or Destiny, but it's a minor quibble
with what is otherwise destined to be a classic album. http://www.stratovarius.com
[Daniel Hinds]
SUMMONING
Lost Tales (MCD)
(Napalm)
Here we have a loose-ends collection of two tracks from metal's most Tolkien
obsessed duo. Recorded in the period of 97-99, "Arcenstone" and "Saruman"
are both in the epic tradition that Summoning is renowned for - lots of majestic
keyboards, programmed beats and vocal samples lending the proper Middle Earth
references.
Clocking in at less than 17 minutes, the value-for-money debate is a valid
one, propelled by the fact that while both songs are good, they're certainly
not what I would consider to be the band's greatest works. Plus, while
Summoning has often dealt out the cheery melodies in the past, there is nary
a dark moment to be found here - clearly this is more the light of Rivendell
than the gloom of Mirkwood.
Still, an average Summoning tune is more interesting than the majority of
crap out there these days and both of these cuts manage to stir the blood.
The usual attention to beautiful artwork is alive and well, too, even if
the cover concept appears rather borrowed from their Dol Guldur release.
The pic of Silenius with the pipe pretty much makes this worth getting -
it kills me every time! http://www.napalmrecords.com
[Daniel Hinds]
TO/DIE/FOR
Jaded
(Nuclear Blast)
The 80s were a wild decade when it came to music. The sheer variety
of styles that came to light during that decade is mind-boggling and the
quality of bands was just as across the boards. Hearing bands nowadays
covering the pop tunes of the 80s is usually entertaining, but the results
aren't always what one would hope for. For every success story like
Gamma Ray metalizing the Pet Shop Boys' "It's a Sin" or Paradise Lost firmly
putting their stamp on the Smiths' "How Soon is Now?" you've got bands like
To/Die/For falling flat on their face with the awful "(I Just) Died in Your
Arms." Granted, the original by Cutting Crew was awful and there wasn't
much to work with, but you'd think they would at least have made it more
rocking. Nope.
Sorry, I had to get that out of the way, it was troubling me. I still
can't believe a band would put such a mediocre cover of such a bad song second
on their album. Perhaps they are hoping for some commercial attention
and who knows, maybe they'll get it - the original was certainly popular
enough. But it leaves a bad taste in my mouth going forward with the
rest of the disc, which slogs its way through very typical gothic metal territory.
The smooth keyboards and overly melodic vocals make Sentenced sound like
Morbid Angel by comparison. Which would be fine if they could deliver
some good songs, but aside from the somewhat energetic opener, "Dying Embers,"
there isn't much to get excited about on Jaded. "Fall Strains" perks
up for a pretty electric guitar solo but then falls right back into sappy
tedium.
While there have been a few success stories, it seems like the gothic metal
genre as a whole is quickly heading into the same realm of inconsequentiality
that gothic rock did years ago. To/Die/For's latest effort is simply
one of the more visible symptoms of a larger malaise. http://www.todieforlove.com
[Daniel Hinds]
USURPER
Twilight Dominion
(Earache)
You've got to hand it these Chicago bastards; they have stuck it out and
never compromised their approach one bit. Sure the sound has evolved
a bit over time, but the Frost worship can still be felt (right down to the
"ooogh!"s present in just about every song) and their allegiance to classic
black, thrash and death metal is as strong as ever.
This is the fourth album proper by Usurper and I think it manages to surpass
at least the last two in quality (I have yet to hear their debut, Diabolosis,
so I can't compare). Which isn't to say those were bad albums at all,
it's just that Twilight Dominion treads similar ground with better production
and more cohesive arrangements. It's so strange that Neil Kernon has
moved from producing bands like Queensrÿche and Hall & Oates in
the 80s to more extreme acts like Cannibal Corpse and Nevermore in recent
times. His style is good but perhaps just a bit too clean for a band
like Usurper.
The songs on Twilight Dominion remind me of class Celtic Frost (of course),
but I also detect some Warfare, (old) Slayer and maybe even Wargasm at work
here, too. Usurper has always been good at mixing classic elements
together and the recipe is just as potent as ever, maybe moreso. Songs
like "I Am Usurper" and the anthemic "Metal Lust" incite immediate fist-banging
mania, while faster songs such as "Golem" and demonstrate an awareness of
modern black metal as well. For me, though, it's the slower, marching
metal tracks like "Utopian Nightmare" and "Vatican Time Machine" that really
kicks ass.
Usurper seem to have really found their sound with this album, with the references
to the past stronger than ever. The thing that elevates Twilight Dominion
above other retro-minded albums is the massive doses of sheer personality
that Usurper brings to its music. Here's a band who obviously grew
up with the underground scene and still loves it just as dearly today.
They don't overthink the songs or the lyrics, but they don't underthink them
either. Another thing that I think gets overlooked due to the relative
simplicity of the songs is the real talent of the bands, especially the guitarist
and bass player. There are some incredible bass lines that just do
their own thing if you listen for them - really killer stuff. http://www.usurper.us
[Daniel Hinds]
[various artists]
Projekt: Gothic
(Projekt)
Well, no points for the originality of the album title, but at least it is
pretty descriptive of what you'll find inside. Projekt has been the
leader in ethereal goth (and maybe goth in general, now that Cleo has apparently
given up entirely on developing artists) for years now and this is a good
cross-section of their roster, featuring both old and new material.
Audra kick things off with a respectable gothy gallop called "What Your Eyes
Had Seen." The vocals are a bit predictable (*cough*PeterMurphy), but
at least they know how to play and write a good tune. Voltaire, the
eternal jester of the scene, gives us "When You're Evil," which is the better
side of his work - gypsy cabaret music with deadly silly lyrics. This
Ascension features strong female vocals coupled with a more rock-based sound.
It's not bad, per se, just a bit underproduced and uneventful. Black
Tape For a Blue Girl have a more intriguing sound, featuring the more obscure
string and percussion instruments that give the song "All My Lovers" a distinctly
mystical and Eastern feel. I haven't heard Black Tape in many years
and I must say they have come on leaps and bounds from where they used to
be - this is an excellent track, one of the best on the disc.
Attrition (what comp would be complete with an Attrition song?) are represented
by their classic "A Girl Called Harmony" - over a decade old and still one
of the best in their repertoire. Mors Syphillitica deliver an equally
beautiful number called "My Virgin Widows," with gorgeous female vocal harmonies
soaring above an array of equally entrancing instrumentation. Lycia
are the opposite end of the spectrum - dark, dreary and claustrophobic.
While that combination works wonders for many bands, Lycia can't pull it
off. Drenched in reverb and repetitive, bad male vocals, there isn't
much to enjoy here. Mira are better, mixing old school, slow-motion
alt-rock with airy female vox.
Perhaps the most perplexing track is Thanatos' "Splinters (re-stripped)."
Mix some acoustic guitars with twisted samples and sweetly creepy vocals
and you get this mindfuck. All I can think of is The Bubblemen with
some of their Love and Rockets alter-egos showing through. Disturbing
and amusing, though I would just as soon not have to remember those Bubblemen
videos any more than I have to… Human Drama tries to outdo Voltaire
for theatrical delivery, with Johnny Indovina crooning at his most emotional
over some wildly dramatic piano. Unique, but not my favorite.
Rajna have been a favorite of mine for a while now and this is a great example
of their very earthy, spiritual, middle-eastern style. Lovespirals
are more typically ethereal, with feather-light female vocals and delicate
strings and remind me at times of The Cranes and Trance to the Sun.
Unto Ashes (another terribly underrated act) close the album with a cool
but almost too slow and blissed-down version of Blue Öyster Cult's classic,
"Don't Fear the Reaper."
The art and layout are decent, but rather plain by Projekt standards.
And why only pix of 5 of the bands inside? Minor complaints these,
though, as Projekt: Gothic is very compact, diverse and well-chosen selection
of songs that represent the label and the genre as a whole surprisingly well.
A great introduction or car CD and you really can't go wrong with the $4.98
price tag. http://www.projekt.com
[Daniel Hinds]
VASSAGO
Knights From Hell
(WWIII/No Fashion)
I remember this album got rather mixed reviews when it first came out in
Europe and, now that WWIII has deigned it necessary to release it in the
States, it's going to get one more. Knights From Hell is nothing special,
there's just no way around that fact. It is full of grimy, old-school
death metal riffs and beats, with vocals somewhere between a growl and a
cackle.
Formed by two members of Lord Belial, Vassago is clearly the crude, fuck-off
band for the duo to have fun with in their spare time. The satanic
lyrics are as violent as they are silly. So, no, "Total War Brings
Total Death," "Thou Shalt Kill!!!" and "Satanic Slayer (Division SS)" aren't
just clever titles - they have the full lyrical backing you would expect.
Once in a while, the band does come up with a cool, evil-sounding riff, making
the likes of "Abysmic Downfall to the Kingdom Where I Will Rule Eternally"
(hehe) and "Cleansing" almost decent songs.
Andy LaRoque does his usual adequate production job on Knights From Hell
and there are even a couple of distinctly LaRoquian guitar squeals to be
heard. While Lord Belial isn't exactly a revolutionary band on its
own, it's a hell of a lot more interesting than this second-rate death metal
slop. http://www.ww3music.com
[Daniel Hinds]
VIRGIN STEELE
Guardians of the Flame
(Noise/Sanctuary)
Virgin Steele is one of the many bands that made a small impact in the 80s
but never quite fulfilled their promise, not unlike Coney Hatch, TT Quick,
Tyton and countless others. The key to their sound was the fiery combination
of catchy, melodic tunes and Jack Starr's guitar pyrotechnics. After
a decent debut, the band really solidified their sound on Guardians of the
Flame and it stands to this day as their proudest achievement.
"Don't Say Goodbye (Tonight)" opens the album in a somewhat commercial vein,
but the song is so damn catchy, one can't complain. It is quickly followed
by the far heavier and speedier "Burn the Sun," a great song by any standards.
It's also about this time when the average listener will have decided to
either love or hate vocalist David DeFeis. He jumps from a rough mid-range
to these high, falsetto screams that are just incredibly piercing.
Personally, I'm more in the 'hate' camp on DeFeis, though when he sticks
to the mid-range stuff, he's not bad at all. "Life of Crime" is a straight
down the line rocker, while "The Redeemer" has that Medieval Steel type of
march to it. The airy keyboard-led instrumental "Birth Through Fire"
leads into the barroom stomp of the title track. "Metal City" is rather
bone-headed but does feature a nice solo. The album proper closes with
the overly sweet power ballad "A Cry in the Night."
The bonus tracks include two excellent cuts, "I Am the One" and "Go Down
Fighting," along with the rather wimpy "Wait For the Night" and the totally
off-the-wall (and badly recorded) live track "Blues Deluxe Oregenata (I Might
Drown)." There is also an interview with the band from just after this
album was initially released.
A lot of the lighter side of today's power metal can be traced back to Virgin
Steele, there's no doubt about that. If you can get past the thin production
and deal with DeFeis' vocal warblings, Guardians of the Flame is a fine slab
of classic heavy metal from the golden era. http://listen.to/virginsteele
[Daniel Hinds]
VITAL REMAINS
Dechristianize
(Century Media)
Somehow, after over a decade in existence, this is my first encounter with
Vital Remains. Sure, I've seen the albums and read interviews, but
they always managed to just slip past me in terms of actually hearing their
brand of intense and brutal death metal. As a first encounter, I was
a bit wary but fairly impressed by what Vital Remains delivers.
The first thing that struck me was the guttural, old-school death metal vocals.
No fucking around here, just low and vicious, with the occasional shriek
thrown in for good measure. Once I read a bit more about the band I
realized that Glen Benton handled the mic for this album and everything made
sense. To be honest, his work here is probably the best I've heard
from him and the music is far more interesting than anything Deicide has
done, uh, ever.
After the intro (featuring the cool but overused opera suite "O Fortuna"),
the title track lays down the law in no uncertain terms. Opening with
an almost Kreator-like riff, the energy is immediately pumped up ten-fold
when the drums crash down like a tidal wave. Drummer Dave Suzuki is
unbelievable, a total speed machine and precise as all fuck. It's too
bad the production kills the snare sound, but at least the bass drums are
nice and solid. The song continues to evolve through several tempo
changes, branching out into more melodic territory as it unfolds. The
use of melody in Vital Remains music is more in line with some of the 80s
thrash bands and classic heavy metal acts rather than the typical Euro death
style that is so popular today.
One of the things I like best about traditional death metal bands like Vital
Remains is hearing the thrash influences shining through so clearly.
I miss those bygone days when you could walk into a (good) record store and
find the latest by Living Death, Kreator, Sodom, Exodus, Possessed, and all
the rest. Listening to the brilliantly titled Dechristianize, it kind
of takes me back to the excitement of those times. Good stuff!
http://www.vitalremains.cjb.net
[Daniel Hinds]
WATERDOWN
The Files You Have On Me
(Victory)
While there were several surprisingly good hardcore releases this time around,
there is also Waterdown. Bands like Where Fear and Weapons Meet and
Until the End are doing it right, while Waterdown sounds like a tired
mix of nu-metal, alt-rock and maybe a little hardcore (just enough to land
a deal with Victory apparently).
"Bulletproof" has a little energy, but directed in a very trendy direction,
while songs like "Xerox" are about as exciting as Coldplay. "Transient"
tries to inject some punk attitude into the vocals but it ends up sounding
silly rather than convincing in any way. The vocals throughout the
album are very diverse - whiny and emotive one second, gruff and unhinged
the next. The one common thread is all of the styles employed are awful
and tuneless. Just listen to him trying to sing the high parts on "Decaffeinated"
- it's a riot.
I kept waiting for something to happen. Near the end you get "At the
Waterfront," which plasters a Tool riff onto a really blah pop song and it
was pretty much the last nail in the coffin. No fire, no sparks even.
The Files You Have On Me is a limp, modern-sounding record that offers nothing.
http://www.waterdown.de
[Daniel Hinds]
WHERE FEAR AND WEAPONS MEET
Control
(Eulogy)
It's not often that I hear a supposedly 'hardcore' album these days and it
turns out to contain actual hardcore music. This six-song, 15 minute
EP is one of those nice, rare surprises.
Hailing from Florida, WFAWM remind me most of Agnostic Front or any of the
countless other NY bands that followed in their footsteps. The songs
are straightforward, relatively short, alternating at just right the junctures
between stomping mosh parts and fast, fist-pumping fury. Vocals are
shouted, but actually convey emotion rather than mere irritation. "Turning
the Tide" sets it off fast, while "Figure it Out" has a bit more of the mosh
groove. The thirty-second "Everything Between" just kicks ass, complete
with the shout-along background vocals. "Judgment Call" has a slightly
offbeat opening verse, giving the album some variety, and "Other Face" rages
in classic style to close the album on a very up note.
The production is a bit dingy, but then again isn't there something special
about poorly produced hardcore? It's the attitude and the tunes that
matter and Control scores high in both departments. While AF lost their
consistency and SOIA lost their edge, at least there are still bands like
WFAWM out there keeping the spirit alive and burning brightly. http://www.eulogyrecordings.com
[Daniel Hinds]
YATTERING
Genocide
(Candlelight)
This lot hails from Poland and has been undead long enough to spew forth
several albums. This is jagged, bowel-churning death metal of the ugliest
sort, and definitely not for the fans of melody or predictability.
The intro and "Schism" are fairly standard death metal offerings, but once
you hit "Non Adapted Socially," you begin to realize that you've wandered
off the main path and it's not clear at all how to get back. Oddly-timed
riffs stick out of tracks like "Panic in a Sea of Blood" and "Non Typical
Homo," generating subtle flashbacks to Gorguts' Obscura and some of the more
obscure cross-metal generators of the early 90s. Laying the tag 'progressive'
an album this intrinsically brutal may seem strange, but if just focus in
on the drums and what the guitars are doing; there's really no other way
to describe it.
The only serious downside to Genocide is the beyond mundane death vox and
weak-ass snare hits. As often happens with bands this technical and
challenging, however, I found myself wishing for just a little something
more to hold on to in each song. It's impressive, like an intricately
sculpted museum piece, but it isn't something that will stay with me when
I'm away from the speakers. http://www.candlelightrecords.co.uk
[Daniel Hinds]
ZEKE
Live and Uncensored
(Dead Teenager)
I made the mistake of reviewing this after Dirty Power rather than before,
as the comparison is not all that favorable for Zeke. To be fair though,
this is mostly a live album and Zeke really aren't trying to achieve the
same things that Dirty Power are. While Dirty Power are about creating
catchy riffs and establishing a groove, Zeke take the far more punk approach
- blast it out and move on.
The album begins with four tracks from the recording session for the last
(and apparently last, period) album by Zeke, Death Alley. These four
possess the best sound quality of the lot and feature a good mix of speed,
punky vocals and (gasp!) even some melody. Check out "Devils Island"
in particular, complete with its highly metal solo. The next four studio
tracks are slower, grungier and less to my liking.
Then the live songs begin and there is no doubt at all that Zeke is a punk
band first and foremost. From the frantic "1-2-3-4!" count-ins to the
to fun little hardcore blasts like "West Seattle Acid Party," "Flat Tracker,"
and "Fuck All Night." And about a zillion others - the album goes on
for over an hour!
If I had to lodge a grievance with Zeke, it would be that the songs may actually
be too short. With most clocking in at under 2 minutes, as soon as
you get yourself in tune with what is going on, the song's over. Now
this is a rather reluctant charge on my part, as I would rather have bands
understay their welcome than overstay (like most bands do), but with at least
20 of the 26 songs on Live and Uncensored displaying this trait, it becomes
an issue. Oh and the live tracks seem to be taken from various sources
so the sound quality changes drastically from one to the next. Again,
though, this isn't Rush we're talking about so I suppose a few little superficial
imperfections are allowable.
Based on this album, I think I would like their studio albums (esp. Death
Alley) a lot better. I like the energetic punk elements to the band's
music but most of the live recordings are just a little too raw for my tastes.
Good tunes though and while I would recommend this album to Zeke fans, I
would probably steer new listeners to one of their last couple albums instead.
http://www.zekeyou.com
[Daniel Hinds] |
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