 ANCIENT WISDOM
...And the Physical Shape of Light Bled
(Avantgarde)
This is the third full-length album from Marcus E. Norman (a.k.a. Vargher),
the leading force behind retro-thrashers Bewitched and one-time member
of Throne of Ahaz. Unlike some multi-band artists whose different
projects you can't even tell apart, you aren't likely to confuse Ancient
Wisdom with either Bewitched or Throne of Ahaz. AW play a very majestic
and mournful brand of black metal, with the emphasis placed on melody and
atmosphere.
The album begins with some suspense-building symphonic keys before crashing
into the band's patented slow black metal sound, with a funeral march melody.
Next up is the epic title track, which starts off plenty heavy before segueing
into an eerie piano-driven mid-section. "With His Triumph Came Fire"
features a similarly effective interplay. Piano plays an important
role on this album, giving it a very elegant and distinctive sound.
The dark atmosphere is never shed, though, as the blackened vocals make
for a nice contrast with the piano and keyboard melodies on many of the
tracks.
The symphonic approach that Ancient Wisdom takes is mightily impressive
and fairly different from the usual "symphonic black metal" style.
"The Serpent's Blessing" is a great example of Marcus' ability to seamlessly
blend heavy riffs with melodic synths, grim black metal with doom.
There is an unusual almost horror movie like element to some of the tunes,
too (witness the middle of "As the Morningstar Shineth"), further darkening
the album's mood. Bonus points are awarded for the album's closing
tune, which is a beautifully blackened version of Demon's classic, "The
Spell." Marcus slows the track down, gives it a depressive edge,
yet never loses the essence of the original.
Ancient Wisdom remind me of Hades (Almighty) in some ways. They
don't sound like them at all, but they have a similar, deliberate pace
to their music that is enthralling. The tempo is kept slow and the
songs are long, yet the album never gets boring. Also like Hades,
they have managed to mature and make their sound more elaborate without
losing the underlying evil atmosphere. The style here might be a
little more polished than the previous release, The Calling, but
it is no less effective and the songwriting remains just as strong.
This is serious, powerful music - highly recommended.
[Daniel Hinds]
 APOCRYPHO
Spiritual Cannibal
(ADSR)
Seattle-base ADSR Musicwerks has really taken off of late, releasing
some fresh blood to accompany their 'core' bands (i.e. Noxious Emotion,
SMP and fockewolf). Apocrypho are a strange blend of danceable electro
and experimental weirdness. Sometimes it works, sometimes it doesn't,
but it is always pretty original.
The warped monologue that is the center of "Catatonic" didn't really
work for me, although the music on this one is pretty inventive.
"Dreaming of Sin" and "Catch My Fall" are more successful, with more straightforward
EBM approach. "Blame" kicks up the tempo a couple of notches, while
"Replica" heads off in a more trance direction. "Connect" is somewhat
disjointed collection of samples, while "Beautiful Mistake" is one of the
album's most memorable cuts. "Falling Down" starts off rather inauspiciously,
but it eventually builds into a pretty storming track. Brian Von
Gross' vocals are a little more forceful here and sound better. He
even approaches a Chris Connelly level of angst on "In Vain" - always a
good thing in my book. The creepy and ethereal title track makes
for a suitably impressive ending to the album.
Apocrypho strikes me as a group that hasn't quite found their sound
yet. They try a lot of different things and some work better than
others, but no defining style emerges. On the plus side, though,
they score definite points for not sounding like anyone else or rewriting
the same exact song twelve times.
The recording quality is similar to a well-made demo and works for the
fairly minimal style the band pursue on Spiritual Cannibal.
The album art, on the other hand, is pretty dismal and bound to drive away
some potential fans. Fortunately, in this age of the Internet, people
will be able to check out the band's music first and be able to fairly
judge them. More info: http://www.newbijou.com/harsh.html
[Daniel Hinds]
 ATOMIC OPERA
Gospel Cola
(Metal Blade)
WARNING: Christian rock! Okay, anyone left reading should be
open-minded enough to appreciate this band. Yes they are a Christian
band and they make it pretty clear through their lyrics and liner notes,
but they don't come off as shallow and preachy like so many others (Mortification
anyone?). Instead, they actually seem pretty thoughtful and, more
importantly, the music itself isn't half-bad.
Coming across in a similar vein to the early work of their pals King's
X, Atomic Opera mix heavy riffs with more psychedelic elements and very
melodic vocals. "Jesus Junk" is a good example of what they do best,
with its slow, groovy riff and humorous attack on the commercialization
of spirituality. "October" and "My Head are a little more prog-sounding,
with some nods to Rush, while "WinterLand" harks back to King's X again.
The vocal melodies and harmonies that the band come up with are probably
the band's best feature. The song "Malediction" for example has a
really nice, multi-layered chorus, as does the ballad "Love Is As Strong
As Death." The smooth voices do tend to temper some of the power
in the music, but for the most part it is a fair trade.
Gospel Cola isn't the most innovative album you'll ever hear,
as most of it falls in line with the mid-90s hard rock/alterna-metal crowd.
Still, the band do pull out some interesting riffs and some catchy vocal
lines and keep things interesting through most of the album. This
isn't really my cup of tea, but I will admit that the band are quite good
at what they are doing and surely that is worth something in this day and
age.
[Daniel Hinds]
 BUNKER SOLDIER
Innuendo
(Neo Cultural Front)
Bunker Soldier are a new name to me, but this is apparently the band's
second full-length effort. Tim Tyran is the main force behind the
band, enlisting others to help out with keys, drums, guitar and vocals
on a few tracks and for live shows. The style on Innuendo
is generally in the electro/industrial vein with few surprises (good or
bad).
The album takes a little bit to get going, but once the vocals come
in, things begin to perk up. Tim shares vocal duties with Tony Greene
and Tom Pacia, but the style remains pretty consistent throughout.
Instead of the half-expected distorted gurglings, the singing is actually
clean and pretty solid throughout. There is a bit of a sneer to the
vocals, but they remain understandable and fairly melodic most of the time,
giving credence to the band's stated new wave influences. Similarly,
the guitars don't follow the typical pattern of punk/metal riff-o-rama.
The title track, for example, has some really effective clean guitar passages.
The songs themselves are probably the weak link of this album.
Not that they are bad, but only a couple of them really stand out as being
exceptionally good. "My House In Order" is the perfect blend of EBM
and industrial, with some very memorable vocal lines. "Amazon Girl"
is also noteworthy, having a distinct synthpop flavor without losing the
band's distinctive style. "Timmy Didn't Get a Buzz" is built around
an amusing sample and has a very energetic, rave feel to it.
One thing that bothered me a bit was the large number of instrumentals.
Not that these tracks were any worse than the others, but most of them
felt like they needed vocals, which is one of Bunker Soldier's strong points
anyway. Also the programming felt a little pedestrian at times, though
they usually made up for it with some interesting samples and off-the-wall
synths.
Bunker Soldier aren't a highly innovative act, nor is Innuendo
a must-have release. However, this album does make for a relatively
decent listen, especially if you're looking for something in the vein of
older industrial mixed with new wave influences. Also, the vocals
are strong and the few standout tunes make me think there are greater things
yet in store for us from Bunker Soldier. More info: http://members.aol.com/neofront
[Daniel Hinds]
 PETULA CLARK
Anthology: Downtown to Sunset Boulevard
(Hip-O/Universal)
Okay, this is one of a few off-beat releases I'm going to review this month.
Don't worry, it won't mean less of the standard Plague fare - I just wanted
to share my thoughts on a few artists that you might not run across normally
but who are worth checking out.
First up is this 2CD collection of tracks by British songstress Petula
Clark. While most of her biggest hits were released in the 60s, she
sustained a very successful career through her stage and film work.
Her brand of colorful and joyous pop music is pretty much the antithesis
of bands like Black Sabbath, so a little explanation is in order here.
When I was young (like 6 or 7), the first music I really remember hearing
and enjoying came from my parent's record and reel-to-reel collection.
We're talking about the Kingston Trio, Simon & Garfunkel, Peter,
Paul & Mary, the Limeliters, Elvis and Johnny Cash. One of my
favorite tunes, though, was "Downtown," which is probably Petula Clark's
most well-known hit.
I'm pleased to say that the quality of the song "Downtown" is reflected
in a number of the other tracks on display here. The general formula
is upbeat pop music with plenty of tambourine, swelling horns and big choruses.
Most of the early tunes were penned by songwriter Tony Hatch and these
are my favorites, such as the aforementioned "Downtown," "I Know a Place,"
"A Sign of the Times," and the fragile "Don't Sleep in the Subway."
On disc two, "Never Been a Horse That Couldn't Be Rode" is about as close
to rock as Petula gets, with a sound that reminds me a bit of Fleetwood
Mac. Her forays into country music ("Natural Love") are less successful,
but her attempt at a more modern sound ("Two Lives") is quite good.
Combining a fairly funky beat with one of the most memorable choruses on
the album, it's hard to believe this is one of the 'previously unreleased'
tracks.
Even in the 60s, Petula began doing musicals and selected tracks are
featured on this anthology from the likes of A Chorus Line, Jesus Christ
Superstar, The Sound of Music, Evita and Blood Brothers, among
others. I'm not a huge fan of musicals in general, but some of these
tracks are quite good (though I could do without pretty much all the Andrew
Lloyd Webber tunes...)
I'm sure a lot of readers will find Petula Clark to be too happy, precious
and, well, nice, but she has an amazing voice and the music is strangely
comforting. Part of it may just be nostalgia, but a great deal of
it is simply good songwriting. This collection is great because it
includes all the classics, along with some more obscure and unreleased
tracks, and it covers her entire career from 1964-1996. If you want
a complete break from all that is doomy and gloomy, give this a shot.
[Daniel Hinds]
 CONSOLIDATED
Tikkun-Survivor Demos
(Orchard)
My first experience with Consolidated was the truly fucked video for the
equally off-the-wall song "Consolidated." The song was a mess of
bleepy hip-hop with a very outspoken liberal message. It was certainly
original and enjoyable on some level, but I quickly lost track of the band.
Then I heard some cuts from '92s Play More Music and was quite impressed
by the progress Consolidated had made. The message was even more
heavy-handed, but the music had taken a much more serious and well-executed
hip-hop direction. The pairing up with Paris for the track "Guerrillas
in the Mist" was pure genius.
Well, it is 2000 now and the band has evolved quite a bit in the past
8 years. There is still a fair amount of hip-hop to be had, but there
is just as much melodic alternative guitar rock, too. Adam Sherburne
proves himself nearly as good at singing as he is at rapping, but I personally
find this new direction quite bland.
On the first song "Subtext," after the usual audience complaint at the
start, the band rolls into a very funky, 70s-style track with melodic singing
mixed with a more typical rap approach. The edge of some of the band's
earlier material may have faded into the background this time, but the
weirdness hasn't. Weird transitions and odd stereo panning shifts
make the song more interesting than many of the others. "28th Place"
falls more into the hip-hop category and isn't as effective overall.
"Ventana" treads dangerously close to mainstream alterna-rock territory,
something that happens a bit too often on this album. "Answering
Machine" follow suit, though it does feature some cool wah-ed out guitar
bits.
From here on out, it's pretty easy to divide the good from the bad,
with about an equal number of each. The rap-oriented tracks are cool,
the sing-songy rockers are blah. "The Chickens Have Come Home to
Roost" and "Behold the Power of Cheese" have some of the old energy, while
"Falling Through You" reminds me of more modern stuff like Tupac.
The sales of this album are supposed to be going towards a number of
good causes like NARAL and the like. I think it is interesting that
the in-your-face activism of earlier records has been toned down a bit,
in favor of putting their money with their mouth is and actually contributing
to getting something done instead of just bitching about it. While
I agree with most of the band's views, I've always been rather put off
by their militant way of trying to get them across in the past.
Is Tikkun-Survivor Demos worth getting? Tough call.
If you've enjoyed their past work, it is definitely worth checking out
and there are some high-quality cuts to be had here. On the whole,
though, this isn't Consolidated's finest moment and listeners new to the
band would probably be better served with Play More Music or Business
of Punishment.
[Daniel Hinds]
 CRO-MAGS
Revenge
(Cro-Mag Recordings)
The Cro-Mags were never my favorite of the NYHC bunch, but they certainly
did have a powerful sound and were one of the first bands to unite the
metal and hardcore crowds. Age of Quarrel is still seen as
a landmark record in the scene and I'm sure many devoted fans will be pleased
to see this collection of new tunes.
This isn't the complete Cro-Mags line-up from the olden days, but it
does feature bassist/vocalist Harley Flanagan and guitarist Parris Mayhew.
Fortunately, the band were smart enough to hook up with Rocky George, who
provides his usual brilliant soloing style. Rocky was always my favorite
member of Suicidal Tendencies and I'm glad to see him back in action.
Drummer Dave DiCenso rounds out the line-up, providing a solid if uneventful
performance.
"Premeditated" rips out of the gate with no warning and is a thoroughly
rousing blast of old-school hardcore. Harley sounds pissed off and
the tempo races right along. Then the band pull a 180 on "Jones,"
opting for a melodic pop/punk approach more akin to some of the mid-90s
success stories than real hardcore. Harley even sings, with is both
impressive and frightening for different reasons. Most of the songs
seem to alternate between these two extremes, though not all. "Can
You Feel?" is a bit of an odd one, with some strange chords and a more
experimental feel than I've ever heard from the Cro-Mags before.
It has the most modern sound of any of the tracks here, but fails to generate
as much excitement as the more traditional Cro-Mags numbers. There
is also a ten-minute 'bonus' track that is weird blend of guitar and drum
improvisation, which ultimately collapse under its own weight.
Revenge didn't really do much to improve my opinion of the Cro-Mags,
though I must admit I was a bit surprised by the diversity on offer.
The heads-down hardcore/punk tracks like "Tore Up" and "Pressure Drop"
may be hard to distinguish from one another, but they are also my favorites
of the lot. The more melodic tunes just seem to be lacking a bit
in the sincerity department. It could be an attempt to appeal to
a wider audience or maybe just a sign of maturity, but whatever the case,
I don't see it making the Cro-Mags stars anytime soon. Let's face
it - Harley's mug isn't exactly MTV material now is it?
[Daniel Hinds]
 DEFLESHED
Fast Forward
(Pavement)
It's hard to believe that Defleshed is only a trio - this sounds like a
fucking army! The wall of bitter death-thrash that erupts from the
word go is as fast as it is relentless (which is plenty). Taking
their cues from classic Kreator, Destruction and Morbid Angel, Defleshed
create a whirlwind of sound that is exhausting just to listen to.
Even more impressively, Fast Forward is packed with some superb
riffs and, despite the similarity between songs, it never gets boring.
Singling out particular songs for praise is difficult, as all are similarly
good. "Proud To Be Dead," "The Iron and the Maiden" and "Domination
of the Sub-Queen" are some of the best song titles, if that helps at all.
Seriously, though, this is one solid set and the quality never slips.
The playing on Fast Forward is impressive, to say the least.
The riffing is extremely fast and very tight and the rest of the band keep
up with no problem. The biggest weak-point would have to be the drum
sound, which seems a little weak compared to everything else, but the strength
of the music overshadows this flaw and you don't even notice it after a
while.
There isn't a whole lot to say about this album, as it is a very raw,
no-nonsense album. No long intros for these guys. They're happy
to jump straight into the fray with each song and the energy level never
drops even for a second. Wasn't it Dark Angel that called their music
'caffeine metal?' Well, Defleshed are even better suited for that
title and this album is highly recommended.
[Daniel Hinds]
 DOMINE
Dragonlord (Tales of the Noble Steel)
(Metal Blade)
This album had disaster written all over it: an unknown Italian power
metal band, a low-budget cover depicting Elric astride a dragon black blade
in hand, the goofy band photo with everyone posed around a sword, and of
course Metal Blade's history of unleashing the likes of Sacred Steel on
us. Now, this is where I'd like to say, 'But, alas, Domine are brilliant!'
but I can't. They aren't. But they're not that bad, either,
and a few of the tunes here are quite good.
The keyboard intro track is majestic and fairly well done, but very
predictable. Things improve when "Thunderstorm" kicks in, though.
A blast of double-bass speed metal with soaring vocals that break with
the typical Kiske/Tate worship this kind of music seems to attract.
The band's obvious love for all things of the fantasy realm comes through
loud and clear in the lyrics, as one listen to the epic "Last of the Dragonlords"
will indicate. Classic, mid-80s riffs ala Liege Lord are thrown together
with some symphonic keys for "Blood Brothers' Fight," with surprisingly
blah results.
From here, the band coast through a series of decent but forgettable
tracks until they reach the final cut, "The Battle For the Great Silver
Sword." This 13-minute behemoth is split into seven different parts
and is the most successful song on the whole album. Like a cross
between Maiden and Manowar's more epic moments, "The Battle…" moves from
one section to the next very fluidly, giving the song a very solid overall
structure. Quality riffing and a powerful chorus round out things
out and I must say I wasn't expecting a song this good after the 9 that
preceded it.
Just about everything on this album screams 'retro!' The artwork,
the lyrics, the riffs - it all smacks of mid 80s metal at its most underground.
Having said that, though, the speed metal bits and the orchestral elements
do give it a somewhat more up-to-date feel. Domine aren't in the
same league as bands like Defender or Rhapsody or even Pegazus, but they
aren't a total loss either. Hopefully they will build on their strengths
and write some more memorable tunes next time around.
[Daniel Hinds]
 EMPEROR
Emperial Live Ceremony
(Candlelight)
As the world waits for the next Emperor studio release, there is plenty
to keep fans happy until that day arrives. First, Ihsahn released
the neo-classical Thou Shalt Suffer opus earlier this year and is scheduled
to release the new Peccatum EP in April and a new album later this year,
too. If that isn't enough, Emperor themselves have issued a new live
video and this here live CD, taken from last year's extensive world tour.
After the flurry of outstanding live albums in recent months (The Gathering,
Iced Earth, Manowar, etc.), Emperial Live Ceremony comes as a bit
of a disappointment. Not that it sounds bad at all - in fact, the
sound quality is exceptionally good throughout. It is just that most
of the tracks lack that additional burst of energy that good live tracks
should have. They sound too neat and polished. While this is
a compliment to the band's playing skills (not to mention the engineer's
recording skills), it makes for something more akin to a 'greatest hits'
package rather than the fiery, adrenaline-soaked live document I was hoping
for.
On the bright side, the older songs do take on a new life here.
While the dark and fuzzy charm of tracks like "I Am the Black Wizards"
and "Night of the Graveless Souls" is lost, a new clarity and definition
is given, giving the listener a whole new perspective on them. The
latter of the two really comes to life and shows just how awesome Trym's
drumming skills are. The newer songs sound remarkably similar to
their studio counterparts on IX Equilibrium and Anthems to the
Welkin at Dusk, to the point where I found myself forgetting this was
a live recording at times.
Emperor have always followed their own path, so it shouldn't come as
a surprise that, contrary to most bands, their live record actually sounds
cleaner and more technical than most of their studio albums. The
stage raps between tracks is minimal but entertaining nonetheless.
There is a CD-ROM track on Emperial Live Ceremony, too, featuring
screensavers and a live video clip of the song "I Am the Black Wizards."
It is filmed pretty well, but Emperor isn't exactly the most visual band
in the world, making me think this CD is probably the better choice over
the live video released recently.
[Daniel Hinds]
 EYE
Politics Can Be Fun - Vol. 1
(self-released)
The last time I reviewed Eye, I felt sub-par production got in the way
of the music, so I am quite pleased to say that this isn't the case here--
Politics
is quite clear. The Devo-inspired weirdness is gone, too, making
Eye a fairly serious EBM act. The vocals sound recited from political-science
textbooks.... kind of like a Teutonic version of Consolidated! The
heavy left-wing political preaching is also similar to Consolidated! (no
militant-vegetarianism songs, though). Eye, however, samples from
Australian politicians rather than Jesse Jackson, and I must say Rev. Jackson
is much more pleasing to listen to. Samples aside, though, Eye does
a very good job at not falling into the typical EBM-isms and instead creates
a very unique sound. There are melodies to latch on to, as well as
rhythms that venture beyond boom-chuck. You can check Eye out at
http://www.mp3.com/eye
-- the promo info I received says that this CD is available there (including
bonus tracks), but I don't see it. Maybe that'll be in the near future.
Until then, you can check out another Australian electronic musician making
fun of McDonalds.
[Laird Sheldahl]
 FIERCE CULTURE
Misanthropy (EP)
(self-released)
Now, I gotta start by giving these guys some points just for starting their
album with a sample form the movie Heavy Metal - very cool. Musically,
Fierce Culture pursue an interesting path of violent electro/industrial
mayhem with processed vocals and guitars. A well-worn hybrid, sure,
but they do put an interesting twist on the formula.
Opening track "Mankind's Downfall" certainly lives up to the EP title,
with lyrics like 'I despise all mankind / I wish you all would die.'
Not surprisingly, the lyrics don't get any happier. "In Greed We
Trust" slows things down a bit musically, but the duo kick things back
into high gear for the savage "Thoughts of Murder." "Acerbated" returns
to a slightly more mid-tempo pounding rhythm with a very full, thick sound.
"Disease" sounds a bit hollow in comparison, but "Cyberclit" saves the
day with the most coherent vocal performance of the bunch.
Sound-wise, this CD is rather primitive. Very little in the bass
department is audible and the drums tend to get buried by the vocals and
everything else going on. I'd like to see the band lighten up a bit
on the vocal fx, too, as they kind of grated on my nerves after a while
(of course, perhaps that is the intention, looking at the title again...).
By the same token, I'd hate to see the band clean up their sound too much,
as it would undermine the aggression factor.
Overall, this is an imperfect but promising release. Fierce Culture
completely avoid the usual guitar/industrial paths (Ministry, Fear Factory,
NIN, etc.) and create something that is just as harsh, but in a totally
different way. The mix on the vocals and all the fx left me a little
put off, but the music end of things is pretty damn cool. More info:
http://listen.to/fierceculture
[Daniel Hinds]
 FOG
Jezabel's Dream
(Bethany)
Damn, this album is pretty fucking weird. The last time I heard something
this off-the-wall and genre-bending was Willow Wisp. Fortunately,
Fog is considerably better at what they do and Jezabel's Dream is
a suitably impressive debut.
Looking at the cover, I was thinking, 'Okay, this is either going to
be underproduced black metal or OTT goth rock.' "Three Days of Darkness"
starts in…and it's both! The double bass and riffing is very bm-ish,
while the clean deep vocals have a definite goth tinge. Then the
band kick into full gear and bring in some blast beats and death metal
vocals! By the time you're halfway through this 8-minute track, all
categorization is out the window. The song has a slower mid section
with some dramatic and ethereal keys, plus a fairly cool solo and some
kind of movie sample (?). The title track is next and features a
less chaotic arrangement, with a killer, heavy riff and some impressive
soloing. "Metapholic Vortex" has a more death-metal slant, but the
keys remain, reminding me a bit of the new Nocturnus.
As the album progresses, the death metal side of the band comes out
more and more, but never to the point where you could easily pigeonhole
the band. Also, the musicianship is top-notch, with some incredibly
dexterous leads thrown in from time to time. None of the songs are
particularly catchy (nor do they attempt to be), but they are richly textured
and make for good repeated listenings.
The production on Jezabel's Dream isn't stellar, but it's still
reasonably good and the guitars have a thick, heavy tone that I really
like. I think a lot of death metallers, who might not immediately
latch onto this based on the name and cover, will really dig Fog.
The death element is a big part of the band's sound, harking back to classic
Obituary at times and sounding more modern at others. The bm and
goth elements make for a nice diversion, too, and I think Fog definitely
have a bright future. More info: TerrorProduction@hotmail.com
[Daniel Hinds]
 haloblack
raw tension
(mp3.com)
The creation of one Mr. Bryan Black, haloblack has been kicking it in the
industrial underground for a number of years now. raw tension is
his latest collection of tunes and it is as inventive and diverse as all
his work has been, without losing the electronic foundation.
Remember the Hellbent project from the final days of Fifth Colvmn?
It involved members of 16 Volt, Chemlab and TKK, but Bryan played probably
the biggest role. If you're familiar with Hellbent, you'll immediately
recognize some similarities to haloblack, especially with Bryan's subdued
vocal delivery, but haloblack are considerably more, well, 'out there.'
The music has a much more experimental and darker feel to it. Even
the more accessible cuts, like the funky "blood rich heart," has a subtle
disturbing quality to it. Bryan's near-whispered vocals are part
of it, but it is also down to his choice of unusual synth sounds and samples.
haloblack utilizes guitar a fair amount, but it is always heavily processed
and is generally subservient to the electronics.
"decay (clean)" is anything but, with sparse, noisy beats and eerie
vocals. "balance (warzone)" is a great track that begins in a rather
meandering fashion before jolting into a driving, guitar-heavy tune.
This doesn't last long, though, as the song dissolves back into a chaos
of samples and abrupt rhythmic changes. "balance (deconstruct)" follows
directly and is strangely more cohesive. "fat09" is a little too
minimal, with an overly simplistic beat and fuzzed out guitars. "resonator"
takes on a more trance-techno feel, while the album closer "rubber alien"
has a very quirky, bouncy feel that reminds me of Thine Eyes (or should
I say Ml?).
One thing that you've got to love (or maybe hate) about haloblack is
the sheer diversity. No two songs cover the same territory, as the
album flows from experimental to industrial to trance to god-only-knows-what.
Yet, Bryan somehow holds it all together with an underlying feel.
If you dig creative, minimal-yet-involved electronic music with a dark,
edgy atmosphere, look no further. More info: http://www.mp3.com/haloblack
[Daniel Hinds]
 KOOL & THE
GANG
The Millennium Collection
(Mercury/Universal)
When it came to good-time music in the 70s, you couldn't do much to beat
Kool & The Gang. Mixing elements of jazz, R&B, funk and later
on disco and pop, the band created some of the most memorable hits from
the era, songs that still stand up today.
This 'best of' collection does an admirable job of pulling together
all their biggest hits from the early 70s up through the mid 80s.
While I'm sure this album is of little use to the serious fans of the band,
it is the perfect sampling of their work for the uninitiated. So
often, compilations like this throw in some lame unreleased or live tracks,
but here you just get eleven of their biggest hits and no filler.
The earlier, funkier tunes like "Jungle Boogie" and "Hollywood Swinging"
are the most fun and danceable. The band make great use of their
talented horn section on these cuts, not to mention some of the most fluid
basslines you'll ever hear. Still, my initial exposure to Kool &
The Gang came with their 1979 album Ladies Night, which is represented
here by the incredible title cut (just try to block out that horrible rap
version from a couple years back...) and the stylish "Too Hot." The
party atmosphere had been toned down a bit, but the polished, self-assured
sound was just as infectious and the standards of production they achieved
still amaze me.
While some of the later tunes didn't have the same energy as the 70s
material, they still cranked out great ones, too, like "Fresh" and "Get
Down On It," not to mention the ubiquitous "Celebration." "Big Fun"
even harks back to the party atmosphere of the earlier material.
The remaining tracks include "Joanna," "Cherish," and "Take My Heart."
Kool & the Gang were really an ensemble group - no one member stole
the spotlight - and that allowed everyone to shine. More importantly,
it allowed the band to focus on just creating some great songs and this
is the best collection of these tunes I have seen yet.
[Daniel Hinds]
 LITHIUM
Lithium (EP)
(self-released)
This three-song CD-R is the first release from Lithium, the new band formed
by Johnny Hagel (ex-Tiamat, ex-Sundown). Taking style cues from Sundown's
excellent Design 19 album, Lithium veer in an even more electronic direction.
The result is great blend of synth and guitar, making up for the general
lack of originality with quality songwriting and execution.
"Insect" is the first and probably strongest track on offer here.
With a driving bass-synth, the song features an incredibly catchy chorus
and a very metallic guitar tone. Vocalist Carl Nilsson (of Swedish
industrialists Moth) has a clean, powerful delivery that perfectly complements
the music. "Failure" has a slightly less melodic approach, with some
restrained fx on the vocals, but is a strong track nonetheless. "Ugly
Friend" takes a slightly more minimal approach and isn't quite as successful
as the first two cuts, but still isn't half bad.
This sampler is more of a tease than anything, as it leaves me wanting
more! The catchiness of Lithium's music is infectious and a full-length
by these guys should be outstanding, to say the least. Hopefully,
we'll see just such a release in the near future. Until then, write
to: lithium_mail@yahoo.com
[Daniel Hinds]
 MALEVOLENT CREATION
Manifestation (2CD)
(Pavement)
This double-CD set collects the 20 best tracks from Malevolent Creation's
career of evil. The last time I heard a full album by these guys,
it was the Retribution disc way back in '92. Their style of
low-end-heavy death metal seemed competent enough at the time, but became
rather tired after a few listens. Hearing tracks from the albums
the band has released since then highlights the fact that they haven't
really changed that much, which is good or bad depending on how you look
at it.
The cuts, "In Cold Blood," "Condemned" and "Nocturnal Overlord," from
their '97 release, In Cold Blood have by far the best sound of the
lot - very thick, crunchy production accentuates the band's forays into
hyperspeed riff land. The tunes from Fine Art of Murder, however,
suffer from a rather muddy sound and inconsistent quality. "To Die
Is At Hand" and "Bone Exposed" have a frenetic, Slayer-esque feel that
is quite enjoyable, while "The Fine Art of Murder" and "Scorn" sound very
unmotivated and are more of a chore to get through.
While I understand the desire to include mostly recent material, I would
have liked to have seen more songs taken from the early albums. Back
then, the band had a much rawer style, with some obvious Sepultura and
Morbid Angel influences. The promo copy I have only includes 16 of
the 20 tracks, though, so maybe the other 4 make up for this imbalance.
In the grand scheme of things, I can't see Malevolent Creation being
much more than a footnote in the chapter on death metal. They play
well and they aren't as bone-headed as Cannibal Corpse and their ilk, but
ultimately there isn't anything to really lift them beyond being a mediocre-to-good
band. I will give them credit for persevering through the dark years
of death metal and not succumbing to a trendier style. If you're
into death metal and have somehow never heard Malevolent Creation, this
set makes a great introduction to their various works. The released
version is supposed to contain a fifteen-minute live video, too, which
could be interesting.
[Daniel Hinds]
 THE MOODY BLUES
The Millennium Collection
(Polydor/Universal)
In the late 60s and early 70s, The Moody Blues were one of a number of
rock bands that blended pop melodies with some more experimental elements.
Utilizing orchestral instrumentation in conjunction with the usual bass/drum/guitar
set-up, the band delivered an unusual, symphonic rock sound on their highly
conceptual albums. While these ventures would set the stage for many
prog rock bands to come, The Moody Blues kept the music relatively straight-forward,
focusing on the songs and not the technique.
"Night in White Satin" is probably the band's best known hit and it
kicks of this 11-song collection. Not quite a ballad, the song has
a very majestic atmosphere to it that belies the usual garage-sounding
recordings from the era. "Ride My See-Saw" has a much more typical
upbeat pop feel to it, while "Question" falls somewhere between the two
and doesn't yield the same emotional impact of either.
As the band rolled into the 70s, a slightly more hard rock sound crept
into their sound. "The Story In Your Eyes" has a more rocking main
riff, but is tempered with smooth vocals and some bouncy piano. Similarly,
"I'm Just a Singer (In a Rock and Roll Band)" has a very distinct 70s rock
vibe. After taking a lengthy break for solo ventures, the band returned
in 1978 with the Octave album, which is represented here by the
emotive "Steppin' In a Slide Zone." The band's otherworldly style
really comes into focus on this one, with huge choruses and well-placed
synth lines.
The 1980s began well for The Moody Blues, as they released Long Distance
Voyager. I still remember hearing "The Voice" on the radio way
back when and it is just as memorable today as it was then. "Gemini
Dream" is a bit of a departure with an almost funky feel to the synths
that reminds me a great deal of ZZ Top's Eliminator period.
1983's "Blue World" shows a more relaxed and refined sound, but the catchy
melodies are as strong as ever. The late 80s weren't as kind, however,
as both "Your Wildest Dreams" and "I Know You're Out There Somewhere" sink
to the level of 'adult contemporary' or whatever the catch-phrase at the
time was for people like Steve Winwood and Richard Marx (yawn...)
The thing that impressed me the most about this compilation is how consistent
The Moody Blues style remained over the years. The instrumentation
and production techniques evolved with time, but the foundation of writing
melodic, catchy pop/rock songs never changed. Anyone looking to hear
one of the band's that helped shape progressive rock and rock in general
in the 70s is well advised to pick this up.
[Daniel Hinds]
NEUREPUBLIK
The Best Kept Secret in the Black-Dressed World
(demo)
The bio says this is "Goth, Industrial and Synthpop" and dang it all if
all three of those genres aren't apparent within the first 10 seconds of
the CD. It's all electronic and all one guy, with more synthpoppish basslines,
some goth tempos and atmospheres and some cookie monster vocals.
Argh, the cookie monster vocals! Neurepublik does a good job with
vocoded and harmonizer-treated vocals (somewhat like recent X-Marks the
Pedwalk) but the rigid, almost-timid distorted vocals ruin what is otherwise
really good dark synthpop for me. Once again, you can check this
band out for yourself at http://www.mp3.com/neurepublik
but you can't check out their cover of "Bela Lugosi's Dead" there.
That's OK, because tracks like "Way Out" and "the Real Me" are much better
(...than the cover).
[Laird Sheldahl]
 NOXIOUS EMOTION
Elements
(ADSR)
Noxious Emotion are pretty much the standard-bearers for industrial music
in the Northwest these days and are a fixture on electronic comps the world
over. Elements is their latest and, IMO, best album yet.
It continues very much in the same vein as Symbols, but also displays
some subtle progression and more diversity, making it much more listenable
as a whole.
"Nobelium" is a great opener, with its driving EBM bassline and melodic
synth washes. The vocals are dark but a little cleaner than usual,
especially during the chorus. The strangely-titled second track "x"
(come on guys, there are plenty more elements out there!) is a reminder
that Noxious haven't lost their edge. An up-tempo slab of classic
electro/industrial, this one should make a great club tune.
The new wave/synthpop vibe that was creeping into the band's sound on
Symbols
really starts to flourish on Elements. The first track to
really demonstrate this is "Iodine," which reminds me a lot of "Indefinite
& Unspecified" from Symbols, with its chiming melody and laid-back
rhythm. "Uranium" is another classic Noxious tune, with some of the
coolest synth sounds on the album. "Selenium" is probably the hardest-hitting
track on Elements and features one of the most infectious riffs
the band have ever penned.
Unlike some bands who only seem interested in the latest trends, Noxious
have a genuine love for this music. I mean, making classic, minimal
EBM in the year 2000 isn't exactly the formula for international stardom,
is it? Noxious aren't complex and they won't blow your mind with
unnecessary effects and samples. Instead, you get ten tracks of highly
danceable EBM with great melodies and that is far more interesting to my
ears.
[Daniel Hinds]
 PSEUDOCIPHER
Pseudocipher
(Gem Tree)
Pseudocipher is a heavily-electronic goth-rock group. Dark, slow
drum machines reminiscent of Sisters of Mercy combine with good, melodic
bass guitar and some hard-rock guitar. Some synths are there, too,
and then some somewhat-caterwauled female vocals or drippy male vocals.
The whole reminds me a little of early Sunshine Blind (a little) with a
lot more Christian imagery in their vocals. You can check out samples
at http://www.mp3.com/pseudocipher
and its well worth the time to do so. Sadly, my favorite track "An
Excerpt from Station 2" isn't there to preview.
[Laird Sheldahl]
 THE QUIET ROOM
Reconceive
(Metal Blade)
I've seen this band's name bandied about in the prog-metal circles for
quite a while now, but this is my first real exposure to their sound.
Frankly, I found Reconceive to be rather disappointing and unsatisfying
for a number of reasons. The Quiet Room is basically another case
of good musicianship overshadowing some rather pedestrian songwriting.
"Suffercation" is built around a fairly straightforward riff, with a
few non-standard chords thrown in at a couple points. The song itself
isn't too bad, but Pete Jewell's vocals tend to ruin it for me. He's
like a cross between James Hetfield and Ray Alder or something - melodic
yet gruff and kind of grating on the nerves. "Choke On Me" has some
cool percussion, but once again suffers from the staid guitar riffs and
irritating vocals. "Your Hate" has some cool keys and bass-playing,
but...well you get the idea. My favorite track was probably the instrumental
"Room 15," which had a slightly more classic progressive feel to it and
lets the whole band show off their talents.
Fans of the heavier, more modern-sounding Dream Theater might find The
Quiet Room right up their alley. For me, the chunky riffs and strained
vocals get tired really quick and all the kick-ass musicianship the rest
of the band provide isn't enough to redeem Reconceive.
[Daniel Hinds]
 RAGNAROK
Diabolical Age
(Head Not Found/Voices of Wonder)
This is an interesting, if somewhat unoriginal, slab of raw, Norwegian
black metal. Ragnarok have been around for a while (since '94), but
seem to have kept quite a low profile. I don't see that really changing
with Diabolical Age, either. It's a very well-played album
and is certainly plenty brutal, but it isn't an attention-grabber.
This is black metal suited more for the die-hard fans - no catchy melodies,
no beautiful orchestral arrangements.
"It's War" is an appropriate title for the first song, as the raging
riffs and blastbeats lurch forward like a battalion going to war.
The assault is relentless, too, despite a few change-ups throughout the
song. "Nocturnal Sphere" is longer and even more bruising, though
the title track does offer some hints of melody here and there. "Devestated
Christ" is another good track and demonstrates the band's obvious disdain
for all things Christian (er, well, at least I'm guessing that is the case
- the vocals aren't exactly the easiest in the world to decipher...)
"Certain Death" features a great driving rhythm and some of the rawest
blackened vocals I've heard in a while. Sadly, the bio says that
vocalist Thyme has parted ways with the band, so it will be a challenge
for them to find someone who can deliver this kind of intensity in the
future.
After 48 minutes of non-stop black metal battery, the final track "Postludium"
comes as almost a shock. Built entirely around piano and synth, the
song is majestic and well-executed, but seems somewhat at odds with the
more primitive approach taken on the rest of the album. Still, it
makes for a nice cool-down at the end of an intense album and shows that
Ragnarok aren't just one-dimensional.
Judging this band is a bit difficult for me. The playing is top-notch
and the production packs a solid punch, but the music itself doesn't move
that much (though it does get better as the album proceeds). Ragnarok
reminds me a bit of bands like Marduk and Gorgoroth, in that it makes for
a great backdrop to whatever you're doing, whether it is balancing your
checkbook, drafting a grand declaration of war on heaven or whatever.
But it isn't the kind of music you want to sit down with headphones and
really examine too closely, as there isn't a whole lot going on beyond
the brutal atmosphere of it all.
[Daniel Hinds]
 S.O.D. / YELLOW
MACHINE GUN
split 7"
(Howling Bull)
I managed to let this one slip through the cracks for a couple months now,
but no longer! This clear-yellow 7" is an absolute gem of pure hardcore
fun. The S.O.D. side features just one track, "Seasoning the Obese."
The band pays tribute to Slayer not just with the great cover art, but
also with the song itself. Not only does it feature some classic
(and totally shredding) Slayer riffs, but the requisite squealy solos are
in place and at one point Billy Milano barks out, "Do you wanna fry?"
It's funny because it's true…
The flip side features two of the best tracks I've heard yet from Japan's
premier hardcore exports, Yellow Machine Gun. These three young women
blast out the speed like no one's business. No nonsense, no frills
- just fast and in your face, the way hardcore outta be!
I'm sure this release is limited, so be sure to get a copy while you
can. More info: http://www.howlingbull.com
[Daniel Hinds]
 SCULPTURED
Apollo Ends
(The End Records)
Sculptured made a big impression on me with their unique (to say the last)
interpretation of the song "Iron Maiden" for the Maiden America tribute,
turning it into a bizarre gothic/jazz number. Fortunately, a good
deal of that originality and creativity is also evident on this, their
second full-length album. Mixing together elements of death metal,
progressive rock, jazz, folk and experimental music, they create a sound
that is moody, melodic and strangely cohesive.
The most notable feature of Sculptured's music is the use of horns.
In the past, bands like Death In June and Sear Bliss have impressed me
with their incorporation of trumpet into their dark sound, leading me to
wonder why more bands haven't tried this. Sculptured use both trumpet
and trombone fairly prominently, but instead of using them to give the
music a more mournful feel, they often lighten the sound a bit, giving
it a jazzy feeling. At one point in "Above the 60th Parallel," the
whole band breaks into short jazz section. Of course, this section
is sandwiched between some wonderful Maiden-esque harmony guitars and a
quirky, proggish ending. It sounds like a mess on paper, but in the
world of Sculptured, it all comes together quite nicely.
The vocals are split pretty evenly between a somewhat hoarse deathy
style and clean, mid-range singing. I can't say that either one impressed
me much, though I prefer the clean singing as it at least has some personality.
Fortunately, the lyrics are quite good, if a bit obscure. Apollo
Ends seems to be a bit of a concept album, with recurring themes of
the sun, illness, night and morning. Trying to make sense of it all
isn't an easy task, but it does guarantee repeated listenings.
The experimental leanings I alluded to earlier aren't as prevalent as
the more straightforward prog-rock and metal elements, but they still make
quite an impact. For example, "Washing My Hands of It" ends in a
flurry of television sound bites and "Apollo Destroys, Apollo Creates"
spends its first five minutes in a chaos of guitar noise before settling
down into a quiet and very beautiful clean guitar passage.
While Apollo Ends isn't a perfect album, it is a good one and
it shows that Sculptured isn't afraid to experiment. The integration
of so many different styles makes for an intriguing listen and leaves me
wondering what new territories they will explore in the future.
[Daniel Hinds]
 SEAR BLISS
Souldive
(self-released CD-R)
This is a two-song, eleven-minute release that serves as something of a
stopgap for those fans who just can't wait for the next full-length album
(like me!). The two songs on offer here are branded with the trademark
death/doom sound that Sear Bliss does so well, but they also show some
progression and added complexity.
"Souldive" charges out of the gate at full speed and demonstrates a
fiery aggression that reminds me more of their Phantoms release
than their last one, The Haunting. However, the song takes
the listener on many twists and turns and the trumpet plays a more prominent
role than ever. András Nagy's vocals are sick as ever, but
I think they actually blend with the music better than they have in the
past. "Moments of Falling" is a little less intense (just a little,
though!), but is actually my favorite of the two. The song boasts
a complex arrangement that gives Opeth a run for their money and just drips
with atmosphere. The melding of high-speed riffs and blastbeats with
acoustic guitars and trumpet is stunning and Sear Bliss make it seem effortless.
The break in the middle of the song is gorgeous and features a truly memorable
guitar solo.
The sound quality, while not stellar, is actually pretty damn good for
what is essentially a promotional demo. András assures me that the
final album will sound much better and I have no doubt that it will.
Sear Bliss are using this CD-R to find a new label and, based on the quality
of these two tracks, should have no problem finding a good one. The
disc is available to the public as well, so write and find out how to get
a copy: colorato@mail.matav.hu
[Daniel Hinds]
 THOU SHALT NOT
Thou Shalt Not
(ADSR)
Thou Shalt Not hail from the dark recesses of Ohio and are one of my favorite
acts yet on ADSR Musicwerks. They play a dreamy brand of electro-synthpop,
with melodic male vocals, clean synthlines and some quirky samples around
the edges.
"Relief" kicks off with some nice vocoded vocals over an ambient backdrop,
before the upbeat "Something Dire" kicks in. Alexx's vocals are subdued
but very effective, reminding me a bit of Tanner from Thine Eyes.
"Adem" is just as varied, with a very clean, harmonic chorus, along with
some funkier beats and distorted vocals. "Falling Sky" is tuned in
more with the standard Euro synthpop sound, but has a nice dark edge to
it as well. "Sand and Wax" kicks the BPM up a bit and features one
of my favorite samples I've heard in a while: a woman saying "I know
I can change you/Because I love you." There is also a classical element
that creeps into TSN's sound at times (check out "Polarity") - it's nicely
done and I'd like to hear more along these lines in the future.
One of Thou Shalt Not's main strengths is their ability to create mood.
Their music has a melancholic atmosphere, but never becomes depressive.
The long filter sweeps and heartfelt vocals work wonders and the band are
good at making the songs flow - good arrangements and well thought-out
song order. The memorable vocal melodies ("Idol" is a great example)
are also very impressive.
Thou Shalt Not have created a pretty solid sound with this album.
There is a Depeche Mode influence, especially in the way they smoothly
integrate non-melodic sounds in a highly melodic framework. They
also hark back to Bigod 20 with their use of metallic percussion and distorted
beats as the basis for their highly-rhythmic songs, but TSN definitely
have their own style. A strong debut release that should definitely
garner the band some international attention. More info: http://artists.mp3s.com/artists/11/thoushaltnot.html
[Daniel Hinds]
 THROES OF DAWN
Binding of the Spirit
(Avantgarde/Wounded Love)
Cool - more Finnish metal! My first exposure to this black(ish) metal
outfit was their second album, Dreams of the Black Earth.
I was quite impressed with the band's ability to combine classy synth melodies
with grim vocals and a gloomy atmosphere. Binding of the Spirit
continues in the same spirit with a little more polished production and
more varied songwriting.
Categorizing Throes of Dawn is an exercise in futility and their bio
resorts to just calling them 'dark metal.' The vocals are almost
exclusively of the grim black metal variety, but the music is an interesting
blend of styles. The tempo is usually kept fairly moderate, but it
never becomes plodding. While I could see this band appealing to
some doom fans, the closest they get to that genre is the slow and majestic
title track. The riffs and melodies bear some similarity to bands
like Borknagar and some of the more melodic black metal bands out there.
There is also a subtle but clearly audible folk influence to the band's
music, particularly evident on songs like "The Warprophet Dreams."
The 3/4 time signature that a number of the songs seem to have further
adds to this perception, as does the effective use of acoustic guitars
at appropriate times ("The Hermit" and "On Broken Wings of Despair" are
good examples).
I hate to say it, as it sounds so un-metal (heh...), but Throes of Dawn
write some truly beautiful songs, like the wonder of the cosmos on a clear
night. The band even hint at some prog/space-rock influences on "Master's
Garden, with some very atmospheric and technically adept guitar playing.
Metal fans who dislike keyboards will likely be turned off by Throes
of Dawn, as it plays such a prominent role on this album, but that's their
loss. These guys do a really good job of incorporating synths into
their sound and making everything flow together. That is perhaps
Throes of Dawn's biggest asset - their ability to write these incredibly
fluid songs that just draw you in and keep you involved for the entire
journey. Their music entrances the listener, instead of beating them
over the head with trying to be the fastest or most brutal or whatever.
Throes of Dawn aren't blazing any new trails here, to be sure, but neither
are they blindly copying those who have come before. The important
thing is the music and these guys have really delivered a powerful collection
of hauntingly beautiful metal songs and for that reason alone demand attention.
[Daniel Hinds]
 TRANSPORT LEAGUE
Satanic Panic
(Pavement)
Right away, I wasn't happy with this release, as the band pose with identical
white work shirts like Clutch or something. Pressing play on the
actual CD and I got pretty much what I expected - nu-metal ala Misery Love
Co., recent Sepultura and about a zillion others. While they do succeed
with creating one or two catchy tunes, Transport League generally fail
to create anything new or engaging.
"Hell Predicted" kicks things off in rather bland style, while "Plague
Ship" at least offers a somewhat interesting blues rhythm. "Neckdraft"
is one of the good 'uns, with fairly catchy main riff and chorus.
"Man Sized Drain" is also fairly successful, utilizing a faster tempo than
most of the other tunes. "Last" has a slight hint of Sabbath and
another decent chorus.
The rest of the album, however, is pretty damn boring. The production
is par for the genre: loud bass, heavy guitars and crap-sounding
drums. I'm not a fan of this kind of music anyway, so I guess I should
just be happy that there were even a couple likable tracks to be had here.
Still, Transport League do nothing to distinguish themselves from the growing
horde of similar bands and don't write interesting enough songs to save
the day.
[Daniel Hinds]
 UNDER THE SUN
Under the Sun
(Magna Carta)
Wow, this certainly has been the month for diverse releases! Here
is yet another - an interesting prog rock band called Under the Sun.
While all the prog staples are present - complex arrangements, weird time
signatures, melodic vocals and too-clever song titles like "Seeing Eye
God" - Under the Sun have a great deal of their own personality, too.
"This Golden Voyage" is the 7+ minute opener and makes a strong cornerstone
for the album. One of the album's most complex tunes, the song mixes
acoustic and electric guitar with a decidedly 70s atmosphere, especially
in the vocal department. "Tracer" shows a slightly more metallic
edge, while ""Gardens of Autumn" features some cool Hammond organ-like
keys and harmonized vocals. The aforementioned "Seeing Eye God" has
a neat main riff, but falls prey to a slightly too poppy chorus.
For the more technically-minded musician types out there, check out
"Perfect World." Giving Dream Theater a run for their money, this
quirky tune features some bizarre rhythms and change-ups, not to mention
some dead brilliant bass and guitar playing. The more downbeat "Reflections"
doesn't fare as well, coming off as a bit dull, but the bagpipe-led "Breakwater"
sets things right again and includes some of the finest playing on the
whole album. The album closes with a ten-minute epic called "The
Time Being." There is an almost 60s sense to some of this song's
melodies, harking back to some early Moody Blues and Pink Floyd, though
much more complex in structure.
Under the Sun get points for not trying to show off at every turn.
While they do make their exceptional talents obvious on a number of occasions,
they stay away from pointless wanking and keep the focus squarely on the
songs. The band seem to shy away from the 'progressive' tag, but
this is pure prog rock and will appeal to fans of that genre who want something
a bit heavier than Yes but not as metal as Fates Warning. More info:
http://www.underthesun-uts.com
[Daniel Hinds]
 [various artists]
Power From the North - Sweden Rocks the World
(Digital Dimension)
Now here is a cool compilation concept - modern-day Swedish rock/metal
bands covering classic Swedish rock/metal bands! The diversity of
artists is impressive, from melodic hard rockers to death metal to all-out
thrash and everything in between. The best part is that, by and large,
these tunes ROCK!
In Flames kick off with a rousingly heavy (yet incredibly melodic) version
of Treat's "World of Promises." After the awesome they did with Depeche
Mode and now this, I'm thinking these guys should do more covers.
Lost Souls deliver a more brutal blow, with a harsh take on Agony's "Deadly
Legacy." Not as endearing as the In Flames track, but powerful nonetheless
and armed with a great chorus.
Things take a huge turn to the melodic side with Locomotive Breath's
power metal version of Europe's "Scream of Anger." Being an American,
I have a rather negative impression of Europe still, though I've heard
that they actually delivered some quality songs in the early days.
This must be one of them, as it really moves and reminds me a bit of late-80s
Riot. Entombed turn in rather poorly produced take on Stillborn's
"Albino Flogged in Black." Fortunately, the performance is strong,
with clean, dark vocals juxtaposed with the usual Entombed rasp.
Electric Boys are another band I remember disliking based on their MTV
appearances back in the 80s, but Lion's Share supply a pretty cool, funky
version of "Ready To Believe" that makes me question my judgement.
The song features some cool riffing, a great solo and a very catchy chorus.
Before this review gets too sappy with my slobbering praise, Transport
League manage to break the spell. Choosing Glorious Bankrobbers'
"Crazy Sioux" for demolition, the band just aren't up to the task.
Their brand of modern proto-metal and harsh vocals just doesn't jibe with
the groovy, bluesy tune (although the harmonica was an inspired addition).
Fortunately, Glory get things back on track with a tremendously original
version of Yngwie's "You Don't Remember, I'll Never Forget." They
turn it into a slow, acoustic ballad with very soulful vocals, giving the
song a whole new dimension. The Crown will send your head spinning
with their turbo-charged thrashing of Bathory's "Burnin' Leather" - definitely
one of the album's best.
HammerFall sound like HammerFall on Heavy Load's "Run With the Devil,"
which is a good thing in my book. Heavy Load were arguably the original
Viking metal band and it is nice to see them get some recognition.
Gooseflesh misstep with Trash's "Boogie Woogie Man," coming off as just
rather silly and repetitive. Treasure Land offer John Norum's "Love
is Meant to Last Forever," a very melodic track with some amazing guitar
playing (big surprise). Critic darlings The Haunted show off new
vocalist Marko Aro on an interesting interpretation of Candlemass' doom
classic "The Well of Souls." The song begins almost identically to
the original, even the vocals, before the band shift into overdrive and
turn it into a thrash assault of the first order. Marko's vocals
are an improvement over Peter's irritating shrieks and have some almost
death metal overtones.
Up next is a band I've never heard of covering a band I've also never
heard of, namely The Quill doing November's "Mount Everest." The
style here is keenly influenced by early 70s hard rock and the result is
a very convincing slab of blues-infused metal that makes me want to hear
more. Southpaw bring us a slightly modern but mostly faithful rendition
of Yngwie's "Disciples of Hell," with powerhouse Meshuggah closing out
the disc with a live version of Whimzy's "Attacked By a Shark." This
latter track had some potential, but the recording quality is rather poor
and sounds like a bootleg.
Overall, I was incredibly pleased with the results on this album.
Sure there were a couple of duff tracks, but the hit/miss ratio is much
better than is normal for a compilation, especially one that is all covers.
Anyone interested in any kind of Swedish metal, past or present, is advised
to pick them up immediately.
[Daniel Hinds]
 JOE WALSH
The Millennium Collection
(MCA/Universal)
Joe Walsh is one of those artists I've always liked when one of his tunes
came on the radio, but I never investigated any further. The title
of his 1991 album Ordinary Average Guy pretty much sums up his look
and sound - nothing flashy about his look or his music. Just very
straight-forward, honest rock 'n' roll with a definite blues and funk underpinning.
Unlike some of the releases in The Millennium Collection, this
album isn't career-spanning, instead focusing on just his early, pre-Eagles
work. It begins with three tracks from his days with The James Gang,
including the exceptionally catchy "Walk Away" and the quintessential 70s
rocker "Funk #49." The third tune, "Midnight Man," is a bit more
downbeat and, IMO, doesn't suit Walsh's style as well. "Mother Says"
shows a slightly more experimental side to his work, with a somewhat progressive,
piano-laden mid-section. "Turn To Stone" is a little moodier, but
ends up being one of the best and most rocking songs of the bunch.
"Meadows" kicks off with a riff uncannily reminiscent of "Woman From Tokyo,"
while "County Fair" has a drawn-out, somewhat psychedelic vibe to it.
The ultra-bluesy "Rocky Mountain Way" closes the album in fine style.
Joe Walsh is one of those guitarists who may not be a technical wiz
like Joe Satriani, but his playing is considerably more distinctive and
emotional. His twangy solos are the heart of each song and give a
taste for the influence he would have on the Eagles style later on.
His attitude towards arrangements is great, too. Instead of following
any formula, he seems to follow the "whatever works," which leads to some
really interesting detours on songs like "County Fair" and "Mother Says."
I'd like to have seen some of his 80s and 90s tracks included on this album,
but as a document of his early career, it's pretty good.
[Daniel Hinds] |
