1349
Beyond the Apocalypse
(Candlelight)
Rating - 8/10

With so many bands going on and on about Armageddon this and apocalypse that, it is nice to see that at least one band is looking beyond that catastrophic event.  Planning ahead is important.  I don't know where I'm going with this so let me just say that Frost is still playing drums for 1349 and sounds better than ever.  In fact, the whole band sounds considerably better here than they did on the rather dismal Liberation last year and the production, while still raw and thin, is one hundred percent better.

"Chasing the Dragons" might sound more like some kind of Dio prequel, but it is in fact a high-speed blast of black metal fury that rivals Frost's main forum for satanic self-expression, Satyricon.  The title track follows suit with some jumpy, erratic riffs, while "Aiwass Aeon" screams along like old-school Emperor sans keyboards.  "Perished in Pain" is just plain bloody fierce, while "Singer of Strange Songs" incorporates some chunkier, very stark riffs that remind me of Khold.  "Internal Winter" starts off in doom mode, but ends up racing through a variety of just plain crazy fast riffs, one more insane than the last.  "The Blade" closes the album on a very atmospheric note, kicking off creepy ala Venom's "In League With Satan" before brining in some gothic keys and finally that hellish guitar tone.

The sound on Beyond the Apocalypse is primitive, but carefully so.  These are seasoned musicians and it is clear they work hard to achieve this wall-of-sound production that eschews bass just as it does all that is holy.  Dressed in studded leather and bullet belts and draped in spectral light, these corpse-painted Norwegians grimace and breathe fire with the best of 'em and it's good to hear their music is finally coming in line with the attention given to their image.  http://www.legion1349.com
[Daniel Hinds]

AGATHODAIMON

Serpent’s Embrace

(Nuclear Blast)

Rating - 8/10

AGE OF SILENCE
Acceleration
(The End)
Rating - 9/10

Age of Silence has got to be one of the most unique bands that I have heard since In Extremo; I can easily say that I have never heard anything like it. Blending very well done metal of various subgenres with fast technical piano, big band and orchestral elements, brings about a much-needed fresh concept to music.

At first listen of the opening track "Auditorium of Modern Movements," the elements sound almost sloppy, but once into the track it becomes apparent that it is not necessarily sloppy, but faster and more in depth than I was expecting to hear.  Their original approach continues on throughout the album, adding later some electronic programming to further broaden their spectrum of sound.  Lazare's somber, yet powerful vocals sound strangely familiar, somewhere between the likes of Savatage, Angra or Iced Earth.  On track six they work in some atmospheric keyboards that really fill out the song, along with the piano work that defines them.  As a keyboard player myself I find use of keys and piano to be a strong suit for any band, and Age of Silence pulls it off with apparent ease, even as complicated as the parts may be.

Age of Silence's Acceleration is a magnificent album, high production quality, and a very talented group of musicians.  I would recommend this album most to fans, but to those who listen to the likes of Therion, Dream Theater, or Yngwie J. Malmsteen in particular.  http://theendrecords.com
[Eric Pioszak]

ALGHAZANTH
The Polarity Axiom
(Woodcut)
Rating - 6.5/10

Oh damn, I have a hard enough time reading metal bands' names, but to have one like "Alghazanth" typed out in spastic-evil-looking font is just plain mean. Who am I reviewing?   Well, I guess easy-listening this ain't, and I figured it out.  We've got some quite decent Finnish Black Metal here-- so the easy comparison would be Dimmu Borgir; I bet they get their fair share of this comparison and not without reason.  With 6 band members the sound becomes thick enough as to almost be a drone, but the musicianship is tight and crisp and achieves that larger-than-life sound that Black Metal bands get when they are good.  I think the major feature of this album-- which will be a down-side to some listeners and a bonus to others-- is that this album is totally by-the-books Black Metal.  Alghazanth executes a good formula well, but in doing so flirt with being generic (inasmuch as a Black Metal band can be called "generic," especially with a name as odd as they have).  http://www.alghazanth.com
[Laird Sheldahl]

AMORPHIS
Far From the Sun
(Nuclear Blast)
Rating - 9/10

The one band that I ever truly loved from the Relapse roster and they lost them to Nuclear Blast.  Granted, these Finns have progressed quite a ways from their early death metal roots, but it has been a natural evolution that has resulted in one excellent album after another.

As usual, Amorphis has frontloaded the album with one of the best songs, if not the best, in this case "Day of Your Beliefs."  Taking a catchy, folky melody, the band builds up an epic, rocking song that includes suitably radio-friendly chorus.  Middle-eastern influences seep into "Planetary Misfortune" while "Evil Inside" strikes a strange balance between modernity and retro bliss.  "Ethereal Solitude" features some ominous atmospherics juxtaposed with a laid-back reggae-infused riff, while "Killing Goodness" has a much harder rock sound and some thoroughly 70s prog-rock keys.  "Higher Ground" proves the band still knows how to write those choruses that stick to your brain like glue.

Musically, Amorphis manage to infuse their compositions with some kind of magic, as they never fail to evoke strong emotions.  Part of it is the choice of instrumentation, with the 60s-era keyboard tones really adding to the atmosphere, but also the playing itself, especially the extremely graceful guitar playing.  The lyrics are intriguing, relying on the imagery and sound of the words themselves rather than any overt statements.

Amorphis is one of those bands (like Katatonia and Sentenced) that has taken the extreme metal base and built a sound entirely their own.  In this case, the band takes on some unique 70s, folk and eastern vibes and creates a sound that is huge and yet very personal.  It's a shame that vocalist Pasi Koskinen has jumped ship, but hopefully an equally talented singer can be reigned in to keep Amorphis going for many years to come.  In the meantime, enjoy Pasi's swansong, another fine outing from the land of a thousand lakes.  http://www.amorphis.net
[Daniel Hinds]

AMPS II ELEVEN
Amps II Eleven
(Smog Veil Records)
Rating - 7.5/10

It is nice to see punk and garage music finally become underground and fresh sounding, especially with the likes of what passes for punk in pop music nowadays. Amps II Eleven is another great example of this trend and I welcome them.  Not to mention the reference to Spinal Tap for the band name as well.

I am finding it difficult to really have much to say about this CD, except that I like it.  The production is very blue-collar, which reflects the band's work ethic of playing live about 100 times a year.  The sound on the CD very much reflects what the band probably sounds like live.

Gruff vocals over mid-paced simple riffs make this CD a good time and hopefully an indication of what A211 is like in concert.  Being that the band appears to be from Ohio, maybe I will get a chance to find out firsthand.  http://www.amps2eleven.com
[Victor Mejia]

ANCIENT
Night Visit
(Metal Blade)
Rating - 7.5/10

Ancient always seemed to me like a band that owed its success to being in the right place at the right time rather than to any particularly good songwriting or musicianship.  If they hadn't been from Norway, I'm sure they would have been written off even by Cradle of Filth fans long ago.  Their persistence always seemed ill-advised before, but I have to admit it may finally be paying off as Night Visit actually has some charm to it.

Elementally, Ancient is still rowing the same longship.  Rough, fast black metal aglow with grim vocal glee meshes with gothic keyboard interludes and occasional female vocals.  Bringing everything together into a slick arrangement is the tricky part, but they succeed surprisingly well with tracks like "Envision the Beast" and the suitably grandiose "Night of the Stygian Souls."  Clocking in at nearly eight minutes, "The Truth Unveiled" is a good capper to the record, though two bonus tracks follow it.  Both of these latter cuts are instrumentals, the first a night-sky ambient piece and the latter a strange carnival nightmare.

Though the band co-produced the album in an Italian studio, they wisely went to Fredrik Nordstrom for the mix and the results are rock solid.  It's interesting that every member of the band writes now, too, which I think helps make this a bit more diverse than your average black metal record (or your average Ancient album for that matter).  Aphazel's raspy vocal style is nothing to write home about, but I've heard many, many worse and at least he doesn't try to 'sing.'  I'd be lying if I said I plan to listen to this album a lot in the future, but credit where it's due - Ancient really has come a long way and with Night Visit are finally climbing out of the 'mediocre' category.  http://www.ancientband.com
[Daniel Hinds]

ANTHRAX
Music of Mass Destruction (CD+DVD)
(Sanctuary)
Rating - 8/10

As far as I'm concerned, this is the first truly legit live album from one of thrash's founders.  Long overdue, the aptly named Music of Mass Destruction is a solid meshing of new tunes with the classics and captured with a reasonable amount of energy at a Chicago gig.

"What Doesn't Die" makes for a good opening track here just as it did on We've Come For You All.  John's voice is clearly not as polished as in the studio but stands strong nonetheless, while the musical end of things is just as technical and tight as you would expect from such pros.  The drum sound is forceful yet feels a bit murky at the same time, which is odd, but there is just no faulting Charlie's performance - the man is truly a machine!  Just check out "Nobody Knows Anything" - whew…  Other tunes that come alive include "Refuse to the Denied," "Caught in a Mosh," "Got the Time" and the always anthemic "I Am the Law."

In addition to the CD, you get a DVD of the full concert, including such killers as "Be All, End All," "Bring the Noise" and "Metal Thrashing Mad" - odd songs to be excluded from the album, particularly in favor of filler like "Antisocial" and "Inside Out."  The result is a strong live effort that falls just shy of being a classic live album, with the bonus of a well-filmed and more complete DVD.  http://www.anthrax.com
[Daniel Hinds]

ANVIL
Back to Basics
(Screaming Ferret)
Rating - 7.5/10

Seeing another old-school metal band still plugging away always warms my heart.  Though the band's post-Strength of Steel output has been somewhat erratic quality-wise, it has been plentiful and I'm glad to report that their latest is one of the strongest efforts in recent years.

"Fuel For the Fire" is a hard-hitting start to the proceedings, while "Keep It Up" has more of that rock 'n' roll vibe Anvil does so well.  One of the more interesting and impressive numbers is "Song of Pain," which harks back to the more emotional tunes of yesteryear such as "Scenery" or "Make It Up To You."  As much as I love the harder side of Anvil, I've always liked that they had this balance to their sound and I think it has been a bit lacking in recent years, so this tune is doubly welcome.  "The Chainsaw" is notable for sounding like a twisted version of Priest's "Rapid Fire," while "Cruel World" has traces of "Beyond the Realms of Death" in it.  "Fast Driver" is an energetic and fun way to close the album, but somehow I feel they could have come up with something a little more creative for a title/chorus.

The bonus DVD is pretty cool to, featuring nine tracks from Anvil's '98 performance at Wacken.  The mix is a bit dry (esp. on the vocals) and Lips' solos tend to get lost, but overall it sounds and looks pretty good.  You really get to appreciate how incredibly underrated Robb Reiner is as a drummer and the nine-minute version of "Mothra" (complete with dildo-assisted guitar solo) is classic.  Add that to a brand new album that is the band's best in years and you have a seriously worthwhile package here.  http://www.anvilmetal.tk
[Daniel Hinds]

ARSIS
A Celebration of Guilt
(Willowtip)
Rating - 8.5/10

I welcome the release of Arsis’ A Celebration of Guilt.  This is the type of CD that proves musicality can definitely exist within the realms of backbreaking riffs and jackhammer drums.  This is the kind of CD that upon listening brings out comments like this is far too good to be death metal and yet is not so melodic that Arsis would be branded a couple of pussies by more hardcore listeners.

The compositions on this CD are incredibly tight and well-played.  All of the songs are written by James Malone who does all the vocals, guitars and bass playing on this CD.  Michael Van Dyne completes the duo with his work on the drums.  It makes sense listening to this that other than drums, all instrumentation would be done by one person as there is a sense of harmony between the different instruments that is lacking in so many CDs.

The production on this CD is a bit on the downlow, but it works really well to give this CD that underground feel.  I think something would definitely be lost if this were a more polished sounding CD.  As is, all elements are clearly audible and mixed well together, the vocals a bit low.  In all, the album’s production has a bit of an older black metal feel to it, which in part is why the melodiousness of the music I think works well with the production.

If Arsis stays together my main questions will be how will this band tour or perform live.  What duties would Malone be willing to give up to other people since he can’t play multiple guitar lines and play bass live?  And in adding additional members would the cohesion so inherent to this release be lost?  Only time will tell, but I really want to give these two guys some props for the release of this CD.  http://www.worshipdepraved.com
[Victor Mejia]

ASRAI
Touch In the Dark
(Transmission)
Rating - 7/10

Touch in the Dark is a subtle gothic album by Asrai.  The quintet successfully created an emotional, dark, and catchy record.  Margriet Mol gives vibrant vocal tracks and Rik Janssen executes some excellent harmonies.

They maintain a consistent flow throughout the album.  Unfortunately, it is so consistent it becomes routine.  “In Front of Me” holds an apparent industrial undertone.  The strong groves continue into “Pale Light” before slipping into the slower and darker realm of “Whisper.”  “Restless,” “Touch in the Dark,” and “Tower” are good songs, but nothing spectacular stands out to me.  “Dream” kicks in with a faster pace, and “Child,” “Garden,” and “Shadows” continue the melodic riffs and catchy tunes.

Overall, the sound is excellent.  There is a nice collaboration between the vocals and other instruments.  Fans of Lacrimosa and Within Temptation will probably like this album.  http://asrai2.homestead.com
[Lo Walker]

ATROCITY
Atlantis
(Napalm Records)
Rating - 7/10

Having formed almost 20 years ago, Atrocity has yet to lose a step in their brand of operatic death metal.  Having taken a venture into more electronics to close the millennium, this 5 piece went on hiatus for a few years and rediscovered the sound that established their fanbase through the majority of the ‘90s.

This is a concept album encompassing the history of Atlantis and the Golden Age.  Touching base on the old world of the Gods in what is a sometimes frightening and hardly subtle fascical leanings with opening tracks “Reich of Phenomena” and “Superior Race.”  This is the history preceding the mighty city of the God’s falling beneath the water, so in part this idealized superior race of men fate was sealed by the sea that swallowed them.

This album offers depth and complexity, both in its story telling and in the breadth of the music involved.  Drummer, Martin Schmidt, is key, holding the music together.  The CD is really all over the place, but finds its strengths in the faster harder metal songs such as “Reich of Phenomena” and in the more Gothic operatic pieces like “Omen” and Atrocity are at the best when successfully blending both elements like in “Apocalypse.”  The weakest moments on this album is when they venture into “newer” metal sounds like in “Atlantian Empire” and “Gods of Nation.”

A track that feels completely out of place on this CD is “Cold Black Days.”  I expect this to probably be pushed as a single as it has a definite crossover feel.  It is a blend of goth and metal, is quite catchy, but definitely does not sound like anything else on this CD.  I, for one, like this song, but I don’t think it fits the mood of the rest of this CD.  It proves that Atrocity can write catchy, more commercial material successfully.  At other points in the CD this is another failure as there are some choruses that have a sing-a-long feel that fall far short of this song.  http://www.atrocity.de
[Victor Mejia]

AZRAEL
Into Shadows Act II: Through Horned Shadows Glimpsed
(Moribund)
Rating - 8/10

My first reaction to this album is, 'Wha…?'  Expecting the usual unsavory blast of cultish black metal from a Moribund release, it took a bit of getting used to Azrael's considerably stranger and more experimental approach to the genre.  The laugh and belch that kick off this album are certainly as incongruous as any other element to be heard later on.

Track one starts with some slightly melodic post-indie clean guitar lines before pulling up short and launching into a full-on, treble-only black metal rage.  Before the twelve minutes are up, though, the band manages to work some slower Darkthrone passages in, as well as some unspeakably fast chaotic bits, with the vocals never descending from a pained shriek that is utterly indecipherable.  Arctic and dissonant riffs battle for supremacy on the second (even longer) cut.  Track three (sorry, they don't seem to have titles as far as I can tell) really reaches into the abyss, with ambient strings and textures defining a truly eerie atmosphere.  When the speedy black metal returns on the following track, it almost feels like a letdown, as it pulls you back to reality too quickly.  The spacey mood returns later though, especially on the gloomy sixth song.  The final tune is a bleak acoustic number that reminds me a bit of Agalloch.

Azrael impressed me most when they were exploring the boundaries and delving into the murkier atmospheric depths, something they will hopefully do even more of in the future.  As far as the more straight-forward black metal moments, they do a decent job, managing to sound old-school without sounding like a copy.  For those who like the mood of true black metal but want something a little more eccentric, definitely check this out.  http://www.moribundcult.com
[Daniel Hinds]

BELPHEGOR
Lucifer Incestus
(Napalm)
Rating - 8/10

Nothing says Satan like serpents and naked nuns, clearly.  In case you might look at the cover and think it was some kind of happy church picnic, Belphegor wisely put the word 'Lucifer' in the album title, too.  Hailing from Austria, these blood fiends have been sharpening their axes over the years, with increasingly lethal albums.  This is their fourth and, while it remains in the same vein stylistically as the others, they punch up the production quality a couple notches.

In case you are wondering, the style on display here is high-speed black metal with a mix of deathy and grim vocals.  The drums are delivering blastbeats on a regular basis, while the guitars alternately churn and soar, never giving away a wealth of complexity but doing a fine job in creating the proper wintry atmosphere.  The formula isn't varied a hell of a lot, with the most distinctive thing about each track being its title (check out "Demonic Staccato Erection" and "Fukk the Blood of Christ" for starters).  Closer "Fleshrequiem 69" takes a bit of a detour through some clean guitar bits and chanted vocals, but rest assured, it's still plenty brutal.

The powerful production on Lucifer Incestus was handled by Atrocity's Alex Krull and I am happy to say I enjoy his work behind the console a lot more than behind the mic, as he does a great job here.  The resulting slab of extreme metal is as likely to appeal to death metal fanatics as to black metallers and is yet another step forward for this Austrian cult.  http://www.belphegor.at
[Daniel Hinds]

BESEECH
Drama
(Napalm)
Rating - 6.5/10

I remember being quite enraptured by Beseech's last effort, Souls Highway, from its over the top gothic atmosphere to the perfect vocal interplay between vocalists Erik and Lotta.  The vocal magic is still present, but it appears the band is looking to explore some new avenues musically this time out.

The album starts a bit off-balance, as the title track encapsulates the band's style without really displaying it to its best effect.  A weak chorus and complete reliance on Erik's vocals weaken the song further, but fortunately things perk up on "Higher Level."  Not only does Lotta get to lead the verses here but Erik sounds considerably more convincing.  The incredibly simple riffs play nicely off of the fat bassline and crystalline keyboards.  The band foregoes the metal element altogether with "Forever Falling," which has a slick alternative vibe more in the vein of modern Anathema.  "Come On In" works well despite (or perhaps because of) its familiarity.

Although Beseech could easily appeal to fans of bands like H.I.M., Tiamat or Sentenced, I'm not entirely convinced that this album was the right step to take after Souls Highway.  It is a bit more diverse but I'm afraid the band is losing the impact of its strengths by playing away from them.  Add to that the fact that the material just isn't quite as strong as the previous disc and Drama is a bit of a letdown, but still a decent album in its own right.  http://www.beseech.net
[Daniel Hinds]

BEYOND THE EMBRACE
Insect Song
(Metal Blade)
Rating - 8/10

Beyond the Embrace are a little hard to pin down.  There are dominant thrash / death influences evident throughout their second album, Insect Song.  There is also a little bit of ‘nu-metal’ thrown in (though not enough to be annoying) along with many classic metal leanings and plenty of above average musicianship.  It’s refreshing to hear the diversity but it never really gels into the “Beyond the Embrace sound”… though you can see how that may come with time.  Their singer, in particular, seems to be searching for an identity and trying various approaches, ranging from Swedish death metal sounding abrasion and screech to a much smoother power metal approach.

All in all, I like this album and I think BTE show quite a bit of potential for the future.  I just don’t think they have found their personality yet.  Definitely a band to keep an eye on in the future.  http://www.beyondtheembrace.com
[Nels Bruckner]

BLUT AUS NORD
The Work Which Transforms God
(Candlelight)
Rating - 2…no, 8/10

French extreme metal.  Still reading this review?  OK then, well, after a 2 minute intro, this album erupts into some of the most annoying music ever.  This is what metal must sound like to your mother.  Fast drums with no real cadence, just speed, caterwauling vocals with no melody or lyrics, and guitar licks that never land on a note, they just hit well below and aim their way up to each note, but then overshoot and head back down - probably there is too much distortion on the guitar for the guitarist to notice that he's all over the place.  The drums are just mechanistic assaults, the vocals pure guttural nonsense, he could be making up the lyrics as he was singing, about whatever he saw going on in the recording studio.  The production is pretty lo-fi as well. And if you can't tell, I am really really impressed with this album, I enjoy it immensely.  Not for the faint-of-heart.  Heck, this album isn't for anyone with an ounce of good taste, this album was beat repeatedly with THE UGLY STICK, and you should be at least half-deaf before even considering buying this album.  But for those of you born without good hearing, good taste or even good looks, this is the album for you.  http://www.blutausnord.fr.st/
[Laird Sheldahl]

CADAVER
Necrosis
(Candlelight)
Rating - 6/10

Cadaver’s put together a respectable collectible for any dark death metal collector. Necrosis holds a strong early eighties death metal tone; the album also stores some great melodies, but it lacks the brutality of typical, present-day death metal. Members of the Norway group consist of guitarist Andrers Odden, drummer Czral, bassist L.J. Balvaz, and vocalist Apollyon. The four-man entourage plays thirty-five minutes of murderous riffs, rasping roars, and adequate speed.

Their modern eighties vibe is clear in the first track, “Necro As Fuck.”  “Odium” possesses good breakdown riffs, and songs like “Awakening” slow down to create a methodical vibe. The ferocity picks up in songs “Goat Father” and “Unholy Death.” With brusque vocals and enjoyable drumming, I have few complaints about this album. My main grievance rests in the repetitive beats, but some of the lyrics are nice in a dark poetic way.

Candlelight released this album on April 19, 2004. Overall, the production was good. Bjsrn Boge produced, recorded, and mixed Necrosis at Sound Residence Studio. I could hear Cadaver’s Slayer and Voivod roots. With traces of thrash and progressive qualities in a death metal atmosphere, Cadaver will appeal to audiences from Venom to old Obituary.  http://www.cadaverinc.com
[Lo Walker]

CANS
Beyond the Gates
(Noise)
Rating - 6.5/10

This is disappointing.  I was so ready to love this album, but even after many listens, it still feels rather empty.  Joacim Cans (of HammerFall fame) can belt out the high-pitched metal vocals as well as ever, the production is big and arena-ready, and the all-star cast delivers excellent performances.  The only thing missing is twelve gripping, memorable songs.

Actually, there are a few tunes worth mentioning.  Opener "Fields of Yesterday" is very good, featuring a spacious arrangement and built around a dark, heavy riff, this song should have set the tone for the album rather than offset it.  "Beyond the Gates" works as a big, multi-layered epic number, while "The Key" features a choir on the chorus that lends it a unique personality.  "Dreams" sounds like a heavy metal version of an early 80s AOR rocker - a scary concept but it actually sounds pretty cool.

As I said, this isn't a bad album, but it's just nothing that special and it really should be.  I love HammerFall and many of the other musicians here are involved with great bands, too (Halford, Primal Fear, Warlord, Dream Evil, etc.), but they somehow just didn't capture that same magic here.  http://www.joacimcans.com
[Daniel Hinds]

CARCASS
Choice Cuts
(Earache)
Rating - 8.5/10

For all the fans who were left with a bad taste in their mouth after Carcass’ final CD, Swansong, here comes this post-mortem collection of morsels to cleanse your breath.  Choice Cuts is a collection of some of the band's best work through the years, plus two separate Peel Sessions from 1989 to 1990 - sweet death metal for the palate.

If the CD lacks anything it is a bit of consistency in the production quality, but this will be the failing of any collection.  For me the CD picks up with "Corporal Jigsaw Quandary."  I love Carcass once their songs got a little longer and began to show a little more complexity in the song writing skills.  I always thought this bunch of Brits was far more than just a bunch of death metal gore mongers, adding a level of intellect to a very deprived scene, even though not as much intellect as they were originally credited for.

Of course for many, the CD will not really take off until they reach "Crepitating Bowel Erosion" with the original 02.01.89 Peel Session.  This is straight up, fast, occasionally sloppy, kicking your fucking face in, death metal.  It is great to have a Peel session from 23 months later following it, because you can see how the band had grown and progressed during that time.  The intensity is still there, but the musicianship and breadth of their songwriting skills are very evident.

As much as this CD keeps my head a banging, I have to admit getting chuckles from song titles like "Genital Grinder" and "Keep on Rotting in the Free World" (both of which are killer tracks).  Carcass will definitely be missed, but this CD is a welcome CD to close the legacy of one of the 90s premiere kings of death metal.  http://www.cwr.cjb.net
[Victor Mejia]

CATHEDRAL

The Serpents Gold

(Earache)

Rating - 8/10

CERBERUS
Chapters of Blackness
(Schwarzdorn)
Rating - 7/10

This is black metal, no two ways about it, in case the album art and band photo haven't already spoiled the surprise.  Cerberus walks the middle ground in the genre, incorporating neither overblown symphonic keyboards nor crap production.  The results are middling overall, but there are some inspired moments here and there.

After the properly titled "Intro" and the rather mundane title track, "Flames in the Black Sky" rips forth with a truly sick guitar tone.  This is a raw, hellish sound that is almost painful as the song progresses.  The suitably unjolly "Black Fucking Holocaust" explores some more atmospheric territory as it slows down a couple times for some more melodic bits.  "Screams of Cerberus" heads into similarly offbeat territory midway through, while "Creatures of the Night" (sadly not a KISS cover) is strangely anthemic.  "Throne of Hate" has the kind of intensity and inherent terror that made early Immortal so good.

As much as I enjoy a good primitive-sounding black metal record, there were times when I wished for a bit more clarity on Chapters of Blackness.  The drums get lost fairly often and the guitars end up sounding like a fuzzy hum too much of the time.  The rasping, blood-soaked vocals are perhaps the most consistent element here, distracting from the rather poor production when they really get going.  A bit more original than the average black metallers these days with some interesting moments to be had, this band shows some definite promise.  http://www.schwarzdorn.de
[Daniel Hinds]

CIRITH GORGOR
Firestorm Apocalypse - Tomorrow Shall Know the Blackest Dawn
(Ketzer)
Rating - 7.5/10

Ah, remember the days when black metal was more influenced by Tolkien than it was by William Gibson?  Obviously this Dutch fellowship does and they fortunately draw on the elder gods for their musical inspiration as well, as hints of Mayhem and early Satyricon make their presence felt over the course of this hour-long set.

Unafraid to turn off the casual listener, the band opens with a ten-minute assault aptly titled "The Gates of Hell" that rages in pure black metal fashion.  The riffs are icy, the melodies have a deep folkish flavor, the vocals are as grim as the outlook in the Middle East and the bass has been banished altogether.  Unlike let's say Darkthrone, Cirith Gorgor doesn't test the listener's patience with unending repetition, choosing to incorporate several tempo and riff changes throughout the epic track.  This is true for the rest of the album as well, making the album a bit more accessible.  There are even some pseudo-leads to be had on "Degeneration of Mankind."  The blastbeats and raw speed take a break midway for the ambient synth piece "Intermezzo," with two more ten-plus minute epics lurking in the latter half of the album that incorporate some slower rhythms and clean guitar segments into the Christ-hating maelstrom.

Rest assured, though, this is still pretty brutal and uncommercial fare and you won't be seeing them on tour with Killswitch Engage or Lamb of God anytime soon.  In terms of originality, Cirith Gorgor could clearly care less, opting instead to pay tribute to the look and sound of mid-90s black metal and succeeding by simply writing some damn fine songs.  http://www.cirithgorgor.tk
[Daniel Hinds]

CRAFT

Terror Propaganda

(Moribund)

Rating - 7/10

CREMATORY
Revolution
(Nuclear Blast)
Rating - 8/10

Crematory produced a good mix titled Revolution on Nuclear Blast Records.  This album is a nice addition to their last album Believe.  Matthias’ clean vocal style compliments Felix’s gruesome growls.  The record is full of heavy melodies and catchy tunes.

The album begins with a soft instrumental titled “Resurrection” and moves into something catchy called “Wake Up.”  “Reign of Fear” and “Open Your Eyes” are soft gothic songs.  “Angel of Fate” reminds me of the Believe days.  “Revolution” is not only a catchy tune, but also a creative video suitable to the album packaging.

This 2004 release is adequately produced by Markus Jullich and Crematory.  The band states their influences as Carcass, Death, and Destruction.  I think fans of Draconian will enjoy this album as well.  http://www.crematory.de
[Lo Walker]

CRIONICS
Human Error (Ways to Self Destruction)
(Candlelight)
Rating - 7.5/10

Darker than label-mates Insomnium (also reviewed in this issue), these guys aren't really that much less melodic, they just hide it a bit more.  The bottom line here is fast and heavy: this Polish release starts off at 120 mph and only lets up on the gas long enough to shift gears and go faster.  Lots of rapid-fire double-bass drum and snare rattle out along with bass-laden guitar work, but tucked in behind are guitar and synth melodics that make this more than just a speed album.  If I were grading this album on a point scale, I'd have to deduct for using such words as sacrosanct, precipice and Carpathian in their song titles, but that's about the only deduction I'd make.  This is definitely an album worth checking out.  http://crionics.rockmetal.art.pl
[Laird Sheldahl]

CRISIS
Like Sheep Led to Slaughter
(The End Records)
Rating - 9/10

First off, being a female-fronted metal band makes you somewhat unique, and possibly this facet gets focused on too much.  But, give that metal band a heavy dose of experimentalism atop a hardcore backdrop, and Crisis can't quite be summed up in just a few words.  Expected are the loud, fast and furious moments, but somewhat jarring is the sitar (I think) that pokes out of the track "Nomad," and the almost melodic singing from Karyn Crisis in-between her more usual guttural outbursts.  Personally, I think melodic vocals often stick out, sorely, from grinding dark metal, but Crisis keeps the emphasis on the demonic, with only moments of singing or giggling that make her gender obvious-- and the end result are vocals and music which blend seamlessly.  It helps that the guitar work is as dynamic and at times surprising as the vocals, venturing from dark and rhythmic to almost disturbingly dissonant and drawn-out.  Altogether, Like Sheep Led to Slaughter is quite innovative, dark, brutal and somewhat deranged, and very easy to recommend.  http://www.crisissite.com
[Laird Sheldahl]

CROWPATH
Red On Chrome
(Willowtip)
Rating - 6.5/10

The debut album from Sweden's Crowpath is a 30 minute assault on the ears, a little on the distorted side even for a grindcore album.  At times I think this is too saturated, but hey, fans of LOUD and FAST and... LOUD... will enjoy that. Apparently Crowpath has another CD out this year (2004).  This one, anyway, delivers a healthy dose of cowbell, and some disturbing noises that surprisingly turn into vocals... and I suppose half the surprise is that I was surprised at all at how inhuman vocals can sound while listening to a grindcore album.  http://www.crowpath.com
[Laird Sheldahl]

CRYONIC TEMPLE
Blood, Guts & Glory
(LMP)
Rating - 9/10

Slamming power metal that is heavy, melodic and medieval is what you get from this lot of Swedish warriors.  HammerFall's influence is long-reaching indeed, though Cryonic Temple is generally a bit heavier and the vocals have a bit more punch.  Also, though they do change up the tempo a bit, there are no ballads or even pseudo-ballads here - this is all metal, straight through.

With this genre so saturated already, the real test comes not in any hopes of originality but in the delivery of high-quality songs.  In this respect, I think Cryonic Temple do a good job of besting many of their peers, as the songs are well-structured and feature many memorable riffs and vocal melodies.  From the anthemic "Mercenaries of Metal" to "Swords and Diamonds" to the Manowar-esque "Long Live the Warriors," this album features more than just a few excellent tunes.

I hate to push the HammerFall comparisons, but there are a few times when it is really obvious.  "The Story of the Sword" could easily have come off Glory to the Brave, from the speedy riff to the backing vocals on the chorus, not to mention the lyrics.  Despite a few tracks like this (which are still fine songs), the band does a better job of defining their own style elsewhere and this is easily one of the best power metal albums to come down the pike in the past couple years.  http://www.cryonictemple.com
[Daniel Hinds]

CRYSTAL EYES
Vengeance Descending
(Neoblast)
Rating - 7/10

Crystal Eyes hail from Sweden and produce a pretty cool version of power metal that isn't completely original but fails to shadow any particular band either.  This is their third album and the band sound confident as they plough through ten tracks with plenty of spirit, if not an overflowing cup of energy.

The title track starts things off with a vaguely Helloween-ish chorus, while "Highland Revenge" sets the tale of Braveheart to a mix of classic Accept and modern power metal.  "Child of Rock" approaches epic length, while "Mr. Failure" comes across a bit too sing-songy.  The utterly anthemic "Metal Crusade" is good fun but suffers from a bit of an awkward chorus.  "The Beast in Velvet" has rather more melodic, with some unusual elements that call to mind the 70s prog-rock era, but set firmly in a power metal base.  "Heart of the Mountain" could be the album's best cut, with a memorable riff and a strong chorus.

Crystal Eyes is one of those bands like Wolf or Nocturnal Rites that plays a kind of middle-of-the-road brand of power metal that is a welcome change from the dozens of Stratovarius clones (and certainly an oasis in the current glut of crappy metalcore bands).  If the band could just play the tunes with a little more enthusiasm (as I am guessing they do on stage), they could really have a killer album because the songs and the playing are both well above average.  http://www.crystaleyes.net
[Daniel Hinds]

DE LIRIUM’S ORDER
Victim No. 52
(Woodcut)
Rating - 8/10

This is a professional package by an astute band.  It is brutal, fast, and technical.  Corpse growls notable vocals and S. M. Nekroc and Dr. Lirium create sharp melodies throughout the record.  Instantly, De Lirium’s Order provides a breakneck song titled “Sanctuary of Incineration.”  The guitar work contains a dynamic and heavy thrash sound.  “Abomination” incorporates a melodic tone with velocious drums.  “Nightmare in Apartment 213” is a suitable mosh track with inventive tempo changes.  Fans of Death and Slayer will most likely enjoy this album.  http://www.woodcutrecords.com/dlo.html
[Lo Walker]

THE DEADBEAT MOMS
This Is a Demo
(self-released)
Rating - 9/10

One of the highlights of my most recent employment venture is I crossed paths with the singer of this really cool punk band from Toledo named The Deadbeat Moms.  This 9 track demo was my first exposure to their music and I think anyone with the chance should try and get a hold of this quintet and throw them your support.

The first song, “Driving for Therapy” is a very cool, hook-laden song, with Danzig like vocals.  The next track, “Deathklaw” is about a horrific superhero, very cool, old school mid-paced hardcore, a couple of chords, to the point and less than 75 seconds long.  “I Make Fuck/Berserker” is more like the first song.  Reminds me of punk meets hardcore meets Danzig.  Quite a cross, I would say Misfits, but a bit more metal than Misfits.  The rhythm section is incredibly tight, the vocals work really well within the frame of the songs, and both guitarists are skilled.

Since my first exposure to this band, I have been there to see them live, photographed them in concert, offered my photography services free of charge for publicity photos, and my girlfriend has offered to design a website for them.  I don’t know what more I can do to endorse these guys.  They can be contacted at:  mobileacid@buckeye-express.com
[Victor Mejia]

DEATHSTARS
Synthetic Generation
(Nuclear Blast)
Rating - 8/10

Here’s one that took me a little bit by surprise.  These guys look a bit like rejects from Marilyn Manson’s backing band, dressed in black rubber and various bondage gear.  But they sound more like a cross between Rammstein, Type-O Negative, and Powerman 5000 with moments of more synth-driven techno thrown in for good measure.

It’s a surprisingly effective combination.  Consistently heavy, dense guitars are blended with subtle synth lines to surprisingly good effect.  The vocals are so goth it borders on the stereotypical, but, again, they blend in with the various other unlikely elements in a convincing manner.  The tempo rarely rises above a fairly moderate pace, reminiscent of more mainstream metal acts.  The production and mix are also effective and show the music to good effect.

I have to give Deathstars high marks for both concept and execution.  I’m always impressed with a band is able to combine a number of (arguably) tried and true musical elements and come up with something that shows it all off from a refreshing and new angle.  I definitely recommend checking these guys out.  http://www.deathstars.net
[Nels Bruckner]

DEVILS WHOREHOUSE
Revelation Unorthodox
(Regain)
Rating - 6.5/10

Okay, how to describe the packaging.  At first glance, the cover looks like something being released on Cleopatra Records; this is not a good thing.  I’m thinking Electric Hellfire Club or something worse (okay, don’t think that is even possible, but trying to set my mood going into listening this CD).  Back cover, again, looks like something Cleopatra would have put together, more possibly a re-issue of something from Zoth, so a step up from the cover…hell, fetish girls are always a step-up from something EHC or worse.  The photo behind the CD is the first indication that this might be even slightly metal sounding as the band is pictured looking like a cross between some industrial band (again) and some 80s low-budget doomy band.  Finally, the picture on the inside of the CD booklet has the band in corpse paint and one member in a mesh Misfits shirt along w/ more sexual and satanic imagery.

So, having digested all of this, I really had no idea what to expect when I put this CD in.  It is definitely in a league of its own.  There is a definite Danzig influence here, but not something so over the top that it gets in the way of my listening enjoyment.  Still not really sure how serious these guys are, the music sounds serious, but everything else, artwork and such, gave me a really hard time taking them seriously.  I guess if I would have access to the lyrics, that would have given me more of a chance to decide.  The song titles seem serious enough, not very good though:  “Bondage Goddess,” “Funeral Dream,” “Pentagram Murderer,” “Erotikill,” and “Blood Nymphoman.”

The music is heavy.  The playing is good.  The production is not out of this world, but works for the sound.  The mix is good.  Some of the songs plod along a little too much for their own good.  After a while it all starts to blend together.  I think if this would have been an EP I would have liked it a bit more.  I just grow weary of things towards the end.

And speaking of towards the end, there is a cover of the Christian Death song “Deathwish.”  Not a bad song, but have to question most bands who decide to cover Christian Death.  Too many questions and not enough answers to fully be able to recommend this CD to someone.  Not bad, but just not quite good enough.  http://www.devilswhorehouse.com
[Victor Mejia]

DIECAST
Tearing Down Your Blue Skies
(Century Media)
Rating - 8.5/10

Diecast was New England hardcore at its best - with the release of Tearing Down Your Blue Skies, they hold the title with a death grip.  Having a bit more melody than their previous album, I always thought it was what made them great in the first place - their ability to harmonize melodic singing and musical elements, then without skipping a beat drop right into bone crushing breakdowns.

Three years since the release of Day Of Reckoning, I had heard nothing from this band; I began to wonder if they were still around.  Alas, they come forth with Tearing Down Your Blue Skies, taking what made Day Of Reckoning a great album and, in my opinion, making it even better.  Well worth the 3 year wait. Tearing Down Your Blue Skies is an excellent album, highly recommended for any fans of New England hardcore such as Killswitch Engage, Hatebreed, or Darkest Hour.  http://www.bhcdiecast.com
[Eric Pioszak]

THE DILLINGER ESCAPE PLAN
Miss Machine
(Relapse)
Rating - 9/10

The Dillinger Escape Plan has effectively fused metal and hardcore and added some progressive elements.  The album keeps that extreme and heavy vibe, and holds vast commercial appeal.  Puciato’s vocals are powerful, and the musicianship on this album is absolutely shattering.

On the whole, this is an exceptional album.  The songs are well written and skillfully structured.  Steve Evetts cleverly produced, engineered, and mixed this album.  “Panasonic Youth” is a mosher's dream.  The band breaks into new realms with “Highway Robbery.”  “Phone Home” provides a surprising insight into Puciato’s vocal abilities at times reminiscent of Trent Reznor.  Another unusual Dillinger release is “Unetrofied.”  This song contains haunting clean and melodic rhythms and vocal patterns.  http://www.dillingerescapeplan.com
[Lo Walker]

DIO
Master of the Moon
(Sanctuary)
Rating - 8.5/10

One of my earliest metal experiences was watching Black Sabbath on Don Kirshner's Rock Concert back in '81 and being totally captivated by Ronnie James Dio's performance of "Heaven and Hell."  The man of the leather lungs has been my favorite vocalist ever since and has recorded many incredible albums since then, both with Sabbath and his own band.

Strange Highways was the last great Dio album it seemed, despite some hints of past glories on Killing the Dragon, so I wasn't at all sure what to expect from Master of the Moon.  My first impression was disappointment, as this sounded even less like Dio's early work and didn't have many really standout songs.  Fortunately, I've had time to listen to it a few more times and I'm starting to appreciate it more and more.

"One More For the Road" is an upbeat rocker, in the vein of "Wild One" or "King of Rock 'n' Roll," with Ronnie's voice sounding a bit darker around the edges but just as strong as ever.  The title track is slower and more involved but not quite in the same epic way as songs like "Holy Diver" were in the past.  "End of the World" is a more straight-forward rocker that really comes alive with the break after the second verse.  "Shivers" seemed a little too obvious on first listen but is starting to grow on me and features one of Craig Goldy's more memorable solos.

The real centerpiece to this album is "The Man Who Would Be King," a scathing and not-so-well disguised indictment of our bastard leader George W. Bush and his personal crusade in the Middle East.  The song itself is as powerful as the words, starting off mellow and then building into a heavy, throbbing rocker, with some great organ and guitar work lending the song a great deal of atmosphere.  "The Eyes" has a creepy vibe similar to "Shivers," while "Living the Life" kicks the tempo back up several notches.  "I Am" and "Death By Love" are both good but somewhat formulaic Dio tunes, reminding me a bit of the less popular Sacred Heart tracks.  As an album closer, "In Dreams" is not one of Dio's better ones and marks probably the low point of Master of the Moon.  Not a terrible song, just not terribly memorable.

One thing I found interesting (and a bit troubling) is the seemingly cynical tone that has crept into some of the lyrics, where dreams and imagination are derided rather than embraced.  Perhaps I'm just not reading deep enough and these are merely reflections of what Dio sees in today's society rather than his own views.  As usual, his words are cryptic enough to make several interpretations possible - another gift I've long admired in Dio's artistry.

The somewhat raw production that seemed to plague the last few albums is replaced by a fuller sound, with the vocal lines in particular sounding stronger.  It is difficult to tell if this album will have the staying power of Holy Diver or Dream Evil, but I can safely say it is the most rewarding Dio album in over a decade and surely a sign that Ronnie still has more magic to bestow upon us.  And damn that's a cool album cover - probably my favorite since The Last in Line.  http://www.ronniejamesdio.com
[Daniel Hinds]

DIONYSUS
Anima Mundi
(AFM)
Rating - 7.5/10

Elegance may not have been part of the formula when metal was first developed, but it is but one of many additions brought to the table over the years.  Dionysus incorporates it, along with power, feeling and grace.  The result may not be as heavy or as fast as others in the genre, but it counters with class and quality.

"Divine" opens with a bang, featuring a keyboard riff that reminds me a bit of Dream Theater's "Ytse Jam."  The chorus is a bit more in the typical Euro power metal vein but not bad.  "Bringer of War" is very much modern Stratovarius, while "Heart is Crying" kicks off with a jaunty riff that inspires hope for something totally offbeat, but it quickly settles into the usual double-bass, mid-tempo thing.  "What" and "Eyes of the World" are both somewhat forgettable, but "March For Freedom" picks up the slack.  Starting off with that patient expectancy of Brave New World-era Iron Maiden, the song sets into a triumphant groove with near-spoken verses that evoke Manowar at times.  Perhaps the one mistake is the sappy ballad "Forever More" - there's a fine line when it comes to these types of tunes and Dionysus are well on the wrong side of it here.

Despite the Greek moniker, this lot is actually made up of folks from Sweden and Germany (how cosmopolitan!) and this is only their second album.  As with so many albums I've been hearing lately, there isn't a lot in the way of originality here but there is plenty of talent and good songwriting.  http://www.dionysus-metal.com
[Daniel Hinds]

DISILLUSION
Back to Times of Splendor
(Metal Blade)
Rating - 9/10

Here is yet another emerging band who shows an amazing level of maturity and polish.  I believe this is their first full length album, but you certainly wouldn’t know it by listening.

For one thing, the simply superb recording quality and production give the impression of a much more experienced band.  And it’s a good thing too – given the complexity of their music, a lesser effort in this department could have let the whole thing down in a big way.  That’s because Disillusion are constantly ripping back and forth between tempos and styles.  In this department they remind me a bit of Dark Tranquillity or even some Dimmu Borgir (though that one’s a bit of a stretch) with many touches of melodic and power metal spheres.  The sharp, crisp guitars and rock solid drumming make this complexity quite enjoyable.

Disillusion deserves quite a bit of attention, based on this effort.  Assuming that they can build upon this impressive work we have a lot of good things to look forward to from these German metal merchants.  http://www.disillusion.de
[Nels Bruckner]

DOKKEN
Hell To Pay
(Sanctuary)
Rating - 5/10

Ahhhh, Rokken with Dokken.  You can't listen to this album without thinking of Dokken's 80's hair-metal days, in part because they were so ubiquitous and in part because they haven't redefined their sound-- only refined it.  Never teetering far from the hard-rock ballad, plenty of harmonized choruses and fist-pumping chord stabs abound.  Dokken had a formula that worked, and they've stuck to it.  I suppose that's a good thing, I can't imagine Dokken winning many new fans over by churning out some half-baked nu-metal, or a rap-metal hybrid, or something even more unspeakable that the ears of man were not meant to hear. No, this is good old 80s radio metal.  A few details are surprising, like the eastern flavor in the background of "The Last Goodbye," and the scathingly self-effacing lyrics of "Better Off Before" (perhaps?), and even the unplugged track at the end of this disc. But, if your CD collection of hair-metal classics isn't yet complete, I think there's no rush to add this one to it.  http://www.dokken.net
[Laird Sheldahl]

DRACONIAN

Where Lovers Mourn

(Napalm)

Rating - 8/10

DRAGONFORCE
Sonic Firestorm
(Noise/Sanctuary)
Rating - 8.5/10

Although their Valley of the Damned debut showed promise for this UK power metal outfit, Sonic Firestorm is truly on a whole other level.  The first three songs are an all-out assault on the senses, tearing along at speeds well beyond most power metal outfits (and even many death metal bands for that matter).  The songs aren't simplistic either, offering plenty of changes and taking their own sweet time to finish.  This is incredibly fast music that isn't in a rush.

Just when I had started to wonder if Dragonforce had forsaken all for speed, "Dawn Over a New World" slams on the brakes and takes us into a very sedate and rather fluffy ballad.  The band quickly mounts and gallops off again with "Above the Winter Moonlight" and the coup de grace, "Soldiers of the Wasteland."  This song has pretty much every angle of the band's style covered, from speedy metal to folky melodies, and might have perhaps been better at the very tail of the record.

Though Britain has been struggling to regain its reputation in the metal world for over two decades now, the underground scene does seem to be slowly bubbling over finally.  With an album this strong under their belt, I have little doubt that Dragonforce will conquer Europe and Japan in no time (the US still needs to wake from its grunge and nu-metal nightmare).  http://www.dragonforce.com
[Daniel Hinds]

DREAM EVIL
The Book of Heavy Metal
(Century Media)
Rating - 9.5/10

When it comes to true classic heavy metal still being made by contemporary bands, there are very few acts that can pull it off with the proper amount of talent, class and feeling.  I would place HammerFall and Primal Fear at the top of that list, but with this album, Dream Evil is right up there, too.  After two good but uneven records, it sounds like Fredrik and co. finally got serious and set out to make one kick-ass album, the appropriately titled The Book of Heavy Metal.

After a cheesy but still exhilarating scream of 'Metal!' the title track ploughs forward without mercy, one giant riff after another.  If the chorus doesn't get your fist pumping in the air, you clearly are not cut out for this genre.  "Into the Moonlight" takes a slightly more melodic approach, with a sing-a-long chorus of epic proportions, while "The Sledge" is another killer metal anthem.  In what has to be a bit of a tribute, "No Way" sounds very much like a classic Randy Rhoads-era Ozzy track, right down to the vocals on the pre-chorus and bridge that sound eerily like the Ozzman himself.  "Crusaders' Anthem" brings the tempo down a bit for a throbbing bass-heavy verse and another instantly memorable chorus.

Accept immediately comes to mind as the opening riff to "Let's Make Rock" tears out of the speakers and even the somewhat silly refrain does nothing to hamper the infectiousness of the song.  "Tired" is about as close as the album comes to delivering an average track, but it is still enjoyable.  "Chosen Twice" is the most epic-sounding number, with a big choir vocal that really sells the song.  The strangely acronymized (I don't think that's a real word, but hey) "M.O.M." is another pounding, anthemic number, while "Mirror" starts off like a power ballad but quickly turns into one of the heavier cuts.  "Only For the Night" follows the reverse course, starting off in heavy 80s mode before settling into a melodic verse - if Dokken had ever had a pair of balls between the lot of them, they might have come up with something like this.  To close out the album, we have a beautiful power ballad called "Unbreakable Chain" that is very much in the spirit (if not the exact notes at times) of Scorpions' "Born To Touch Your Feelings."

Fredrik Nordstrom has long impressed me with his production work and damn if this album doesn't just sound perfect - the drums, the guitars, the vocals: everything sounds huge and bristling with energy.  Of course, the last two albums had that going for them, too, but this time it is combined with a solid set of great metal tunes and the result is an album destined to be a classic.  http://www.dreamevil.se
[Daniel Hinds]

ELDRITCH
Portrait of the Abyss Within
(LMP)
Rating - 6.5/10

This Italian band plays heavy metal without gimmicks, leaning a bit in the prog and power directions.  Similarities to modern Fates Warning and Iron Maiden can be heard, though rarely is the music in the same league as either.  That's not to say it's bad, but save for a couple of songs, it is fairly average.

The first real song (must I endure yet another minute-long intro?  Yes I must…) is "Forbidden" and it has a thick, pummeling sound, with the guitars very full and the bass drumming smack in your face at all times.  "This Everlasting Mind Disease" touches on some strange Eastern melodies and juxtaposes them with an incredibly jagged, heavy-hitting riff.  The deceptively titled "Slow Motion 'K' Us" races forth in a furious gallop and the album wraps up with "Lonesome Existence," which starts like a ballad but manages to get around.

Lesser moments on the album include the numbingly repetitive "The World Apart" and the instantly forgettable "Picture on the Wall."  "Blindfolded Walkthrough" features a strong chorus, but the rest of the track is just too plodding.  For "See You Down," see comment for "The World Apart" above.

Lead guitarist Eugene Simone arranged and produced the album and it sounds pretty good, especially for an inside job.  The album art (which thankfully isn't the dismal mess on the front of my promo) is very metal looking without being necessarily a prog/power cliché, which is nice.  I can't wholeheartedly recommend this album as it is hit-and-miss in a field that pretty much demands perfection at this point, but die-hards looking for some fresh blood (not so fresh in Europe, as this is their fifth album) will be pleased.  http://www.eldritchweb.com
[Daniel Hinds]

EWIGKEIT
Radio Ixtlan
(Earache)
Rating - 8.5/10

Earache has long had a tradition of signing extreme artists of all stripes and Ewigkeit is certainly one of the more out there bands.  From an artistic standpoint, it's great, but I'd hate to be the one trying to market this album as it so neatly fails to fall into any preexisting categories.

The lead-in, "About Time," hints at the diversity to come, with various sonic textures criss-crossed with a marching riff and Amorphis-like keyboards.  Things jump at right angles on the more metallic "Esc," which mixes some subtle electronics with blackened vocals and a more melodic chorus.  Things go epic on "Journey To IXTLAN," which begins with some tribal chanting, resolves into an ambient passage, then on into a clean guitar bit that Anathema would raise an eyebrow at, finally settling into a heavier mid-tempo haze.  It all ends back where it started, and I'm still unsure if the stop-dead change-ups work or not, but it is an intriguing song.

The rest of the album keeps to the same formula (that is, not really having a formula) with the quality generally staying high.  This is challenging music and to read that it is all the work of a lone Brit named Mr. Fog, it's pretty damn impressive.  Fans with a wide open mind that can appreciate everything from prog to black metal to electro-industrial will be, at worst, intrigued and may just fall in love with this unique record.  http://homepage.ntlworld.com/deathtomusic/ewigindex.htm
[Daniel Hinds]

EXCITER
New Testament
(Osmose)
Rating - 7.5/10

I'm always skeptical about albums like this, where a new band line-up attempts to re-create songs from their early career.  One problem is that those songs are classics and stamped in the form they were originally recorded in - those specific performances are a big part of what made them what they are.  Still, Exciter makes a valiant attempt here and, although it isn't quite what I was expecting, New Testament succeeds in its own weird way.

From the get go, the sound achieved here is considerably different from classic Exciter.  The guitar sound in particular has an incredibly raw, punky feel to it.  Just listen to "Rising of the Dead" - you half-expect some punk singer to come in.  If nothing else, it really brings out the Motörhead influence that was always a part of Exciter's style.  Vocalist Jacques Belanger is not Dan Beehler and wisely doesn't try to be.  Instead, he has his own sound that is like a meaner, rougher version of Bruce Dickinson (or Rob Halford at times), and can really let loose with the screams when called upon to do so (which is quite often, of course - this is Exciter, dammit!).  Other highlights include a kick-ass rendition of "Violence and Force," "I Am the Beast" where the guitar distortion is practically off the meter, and of course the frantic "Long Live the Loud."  Less successful are a somewhat sloppy "Victims of Sacrifice" and a strangely lackluster "Heavy Metal Maniac."

One strange thing about the song selection is the inclusion of songs like "Rule With an Iron Fist," "Brutal Warning" and "Burn at the Stake," which are from the band's two most recent studio albums.  Seems like a few more of the old numbers would have been more appropriate, but at least it kind of bridges that gap.  The incredibly raw recording quality certainly makes for a lively listening experience, but I would have appreciated just a bit better drum sound, personally.  All said, though, this is a fun romp through Exciter's distant and not so distant past, with hopefully more die-hard metal to come.  http://www.monsternation.se/exciter
[Daniel Hinds]

FALL OF THE LEAFE
Volvere
(Rage of Achilles)
Rating - 9/10

Ostensibly a band that began with gothic/black metal leanings, this Finnish act has really defined a distinctive vision with Volvere.  It is definitely metal still, as the dramatic melodies and heavy riffs will attest, but making any further classification is difficult and ultimately pointless.

"A Waiting Room Snap" starts with some electronics and then settles into a somewhat goth metal mode, defined as much of the album by unpredictable rhythms, catchy melodies and vocals that are insistent without sounding unnatural or silly.  "If Mirrors Leave Men in Crumbs" follows suit and it's obvious the band's lyrical bent is far more eclectic than your typical apocalypse/gore/dragon metal outfit.  There is an underlying progressive touch to Fall of the Leafe's sound that never even approaches self-indulgence, merely adding an adventurous and technically pleasing edge to the music.  They have the class and melodic sensibility of Opeth but are far better at arranging their ideas into strong songs.  "Pillar of the Sun" shows they aren't afraid to get down and blast out some speed now and then, too.  At the other end of the spectrum is the acoustic poppiness of "Hell's Silence," surely a unique song even on this album.

This is a rare album, to be sure.  Fall of the Leafe blend many styles seamlessly and create a sound that is spirited and confident in the same way bands like Katatonia and Amorphis are.  Open-minded metal fans across the spectrum are bound to find something (quite a bit probably) to love on Volvere.  http://www.fotl.cjb.net
[Daniel Hinds]

FEAR FACTORY
Archetype
(Liquid 8)
Rating - 9/10

Armed with a new line up, Fear Factory make their return with Archetype.  Those of you that were fans of the previous incarnation of the band (as I am) will probably approach this release with the same mix of anticipation and anxiety that I did.  On the one hand, it’s great to have Fear Factory back from the dead and putting out new material.  On the other, you never know what this kind of change will do to a band.  After a few listens the anxiety has dissipated and the anticipation realized.

First off, all the classic ear marks of Fear Factory are here, intact and true.  Of course Burton’s voice is as unique and forceful as ever and the signature drum sound of Raymond Herrera is preserved in all its sharp edged, precise glory.  Those two features alone ensure that there can be no mistaking this new effort for what it is – the true continuation of the earlier Fear Factory vision.  Add to this the simply killer recording and production quality exhibited on this CD and you would already have a worthy and satisfying effort from this reformed band.

But Archetype has managed to transcend the expected in several ways, elevating this effort to higher ground.  There is a more natural, organic feel and flow to the music this time around that took me a little off guard.  The band sounds more comfortable and confident here than ever before.  It’s a slight change to the traditional Fear Factory approach and somehow it just works better.  All the pieces fit in a way that they never quite seemed to before.  I hope that this represents the start of what is to come from Fear Factory.  http://www.fearfactory.com
[Nels Bruckner]

FIREAXE
Victory or Death
(self-released)
Rating - 7/10

This is certainly an unusual release, as it falls fairly squarely into the classic American power metal mould, yet Fireaxe is the work of a single man, Brian Voth, and uses a drum machine to provide the rhythm.  Also, the lyrical basis for the album goes much deeper than the ill-advised cover art might lead one to believe.

Musically, Fireaxe keeps it heavy yet melodic, with a unique mid-tone guitar sound that is truly metallic sounding.  Several lesser known bands come to mind when listening to Victory or Death, from Virgin Steele to Culprit to Manilla Road, and the confluence of styles makes a pretty unique sound.  There are a few very lengthy tracks that really journey through different moods and styles, with some 70s prog rock influences peaking through, as well as some early Priest moments.

The vocals are perhaps the most prominent and defining aspect of Fireaxe's sound and at times I'm convinced it is the band's strength, while at others I begin to wonder.  Brian shows off a good range, fielding the high notes quite impressively, but there are some near-spoken bits on a couple songs that sounded a bit awkward to me.  Also, there are several points where some well-placed backing vocals would really help fill out the choruses.

Reading the band's bio, I had to smile when Brian revealed how he got into metal.  Anyone who embarked on this journey after hearing Riggs' "Radar Rider" at the start of the classic Heavy Metal movie is cool in my book.  With someone like Fredrik Nordstrom producing and a live drummer, Fireaxe could deliver one truly killer slab of heavy metal.  Until then, Victory or Death is well worth checking out.  http://www.neptune.net/~bev/Fireaxe.html
[Daniel Hinds]

THE FORSAKEN
Traces of the Past
(Century Media)
Rating - 10/10

Every time I get a stack of CDs to review, I hope that there will be one CD that really blows me away, one CD that has something different to offer, one CD that really rips out the stops and makes me want to listen to it over and over again.  It’s often a vain hope.  This time, however, my wish came true with the very first CD I put in the player.  That CD is the new album by The Forsaken – Traces of the Past.

Musically Traces of the Past is brutal, crushing death metal, as you might expect from a band hailing from the apparent death metal factory once known as Sweden.  The songs are tight, heavy, staccato bursts of speed and power with tight, impressive guitar solos and machine-precise drumming.  The vocals range from deep, deathy growls to strained screeches.  All this is ejected through your speakers via some very appropriate (for lack of a better word) production.  Everything is loud and audible, without ever sounding over-produced or slick.

“So what”, right?  Aren’t there thousands of bands doing this kind of thing these days?  Yeah, there are.  The death metal scene is literally mired with such bands.  But where The Forsaken really manage to shine is in the creativity and variety that they manage to force through this over-used mold.  They manage to mix pure brutality and speed with an amazing amount of originality.  Each song sounds crafted, tuned, and perfected into a unique little killing machine.  You can tell that a lot of thought and hard work went into each and every song.  As a result, each song can stand alone and Traces of the Past doesn’t sound like it was recorded by anybody but The Forsaken.  It’s something that used to happen all the time, “back in the day”, but it seems pretty rare now.

Finally, to add just one more nice touch to an album that would be incredible in it’s own right, Traces of the Past includes some really sweet ‘bonus’ tracks.  In particular, the covers of Metallica’s “Creeping Death” and “Blackened” and Slayer’s “Spirit in Black” are quite impressive.  http://www.theforsaken.net
[Nels Bruckner]

GOTHIC KNIGHTS
Up From the Ashes
(LMP)
Rating - 7.5/10

Despite looking and sounding distinctly Euro, this power metal quartet is actually American.  With a vocalist that can hit the high notes as well as deliver a more mid-range, gruff yet melodic style, Gothic Knights have more in common with bands like Jag Panzer or HammerFall than they do with the typical Rhapsody/Strato type power metallers - thankfully.

Opening with a typical vengeance-themed 9/11 tune, the band definitely sound dated but play with conviction.  "Warrior of Faith" has a slightly more melodic touch, with a nice galloping tempo, while "Up From the Ashes" breaks out the acoustic guitar to good effect.  "Sleepy Hollow" starts off even more mellow before turning into a real rager, with vocalist Rich Sanchez really letting loose.  "Heaven's Fire" features one of the more memorable choruses and the album ends on a high note with the rousing "The 13^th Warrior."

Up From the Ashes is a solid heavy metal album in the classic tradition, nothing more, nothing less.  There is a good variety of tunes and some are good while others are a bit blah.  The digipak version of this album contains two bonus tracks and I really wish I had it because they cover Duran Duran's "Hungry Like the Wolf," which just has to be classic.  http://www.gothicknights.com
[Daniel Hinds]

GRAVE
Fiendish Regression
(Century Media)
Rating - 9/10

The Swedish Kings of the Death Metal Underground are back! They prove their old school song writing and structure skills are as strong today as they were six albums ago.  Drummer Pelle Ekegren (Coercion) joins the legendary group.

“Last Journey” is a great reintroduction after two unproductive years.  “Reborn” and “Awakening” take me back to the Back from the Grave release.  Jonas and Ola play crushing guitar riffs that will remain in your subconscious for days.  Another powerful song filled with amazing riffs is “Heretic.”  Don’t forget to check out the two bonus tracks “Burial at Sea” and “Autopsied.”

There is an unfortunate down side to the Fiendish Regression old school style.  The songs lack variety.  Everything meshes together forming a collage of traditional death metal.  The songs do not stand out until you have listened to the album a few times.

This album is for the true head bangers out there!  Fans of Morbid Angel, Death, and Cannibal Corpse will definitely enjoy this album.  http://www.intothegrave.com
[Lo Walker]

THE GREAT DECEIVER
Terra Incognito
(Peaceville)
Rating - 4/10

Quiet verse, loud chorus.  Quiet verse, loud chorus.  Quiet verse, loud chorus. More quiet verses, with interesting production, quiet vocals and clean guitar arpeggios, and then big loud chorus section.  Well, its a radio-friendly formula that I wish The Great Deceiver would break more often.  Each song contains some really interesting post-industrial treated loops that Danzig has molded into entire songs, but here just work as the introduction or the quiet interlude.  The track "Forward/Willing/Sickness" does begin to break the mold, with its rolling toms and heavier reliance on computer processing, but never quite strays from that quiet verse, loud chorus pattern that leaves me wanting something less friendly and more well, either more metal, or more experimental.  http://www.thegreatdeceiver.com
[Laird Sheldahl]

HATEWORK
Thrash 'n' Roll
(Beer City)
Rating - 7.5/10

This here is some good ol' fun-time speed/thrash metal the way they used to make it back in the mid-80s.  Imagine a mix of Assassin, Tankard, Bulldozer and Warfare and you'd be onto the atmosphere created here.

"I.D.T." is the war-cry and it stands for "Italian Drinking Team," which there is little doubt refers to Hatework themselves.  The riffs are up-tempo and infectious, while the vocals are raw in a thrash way but easily understood.  Which may not be a good thing, as the ESL lyrics are alternately humorous, confusing or just plain awkward.  "Heaven's On Fire" has a bit of that early Exodus feel, while "Devil Eye" is a bit more serious than the rest and offers one of the best solos on the album.  "War Again" is just frenetic straight through - Hatework know how to make the simple riffs work to their advantage.

Thrash 'n' Roll perhaps overstays its welcome a bit, as the songs started to sound a bit samey after a while, but I still recommend this album by and large.  It is fun thrash metal the way bands used to play it before death metal came into the picture and there are enough good tunes here to make your neck sore.  Gotta love the Voivod meets Motörhead album art, too.  http://www.hatework.it
[Daniel Hinds]

HEATHEN
Recovered
(Relentless)
Rating - 8/10

Heathen were always one of the Bay Area underdogs, coming a bit late in the game and splitting apart after only two albums, but those two albums still hold as powerful examples of thrash metal to this day.  Reunited, the band opted to release this, a collection of covers and previously unreleased material.  Though I would of course prefer a full album of brand new material, there is no denying the quality of this release and it certainly whets the appetite.

Among the originals, "In Memory of…" is very much a power ballad, showing a surprisingly melodic side to these thrash legends.  The last four cuts are taken from the Opiate of the Masses demo and are where the Bay Area thrash blood really begins to flow.  "Hypnotized" starts out in rather epic mode but eventually kicks into a fast riff that just shreds.  Though Heathen did put together pretty good songs, the riff was always king and, man, they came up with some killers!  "Opiate of the Masses" is more of chunky, mid-tempo number, though it does speed up after a typically intense solo spot.  "Timeless Cell" features a riff not that dissimilar to the preceding song, except this one keeps up a breakneck pace throughout.

As far as the choices for cover tunes, the band shows just as good of taste as they did when they ripped out their own version of Sweet's "Set Me Free" those many years ago.  Up top is Queen's "Death On Two Legs," one of royal Brits' darker numbers, and they follow it with the even more amazing "Holy War" by the eternally brilliant Thin Lizzy.  The NWOBHM doesn't escape Heathen's grasp (hmm, looks like they are quite enamored with the UK in general, eh?), as they tear through faithful versions of Tygers of Pan Tang's "Hellbound" and Sweet Savage's "Eye of the Storm."  The album ends with a punch in the face called "Mercy is No Virtue," one of the most unforgivingly thrashy assaults in the band's history.

Marginal album art aside, this is a strong comeback for Heathen and will hopefully rekindle interest in preparation for some brand new material.  Some bands are good at covers (Anthrax, HammerFall), while others are clearly not (Six Feet Under…), but Heathen fall more toward the former and their choice of tunes is beyond reproach.  http://www.heathenmetal.com
[Daniel Hinds]

HEAVEN SHALL BURN
Antigone
(Century Media)
Rating - 8/10

Hailing from Germany, Heaven Shall Burn serves up a brand of hardcore death metal that strives for a grand, epic feel.  While sharing many elements with the more pervasive Scandinavian efforts they manage to bring something a little different to the table.

Musically, Heaven Shall Burn blend the all out speed and aggression common to the genre with more restrained, calculated tempos, lending much needed variety and drama to their compositions.  This approach is generally quite successful, though the slightly muddy sounding production occasionally lets them down.  Singer Marcus Bischoff delivers a somewhat predictable performance, tending toward the high pitched screech end of the spectrum.  His occasional forays into more controlled deliveries show a lot of promise and are quite a bit more original.

Heaven Shall Burn has shown here that they can produce above average death metal with some unique melodic twists.  This album could benefit from slightly better production and more directed singing.  A few subtle improvements could elevate Heaven Shall Burn into the top ranks of the current crop of death metal contenders.  http://www.heavenshallburn.com
[Nels Bruckner]

HEAVENLY
Dust to Dust
(Noise)
Rating - 8/10

Wait… I remember these guys.  I reviewed their Coming From the Sky album about four years ago and wrote it off as yet another Helloween clone and didn't even bother reviewing the follow-up for that same reason.  Well, I am pleased to say that, despite going into this with low expectations, Heavenly have obviously learned a few things over time.

After a somewhat pointless intro piece (where a Darth Vader wannabe welcomes us to "the dark side"), the first proper song kicks in - and man does it ever kick.  "Evil" is fast, intense, melodic, heavy and remarkably complex.  The Helloween influence is still pretty clear, but it feels more like an influence now rather than a way of life.  This song goes through many different tempos, riffs and moods and they all impress.  "Victory (Creature of the Night)" starts off in grandiose Queen/Styx fashion before laying into the double-bass groove.  This kind of diversity and contrasting styles even within individual songs helps to elevate Dust to Dust beyond just another power metal album.  The dramatic nine-minute centerpiece "Miracle" pretty much says it all.  Note must also be made that Heavenly like to play fast a lot of the time and, as far as I'm concerned, melodic power metal should be played at top speed whenever possible.

Like any good Euro power metal act, the guitar work is impeccable.  Leads are dazzling and elegant and the riffing is ultra tight.  The vocals aren't completely engaging but they are technically impressive, while the keyboards are maybe the one area the band could revise or tone down a bit next time.  So often, bands that start off mediocre never pull themselves out of that rut, but Heavenly has definitely taken up the challenge and laid down an excellent album here.  http://www.heavenly.fr.st
[Daniel Hinds]

ICYCORE
Wetwired
(LMP)
Rating - 7/10

ILLOGICIST

Subjected

(Crash)

Rating - 8/10

IMPERANON

Stained

(Nuclear Blast)

Rating - 8/10

IMPULSE MANSLAUGHTER
Live at WFMU
(Beer City records)
Rating - 3/10

30-some tracks from hardcore artists Impulse Manslaughter, who musically leaned a little punk-rock at times, at others definitely more death-metal-- thus making them a prime candidate for a re-release on the label which has unearthed old DRI songs for us in the past.  Sadly, out of 30+ tracks, the first 17 are poor live recordings and too muddy to be worth putting out on CD.  Maybe a bootleg CDr?  The rest are a collection from various EPs and compilations, and, as I mentioned, run the gamut from punk rock to hardcore to death metal, which makes for an album that might please long-time fans but is too schizophrenic for my taste.  The sharp contrast between recording quality between songs is also a bit jarring-- not much effort was made in mastering to make this a cohesive release. As I've said in the reviews of other re-releases, if you didn't already decide to buy this album when you saw it was being released, reading this review shouldn't change your mind.  http://www.beercityrecords.com
[Laird Sheldahl]

INCANTATION
Decimate Christendom
(Olympic)
Rating - 6/10

Incantation is a respectable trio that divulges death metal bound to its roots.  Decimate Christendom presents an excellent example of their timelessness.  The group proves they are capable of maintaining a consistent and daring sound and should be highly regarded.  The only downside to their consistency is the lack of originality in this record, but they still provide some impressive harmonies.

Overall, the production is bare, but fitting to the band's writing style.  “Decimate Christendom” leads with a sluggishly heavy sound.  The tracks continue with a few exceptional guitar riffs and solos. Blast beats are plenty, and Joe Lombard plays a rumbling bass.

Listen to this album and take a step back in time.  Don’t buy this album if you are looking for something innovative in the death metal genre.  http://www.incantation.com
[Lo Walker]

INNER WISH
Silent Faces
(LMP)

Rating - 7/10

INSISION

Revealed and Worshipped

(Earache)

Rating - 7/10

INSOMNIUM
Since the Day It All Came Down
(Candlelight)
Rating - 8.5/10

This Finnish band is technically very proficient, from guitar-work to songwriting to production.  Heavily melodic death metal with just a tinge of prog rock is what we're treated to here and the amount of progressive rock is just enough to be structurally interesting without being either pretentious or masturbatory.  A couple of tracks remind me a bit of In Flames, perhaps more because they are one of my favorite bands moreso than a direct parallel with Insomnium's sound.  Anyhow, Insomnium manages to mix spoken vocals and melodic guitars along with a more straightforward thrash-metal framework to a good degree of success.  Similarly, the mix of staccato guitar stabs versus sections of pure, thick metal ooze is well balanced.  And yet over the top of it all is something I cant quite put into words-- a healthy dose of experimentalism maybe, a willingness to embrace something new and unusual and bend it to their death metal will.  Whatever it is, it keeps my interest without ever losing the hard edge that makes this a good Scandinavian death metal album.  Definitely worth checking out.  http://www.insomnium.net
[Laird Sheldahl]

IRON SAVIOR
Battering Ram
(Noise)
Rating - 8/10

German power metal by way of Judas Priest and Gamma Ray, Iron Savior has impressed me often in the past with their unique vocal approach and infectious energy.  After the incredible Condition Red, Piet Sielck and crew sound a little tired on Battering Ram.  It's not a bad album by any means though - not their best work but still damn fine metal.

Let's focus on the good points first.  The album starts with the title track, which isn't the high-speed assault one usually expects to hear at the top of an album like this, but it features a great, heavy riff and Piet still sounds like no one else on the mic.  "Tyranny of Steel" overcomes a pedestrian riff with a big, catchy chorus, and "Time Will Tell" takes a Jake E. Lee styled riff and builds a thundering track around it - one of the album's best.  And no Iron Savior album would be complete without at least one nod to Accept and the mid-tempo stomper "Break the Curse" is a damn fine one.  "Riding Free" strives to break the sound barrier while "H.M. Powered Man" ends the album in good-time anthem fashion.

Elsewhere are songs that just don't have the same spark (mainly "Stand Against the King" and "Wings of Deliverance") and the production, while solid, isn't as crisp as I would expect from such a veteran band.  The vocals and backing vocals are the best sounding element sonically, while the drums suffer from a rather flat sound.  Still, an average Iron Savior album beats the hell out of most albums that come my way these days and this is very much recommended for all power/classic metal fans.  http://www.iron-savior.com
[Daniel Hinds]

JAG PANZER
Casting the Stones
(Century Media)
Rating - 8.5/10

Here's how old I am - I bought Ample Destruction when it was still brand new.  And, as limited as that album was in terms of production, I loved many of the tunes, from "Generally Hostile" to "Warfare."  So I was well pleased when they reformed in the mid 90s and brought us the stellar one-two punch of The Fourth Judgment and Age of Mastery, two classic examples of American power metal at its finest.

Sadly, the band started losing me with Thane to the Throne and Mechanized Warfare.  Decent albums, to be sure, but it sounded like they were trying too hard, throwing in some unnecessary prog elements that simply cluttered things up.  Casting the Stones goes a long way to fixing that, however, reminding me more of the straight-forward Age of Mastery days.

"Feast or Famine" is a strong opener, up-tempo yet highly melodic.  "The Mission (1943)" is probably the album highlight, complete with a galloping riff and infectious chorus.  "Achilles" is nearly as good, showcasing the band's ability to still come up with instantly memorable riffs.  These two tunes also show off the storytelling lyrical style that has long been a Jag Panzer trademark.  "Cold" has a darker, more grinding approach and makes for a nice departure from the rest of the material.  Despite some less involving numbers later in the album (such as "Legion Immortal" and the meandering "Starlight's Fury"), there are more than enough good songs to make this a highly listenable album.

The production on Casting the Stones is hard to fault, as it is full, thick and heavy, with each instrument shining through - probably the best sound Jag Panzer has ever had.  Likewise, the playing is stellar as usual, with the well-constructed choir vocals sounding better than ever.  If the whole album was as good as the first four songs, this would be a contender for the band's best, but even still it ranks right up there.  http://www.jagpanzer.com
[Daniel Hinds]

JAPANISCHE KAMPFHORSPIELE

Fertigmensch

(Bastardized)

Rating - 7/10

JUNGLE ROT
Fueled By Hate
(Century Media)
Rating - 8/10

Jungle Rot continues their no bullshit, straightforward sound in Fueled By Hate.  This is not your typical 2004 death metal album. It has an early west coast death metal vibe. It’s not packed with Smith blasts or Sandoval grinds. It’s not the fastest or most brutal, but still intense and ruthless. Dave Matrise (vocals/guitars) Jerry Sturino (bass) Eric House (drums) and Joey Lohr (guitars) simply created something good to listen to.

Chris Djuricic made a great production. Although there is not much variety from song to song, I think that adds to the no-frills previously mentioned. “Face Down” kicks in and sets the tone for the rest of the album. There is very little tempo change throughout the album. Dave’s vocals are wicked in songs like “Gain Control.” Tracks like “Gasping For Air” gives an industrial feel as well.

If Machine Head turned death metal, I imagine they would sound something like this. Fans of Autopsy and Six Feet Under will like this album, as well as those who like heaviness served with simplicity.  http://www.junglerot.net
[Lo Walker]

KORPIKLAANI
Spirit of the Forest
(Napalm)
Rating - 9/10

With Otyg defunct and Skyclad now spiritually destitute, it is reassuring to hear there are still people out there paying tribute to the pagan spirit of folk metal.  This Finnish ensemble mixes together elements of bouncy folk, 80s metal, thrash and some secret ingredient that firmly stamps this as their own style.  The results are spectacular.

"Wooden Pint" is an upbeat jig much in the vein of Skyclad's happier moments, while "Before the Morning Sun" mixes some classic heavy metal into the cauldron.  Fiddle is used often throughout the album and to excellent effect, but the guitar is never forgotten either and the two trade leads on this tune.  The longest cut goes by the name of "With Trees," a highly atmospheric piece that explores many different tempos and guitar styles.  The generally gruff vocals sound weakest on these more mellow tracks, but not painfully so.  While many metal bands shy away from melodies that sound in any way 'happy,' Korpiklaani have no reservations, as evidenced on songs like "Pellonpekko" and "Pixies Dance," where the fine line between thrash and polka is danced right over.

According to the band's bio, their music is rooted firmly in traditional Finnish folk music and perhaps that is what gives this album such a unique and natural flavor.  Whatever the case, Korpiklaani's melding of styles has achieved a superb, enchanting and altogether brilliant album in the form of Spirit of the Forest.  http://www.korpiklaani.com
[Daniel Hinds]

LAMONT
Thunder Boogie
(Traktor7)
Rating - 6/10

Lamont’s accurately titled album Thunder Boogie is full of southern rock spunk.  Thunder describes the loud and forceful vocals. Boogie for its blues feel and any involuntary movements you do while listening. I can picture some sweaty, fat woman sitting on the front porch of her beat down trailer drinking beer, smoking cigarettes, and humming these tunes with her legs wide open in a dress my little sixteen year old sister couldn’t wear. The package art is also very suiting. It adds to that ‘Rock the Trailer Park’ vibe.

Members Mike Cosgrove, Pete Knipfing, and Todd Bowman along with producer, Andrew Schneider, have packaged an energetic album. "I Saw Red" spurts a garage punk feel. "Thunderboogie" provides interesting use of the cowbell, while "Hell’s Got Me Runnin’" stores some enjoyable guitar playing. “Hotwire” can also be heard on the “Tony Hawk Underground” game.

Overall, the album delivers heavy, blues-rock guitars, lively beat, and belligerent vocals. This album was released on Traktor7 Records. Influences heard include Skynard, Allman Brothers, Clutch and Antiseen. Fans of Rockabilly, Stoner Rock, Southern Rock, and Punk will probably dig this album.  http://www.lamontband.com
[Lo Walker]

LEASH LAW
Dogface
(Black Lotus)
Rating - 8/10

These American power metallers are a bit of supergroup, in that at least everyone has played in a 'known' band at some point.  Most prominent is probably Wade Black, of Crimson Glory and Seven Witches fame, and Richard Christy (Death, Iced Earth), but you also get top-notch musicians who have played with the likes of Rob Rock, Jason Becker and Nocturnus.  The resulting combination is a talented bunch that happily has lent their talents to nine quality tunes.

"Fight" starts off in a moderately fast classic metal style, while "Dogface" turns around with a  darker, uglier sound.  "Hail to Blood" show the band taking a bigger, more epic that reminds me a bit of modern Riot crossed with Manowar.  "Better When Betrayed" features sharp, point riffs blended with some great melodic leads and keys, while "Martial Law" sounds like every band you had never heard of in on the 80s Metal Massacre series (I mean that in a good way of course!).  "Paving the Way" is a slightly off-kilter jam that has a strangely morose feel to it - a bit of an odd song to end the album with.

Dogface isn't a perfect album.  Some of the vocal takes sound a bit rough, as if they didn't have the time to maybe try for better ones, and a couple songs meander a bit too much for their own good ("Banion" comes to mind).  Still, this is a fun, powerful collection of metal songs that proves we as a country don't have to lay beaten before the European might.  http://www.leash-law.com
[Daniel Hinds]

LEAVES' EYES
Lovelorn
(Napalm)
Rating - 6.5/10

Man, I was so ready to just love this album.  As much as I like Theatre of Tragedy's music, it was always Liv Kristine's delicate and surreal voice that kept me coming back.  Plus, I was one of the folks that loved her solo album, a diverse but thoroughly enjoyable collection.  Yet, no matter how often I listen to Lovelorn, there is just something missing.

"Norwegian Lovesong" opens the album and sets the pace, with its mid-tempo mix of sweet melody, heavy modern riffs and rather standard gothic keyboards.  Liv's voice floats over top like an angel, glancing down at the pedestrian tunes beneath but never quite joining them.  "Ocean's Way" introduces a gruff male vocal opposition (courtesy of Liv's husband and Atrocity frontman, Alexander Krull) which fails to engage fully due to its rather non-descript tone.  This song is also a good example of the rather thoughtless arrangements, as it just drops dead after the requisite 3.5 minute mark.

Perhaps my high expectations are making this album sound worse than it is because it really isn't bad, just a bit more mediocre than I had hoped.  On the bright side, the ethereal title track possesses some of the warmth and charm that made Deus Ex Machina so good.  "The Dream" is one the better heavy numbers, at least until Alex's vocals come in.  On the softer side, the piano-led ballad "For Amelie" works quite well and almost doesn't need the heavier bits toward the end.

With Atrocity forming the backing band, maybe the way this album turned out isn't so surprising, as I've never been quite as impressed with their work as I have with Theatre of Tragedy.  The playing is plenty solid though and the production is very robust and crisp, so I really can only fault the songs themselves for not being the brilliant compositions that a talent like Liv Kristine deserves.  http://www.leaveseyes.de
[Daniel Hinds]

LEVIATHAN
Tentacles of Whorror
(Moribund)
Rating - 7.5/10

Ultimate black metal submersion here.  This is the second album (at least that I've heard) by this one-man cult known as Leviathan and it picks up right where The Tenth Sublevel of Suicide left off, that being lost deep in the night forest in a severely altered state of mind.

Calling the sound quality here 'underground' or 'primitive' is generous - this sounds like it was literally recorded under the ground.  The drums and bass merge into some kind of Lovecraftian pulsating rhythmic mass, while the guitars are either barely audible sketches or raw thrashy chainsaw assaults.  Last time around, this occult inaudibility added to the atmosphere but this time, I'm not as sure.  There are times, to be sure, like the twisted outro to "Heir to the Noose of Ghoul" when things indeed become truly creepy, but often I was just wishing for a slightly clearer sound so I could tell what was going on.  "A Necessary Mutilation" is another example of skillful ambient manipulation and makes me think a full album along these lines could be quite intriguing.

Black metal is about mood more than anything and Wrest is still the man when it comes to creating one that is dark and desolate, yet strangely alive.  Speed is used effectively, as are slower more drawn-out passages, with vocals that are on the edge of disappearing into the ice-storm of damaged notes and unearthly rhythms.  The songs tend to be fairly involved, too, with the album clocking in at a solid 72 minutes.  Though I was somehow expecting a bit more from this follow-up, it is fair to say it has the same appeal as the last album and that's no faint praise.  http://www.moribundcult.com
[Daniel Hinds]

LILITU
The Delores Lesion
(The End)
Rating - 8.5/10

Lilitu is a brand new treat for me; this 4-piece outfit from Georgia tackles a style mastered by European bands, and nails it. With their own breed of melodic dark metal, this album is enough to make me want to look up their previous albums.

The Delores Lesion is the third release from Lilitu with its current lineup, and their 5th album altogether.  This album impressed me from the first track.  The album is very well put together; all the songs fit well together, yet at the same time are all very diverse.  The CD starts out with the brutally heavy "Only the End of the World Again" which at first didn't sound all that different than everything else that's out there, but once it got into the song I heard the traditional orchestral synth lines behind the guitar which drew my attention.

The Album continues into "Even the Vultures Have Moved On," which was a very interesting track.  The synth on this particular track reminds me a lot of those used by In Flames or Soilwork.  The vocal style starts hardcore and later in the song there's even a few guest vocals that remind me of old power metal.  The great tracks continue on right through the closing track "Fragments of My Reflection," which almost uses all the elements from throughout the album, put into one song (very well I might add).

The use of various elements throughout the CD make it one that would not grow old fast.  Every track has a distinct sound, from the use of the mentioned synth, to clean guitars, piano, and even some beautiful guest female vocals from Monica Arrington on two tracks.  http://www.lilitu.ws
[Eric Pioszak]

MACHINE HEAD
Through the Ashes of Empire
(Roadrunner Records)
Rating - 7/10

Ah, Machine Head.  Every time I hear these guys I have to wonder – why isn’t this better?  Don’t get me wrong.  I like Machine Head’s music.  I especially liked it the first time I heard it.  Unfortunately they just seem to be spinning their wheels a bit.  They are good musicians and they obviously have a lot of passion and conviction about what they play, but… so many of their songs seem interchangeable with their past efforts.  Unfortunately, Through the Ashes, for all the claims of progression and change, doesn’t strike me as being anything all that new or different.

I suppose if you have to be stuck in a rut, Machine Head have at least chosen a decent one to be mired in.  I mean, they could do a lot worse than sticking to their basic strategy of bone-crushingly heavy, mid-paced thrash.  It just gets to be a little unidimensional after a few albums.  The songs on offer here could easily have been written for any of their past albums, as far as I can tell.  The only hints of progression are actually fairly unfortunate stabs at “nu-metal”… which, of course, sucks.  It’s sad really, because with the addition of a few truly stand-out songs this would be a fine album.  As it is, it comes across as all filler and no thriller.

So, why should you rush out and by yet another Machine Head album?  Honestly, you’ve got me.  I mean, there are plenty of moments on Ashes that really rock and there’s abundant heaviness.  But is that really enough?  This time around, I don’t think so.  This one’s probably only for die hard fans and those that don’t already own one of Machine Head’s previous efforts.  http://www.machinehead1.com
[Nels Bruckner]

MAGIC KINGDOM
Metallic Tragedy
(LMP)
Rating - 7.5/10

With a title like Metallic Tragedy, you're really just setting yourself up for a fall.  Then add a cover that features a dragon, a wizard and a castle - at least people will know what to expect.  Fortunately, Magic Kingdom rises above the clichés and delivers a pretty solid power metal opus.

After the requisite and pointless intro, "Child of the Nile" rushes forward all double-bass and tweedly keyboards a-blazing.  The vocals are clean and rich, with big choruses, while the guitars are virtuosic and the keys not far behind (if not ahead).  "Iron Mask" features some extended (and exquisite) soloing in its midst, while Oliver Hartmann (ex-At Vance) adds some guest lead vocals to the songs "Flying Pyramids" and "Master of Madness."  His style may be a bit more original, but it didn't work for me as well as Magic Kingdom's own Max Leclerq.  "Barabas" shows the band can slow things down and still remain engaging, whereas "Another Sun" shows they can slow things down and become dreadfully boring, too.

All in all, however, this is an enjoyable, solid slab of keyboard-laden power metal with distinct classical influences.  Some songs are better than others but there are no losers in the lot and I think Magic Kingdom are well advised to just keep carrying on and seeing where their obvious talents take them in the future.  One word of advice, though - change the name.  Disney is soooo going to sue over this name at some point and I'm not even kidding.  http://www.limb-music.de
[Daniel Hinds]

THE MANDRAKE
The Burning Horizon at the End of Dawn
(Crash)
Rating - 8.5/10

With an album title like that, you better be an excessively brutal band or an excessively progressive one.  Fortunately, the band falls more into the former category, and manages to infuse melodic Euro death metal with a healthy dose of brutality.  Hailing from Colorado, The Mandrake impresses me as a band that has taken the right lessons from both the Swedish and the Florida scenes.

The Mandrake likes to throw a wrench into the usual, predictable arrangements, as evidenced from the start with "Disharmonize the Heavens."  After some speedy death metal marauding, the song breaks out some guitar-wiz arpeggios and then launches into a fairly long bridge that slowly builds up steam again before the carnage begins again.  Similarly, "The Burning Horizon" submerges midway through into a strangely calm section that features a lengthy and technically impressive solo, but again returns to heavier territory before too long and even works in some touches of Slayer towards the end.  In case things were getting too heavy for anyone, the rather pretty acoustic instrumental "Bringer of Dreams: A Fallen Angel" offers some respite, but things are off and running again with "Deadside of Eden."  The vocals throughout the album are very much in the low, deathy growl style - not terribly original, sure, but I kind of like that they stick with it and make it work rather than trying some lame-ass clean vocals here and there.

The Mandrake is decidedly a death metal band and it is difficult to call any death metal band truly original at this point in time, but they do a pretty good job of mixing up familiar elements in their own style.  The production is thick, heavy and clean as can be, truly a remarkable achievement by an American band these days.  For a vast variety of death metal styles stitched together seamlessly and played with utter precision, you will not be left wanting with this album.  http://crashmusicinc.com
[Daniel Hinds]

MELIAH RAGE
Barely Human
(Screaming Ferret)
Rating - 7.5/10

The late 80s brought us several bands that straddled the line between power metal and thrash and Meliah Rage were one of the more well-known, as they somehow landed a major label deal for their debut.  As reunions go, this wasn't at the top of my list, but at least they justify it with a solid album.

"Hate Machine" establishes the band quickly as sticking firmly to their developed style, melody and might in equal measure.  The thrash element bubbles to the surface on "Invincible," while "Barely Human" has a very catchy classic metal feel to it.  "Rigid" is interesting because it starts off seeming like an instrumental until you realize it is 8 minutes long… and then it keeps going and turns out to be an instrumental anyway.  "Hell Song" is a dark ballad that hints at modernity (or some twisted southern rock influence).  The badly titled "Motor Psycho" returns us to a fully metal course to finish of the album.

The production here isn't great but not bad either.  The snares are a little marginalized, but the rest of the drums and bass are full and the guitar tone is plenty thick.  The vocals remind me of Wargasm at times and Danzig at others (albeit without any of Glenn's histrionics, thankfully).  They are rough but musical and a veritable oasis in the sea of death metal gurglers I have to wade through every month.

Barely Human isn't a classic, mind-boggling album by any means, but it is a rock solid slab of metal and each song has character, definitely a rarity in this era.  I won't go so far as to say this is better than anything Meliah Rage has ever done (since it has been over a decade since I've heard them), but this is the most impressed I've been with their work and I can easily recommend this disc to power and thrash metal lovers everywhere.  http://www.meliahrage.com
[Daniel Hinds]

MEMORIZED DREAMS
Theater of Life
(Sound Riot)
Rating - 6.5/10

After a brief dry spell, it seems like every power metal band in the universe has suddenly come charging forth, proclaiming the scene alive and well.  Hailing from Norway, Memorized Dreams opt for the generally more laidback approach taken by bands like Riot or Cornerstone, rather than the full-throttle Rhapsody style.

This moderate sound is apparent right from the opener, "Cardinal of Sin," which is perhaps a bit too lethargic.  "Haloes and Wings" has a similar vibe but boasts more interesting melodies, especially in the vocal dept.  Ballad territory is breached on the piano track "Sea of Oblivion," which suffers from some strangely frail vocals affected by an obvious accent.  The rest of the album falls into basically the same formula as the first few tunes, with "Crimson Dream" showing the most spark and creativity, with an interesting keyboard solo that features a nice old-school synth sound.

Theater of Life is frustrating because it is obvious the band has the potential and talent to do much better.  This is decent, well-played and well-produced power metal, but it is just so sleepy sounding, it is difficult to get excited about it.  http://www.flink.no/~armand.hovd
[Daniel Hinds]

MERRIMACK
Obsecrations to the Horned
(Moribund)
Rating - 6.5/10

I was going to start by bitching about the sound quality and less-than-sterling musicianship displayed by this French black metal outfit, but then I noticed this is actually a collection of demos dating back to 1995.  Taking that into consideration, this still isn't the greatest collection of tunes ever, but it does have its moments.  It's too bad every time I see the band name I am reminded of endlessly boring Civil War studies in high school…

The intro and first full track "Asgard, Kingdom of the Nordic Gods" is raw, underproduced black metal in the most pagan tradition, yet is thrown off-balance by a keyboard melody that could have come from an old Donna Summer song with just a couple notes changed.  From here on, though, things get grimmer (and faster at times), with the reedy guitars and muffled drums fighting to see which can sound the shittiest.  Vocals are delivered in properly extreme fashion, sounding like ghostly shrieks more than any kind of intelligible communication.  The drumming seems to lose momentum now and again, which is considerably more distracting than the overall bad sound quality.

The first ten songs are from the first demo, while the next four are taken from a split with Hirilorn in '98.  The sound quality here isn't really any better, but things finally improve considerably on 2001's Horns Defeat Thorns demo (five tracks).  The recording, the playing and even the songwriting is a clear step up here, ending the disc on a positive note.

Things I like about Merrimack is their willingness to head off on a tangent (such as long synth instrumentals) and their ability to occasionally evoke that sense of pure dread that good black metal always does.  This probably wasn't the best way to learn about the band and I'm sure their newer material is better, but the liner notes and photos will more than make this worthwhile to black metal cultists.  http://www.moribundcult.com
[Daniel Hinds]

MINDGRINDER

Mind Tech

(Candlelight)

Rating - 7/10

MISERY SIGNALS
Of Malice and the Magnum Heart
(Ferret Records)
Rating - 8/10

Slow and moody and mostly (?) Canadian, this album opens like the Swans, both dissonant and monotonous and plodding.  The pace is picked up quickly, entering a dynamic and brutal realm similar to what I've heard from Mastodon.  Over the top of all the complicated guitar work is a healthy dose of organ, which blends quite well and doesn't stick out at all like so many Black Metal albums.  The drumming comes in waves, beating you over the head with aggregations of drum hits rather than a steady stream of machine-gun pace drumming, and I find this to be all the more intense.  At times melodic, this album is more often just plain loud.  Definitely the surprise CD this time around, and has ended up being my favorite disc out of this batch of reviews.  If you haven't heard Misery Signals, you should definitely check out a song or two and try it on for size, you might find it weaseling its way into your album collection.  http://www.miserysignals.net
[Laird Sheldahl]

MITHRAS
Worlds Beyond the Veil
(Candlelight)
Rating - 7/10

Mithras compiled a mélange of space ambiance with extreme metal interlaced with death metal influences. Worlds Beyond the Veil contains a kind of tranquil chaos. Its eccentric heaviness creates a unique packet, but nothing groundbreaking. It’s simply an unusual form of metal.

Influences for this band consists of Intoxication, Cryptopsy, Morbid Angel, and Nile fused with Dead Can Dance. Vocalist/Bassist Rayner Coss, guitarist/ drummer Leon Macey, and guitarist Lee du-Caine spent many months in studio before mastering the album. Golden Lake Production released this album in September 2003, but Candlelight Records will issue a re-release in August 2004. The production is okay, but a bit low.

Worlds Beyond the Veil encloses a heavy and dark vibe. The first track delivers an atmospheric feel. “Worlds Beyond the Veil” holds delicate solos and melodies, while “The Caller and The Listener” begins of more progressive tones. “The Sands of Time” and “Search the Endless Planes” comprises of a unique blend of guitars, synths, and samples creating a progressive, chaotic, and ambient atmosphere. “They came and You Were Silent” provides lots of drum action. Some Sandoval grinds can be heard in this album as well.

As the band’s name suggests, lyrics are not just about death, but also about life and the universe. It is not the average metal fan music, but worth checking out if you’re into the unusual side of metal.  http://www.mithras.org.uk
[Lo Walker]

MOTÖRHEAD
Inferno
(Sanctuary)
Rating - 8.5/10

Few bands with a history as long and gory as Motörhead's have been able to keep pumping out albums of this quality.  Oh sure, Lemmy and co. have unleashed a few less-than-sterling collections here and there and not every track on here is a winner, but damn if most of the tunes don't bristle with the same energy the band had twenty years ago.

"Terminal Show" is the kick-ass speedy number to remind everyone who influenced the spawning of thrash and speed metal more than any other band.  "Killers" features a great, hard as hell riff and is destined to be a Motörhead classic.  "In the Name of Tragedy" starts off in the vein of "Overkill" but settles into a pounding mid-tempo metal stomper.

The first detour is "Suicide," which has that somewhat too laid-back groove the band fell into during the late 80s.  "Life's a Bitch," on the other hand, is pure old fashioned rock 'n' roll (amped up properly of course) and "Down On Me" showing a bit of that Ramones influence.  It's always a bit strange hearing Lemmy actually singing (kinda like Dave Mustaine in that regard) and he does a good job on the chorus for "In the Black" not to mention "Keys to the Kingdom."  Everything comes into perspective with the final cut, an acoustic blues killer called "Whorehouse Blues," a song as seedy and gritty as the heaviest thing the band has recorded.

Even though I enjoyed Hammered quite a bit, I think Inferno has a bit of an edge over it as a whole.  The production is generally a little fuller, though it really varies from song to song with the band experimenting with different guitar sounds.  The album art is certainly a little more vibrant than Hammered.  http://www.imotorhead.com
[Daniel Hinds]

MXD
Musicogenic
(Twilight)
Rating - 5.5/10

MXD sounds more like a modern attempt at an experimental drug than a name of a band, but still the name this Swiss electronic group uses.

When I inserted Musicogenic into I-tunes it came up as industrial, and while it does have some songs on the album that might be categorized as industrial, a majority of the album I would classify as heavy electronica at best.  It almost feels like they tried to do too much with the album.  The first track "Escalator" reminds me of Prodigy, with rhythmically-based lyrics, almost to the point of rap. The second track "Veloce" I am convinced was a completely different band.  "Veloce" is VERY much industrial, heavy guitars, and a driving beat, in the vein of Bile and Hate Dept.  "Veloce" is a well done song, but the style accomplished is not heard again until the ninth track, "Marius."  Track three sounds like Covenant while four through eight try out the electronica groove-core again.

On the twelfth cut, "Extrospection," they try out the heavy industrial again, but not quite as strong as the earlier tracks.  More electronica breaks in on thirteenth try "D-Day," which leads into the crime of the album.  Attempt fourteen "Pump" is a well done song, but a complete rip off of what KMFDM has been doing for nearly 2 decades.  The end of the album comes with "Refonk," which starts out with a funk intro, leading into more generic electronica.

This album would make a good soundtrack for a college party, due to its almost compilation quality, but is difficult to call good in any genre.  If they had focused on one particular style they would have had a great work, but by spreading themselves so thin over so many genres, all the styles turn out rather weak.  A fan of Prodigy, Fischerspooner or Moby may find this album interesting, but there was nothing that really stands out in my mind about this album.  http://www.mxd.ch
[Eric Pioszak]

MY FATE

Happiness is Fiction

(Crash)

Rating - 6/10

NECROPHAGIST
Epitaph
(Relapse)
Rating - 7/10

Fast, tight and complex death metal sums up Necrophagist.  They attain an impressive number of notes per riff for the speed they attain.  It would take just the slightest shift in timing by one band member to turn this into muddy crap, but this album is sharp.  And not only sharp in terms of timing, but tonality as well.  Unlike many death metal bands who wallow in distortion and bass rumble, these guys are all over the fretboard, playing arpeggios that, like a bad horror movie, don't end when you expect.  An occasional melodic riff will emerge, such as on "The Stillborn One," which may only be a couple of slow notes but cuts through the mix like... like... well, I can only think of bad analogies at the moment so I'll spare us all the embarrassment.  I think its worth noting that the lead guitarist of Necrophagist is the son of conservative Turks who taught himself guitar in secret-- and while Epitaph is always unmistakably a death metal album, it is a unique one at that.  http://www.necrophagist.de
[Laird Sheldahl]

NECROPHAGIST
Onset of Putrefaction
(Willowtip)
Rating - 7/10

Necrophagist reveal a compelling reissue of their out of print release Onset of Putrefaction.  It presents classic death metal with a thrash guitar sound and maddening Malmsteen sweeps and slides.  The new drum programming makes this a definite step up from the bands last release in 1999.

The group signed with Relapse Records early this year; however, the album was originally recorded with Willowtip Records.  Overall, this is a good listen.  The new mix, master, and layout provide new insight into the bands complex writing style.  “Ferment Offal Discharge” is a great way to end the album before moving into bonus tracks from their 1995 self-titled demo “Dismembers Self-Immolation” and “Pseudopathological Vivisection.”  http://www.necrophagist.de/
[Lo Walker]

NINNUAM

Process of Life Separation

(Crash)

Rating - 8/10

NOCTA
Come Out Wherever You Are!
(self-released)
Rating - 8.5/10

So often I dread reviewing demos these days, but occasionally a gem will come along that makes it worthwhile.  This Greek outfit has clearly taken a page or two from the 70s book of how to rock and are all the better for it.

"Wicked Woman" is a great example of Nocta at their best.  Coming across as blend of early Sabbath and Scorpions, the song mixes power chords with haunting melodies and vocals that are emotional yet forceful.  "Beam of Light" begins in a slightly mellower, psychedelic mode but the heavier guitars come in for the chorus.  "Sometimes" suffers from some awkward vocal passages, but musically is still strong, reminding me of both Witchfinder General and Pentagram at times.  The title track has some more experimental bits, but also some catchy vocal lines.

Granted, the recording quality is definitely of the 'demo' quality, with somewhat deadened drums and an overall muddy mix, but the quality of the songs still manages to shine through without problem.  I really hope these guys get picked up and put into a studio with a top-notch producer because there is no doubt they will produce one hell of a killer album.  http://www.nocta.org
[Daniel Hinds]

NYIA
Head Held High
(Candlelight)
Rating - 5/10

What? Guitarist Jarostaw “China” from Vader united with guitarist Szymon Czech and vocalist Michael Pawluć from Prophecy to form NYIA. Other members include drummer Wojciech Szymańsk and bassist Maciej Banaszewski. I believe these guys are capable musicians, but their first album Head Held High is not good representation of their talents. Someone could have an epileptic fit listening to this incomprehensible chaos. It is full of spastic melodies that could be good, if pieced together correctly. In their strive to be unique, they have created metal mayhem. The drums are good, but lack consistency with the other instruments.

The group released Head Held High in May 2004 on Candlelight Records, but this is not your typical Candlelight release. Recorded at Selani Studio, production was decent. I like certain segments of songs, but not one song entirely. For instance, “Everything is a Dream” has some good riffs and intriguing drumming, but the two drown each other out at times.

Aside from their obvious influences, Vader and Prophecy, some Cryptopsy elements exist as well. If you buy this CD, check out the video for “Beneath the God.” It’s an artsy video with hints of Dellinger Escape Plan tone.  http://www.nyia-team.com
[Lo Walker]

THE OBSESSED
Incarnate
(Southern Lord)
Rating - 10/10

CD re-releases are invariably described (if only by the record label releasing them) as "classic," but most are just old.  Even though I had never heard The Obsessed, just by listening to this album I can easily call it classic, it has a sound that just exudes the quality necessary to make something classic (and I'm not talking sounding like an old record, this album may be a collection of old recordings but the mastering is impeccable).  A heavy and plodding power-trio, like I said I hadn't heard The Obsessed before this, but I have heard one of their collaborators, the Melvins.  This album is not as slow, nor as grunge. Even if the members of this band had gone on to have no career whatsoever (they are in Goatsnake and Spirit Caravan), this would still definitely be an album worth re-releasing.  It's dark, it's heavy, it's evil, it's early 90s rock.  Slow down some early Danzig, give him more distortion and you might approach the depth of The Obsessed.  Highly recommended.  http://www.southernlord.com
[Laird Sheldahl]

PRO-PAIN
Fistful of Hate
(Candlelight)
Rating - 8

Pro-Pain have firmly established themselves as one of the few ‘sure things’ in metal by putting out a remarkably consistent string of solid albums over the last few years.  They don’t tend to stray too far from home, either with their sound or their lyrical content.  For some bands this would spell stagnation and declining interest.  Luckily for us, Pro-Pain are sticking to something that was good to start with and has stood the test of time.

Fistful of Hate remains very true to the brutal, grindy, aggressive sound that Pro-Pain is known for.  It’s New York Hardcore, man, pure and simple, no excuses.  As usual, the riffs are huge and the groove is a mile wide.  It’s that sense of groove that allows Pro-Pain to continually make the same formula sound interesting and catchy.  Song tempos tend to be mid to mid/fast and the vocals are in the shaven-head / throbbing-temple-vein category.  The musicianship and recording quality are both rock solid.

Could that description be applied to just about any Pro-Pain CD?  Sure.  Does that make me like this album any less?  Fuck no.  Put simply, if you like Pro-Pain, you probably already know it… and, if you do, you should pick up this CD.  You’re going to dig it.  http://www.pro-pain.org
[Nels Bruckner]

RAGNAROK
Blackdoor Miracle
(Regain)
Rating - 8.5/10

Murderous Satanists from Norway - what more could you really ask for in this day and age?  Ragnarok failed to impress me a whole lot with Diabolical Age, but that was four years ago and things have progressed considerably since then.  Blackdoor Miracle is a hard-hitting black metal that bludgeons yet offers plenty to wrap your mind around in the process.

As the Emperor-esque intro crashes into "Heir of Darkness," it is clear Ragnarok made some wise decisions in the studio.  Recorded with Tommy Tägtgren at Abyss, the sound on here is smoking.  The drums are full and pulverizing, while the guitars shred at just the right level and the vocals rage across the wreckage.  Amidst the brutality can be discerned some intriguing riffs and rhythms, a fact true of most every song on here.  This is where perhaps the band has improved the most: adding the subtlety and complexity that was missing in the past (I haven't heard In Nomine Satanas, so no comment there).  "Murder" starts off with some hazy melodies, making for a nice change of pace, but there is no shortage of speed or aggression here either.  Some classic German thrash influences can be detected on "Bless Thee For Granting Me Pain" and "Journey From Life" ends the album in pure, grim Norwegian black metal style.

With a sound as ferocious (and blatant) as their look, Ragnarok should go down a storm with the Dark Funeral crowd, but fans of more involved black metal (like Emperor or Enslaved) may be curious to check this out as well.  It's always nice to hear a band make noticeable strides forward and Ragnarok have truly excelled with Blackdoor Miracle.  http://www.ragnarokhorde.com
[Daniel Hinds]

RIVAL
State of Mind
(Metal Blade)
Rating - 8.5/10

Just when I thought Metal Blade may have abandoned the power metal field in favor of the hipper death and metalcore genres, along comes Rival.  American bred, this lot lays down pure metal that is aggressive and melodic - 'power metal' by any definition of that term, yet mostly unlike most of what passes under that banner these days.  This is more like Priest, Omen or Iced Earth than anything coming off the Continent in recent years.

One thing that immediately distances Rival from the pack is the vocal style of bassist John Johnson.  His leathery delivery is rough yet melodic when necessary, reminding me of a cross between Eric A.K. and J.D. Kimball - a unique sound to be sure and one that works well with the band's heavy almost claustrophobic style.  The guitars, bass and rums run thick through each song, with lots of double-bass pounding, but the band also breaks out some really interesting solo spots and have obviously put some serious thought into these arrangements.  A couple tracks fail to really spark completely ("Brink" in particular), but most cuts are good or excellent, with some entrancing melodies flowing from both the guitars and the vocals.

Rival is one of those types of bands I have always admired.  Here they are playing a style of music that is never going to make them famous or rich, but they do it with complete devotion and passion and those lucky enough to hear it are in for a treat.  http://www.rivalmusic.net
[Daniel Hinds]

RWAKE

If you walk before you crawl, You crawl before you die
(At a Loss)

Rating - 8/10

SAINTS OF EDEN
Overload
(Metech)
Rating - 7/10

As a movement, industrial metal burned itself out pretty quickly, but it lives on in a more covert manner as evidenced by bands like Saints of Eden.  Live bass and guitar are skillfully layered over a synthetic foundation, with the vocals ranging from rough and processed to clean and ethereal.

The title track opens the album, laying down a nice groove, while "New Beginning" shows a little more gothic atmosphere.  Personally, I like it when they juxtapose the clean, floaty guitars with the hard, lockstep metallic riffs and wish they would do it more often.  "Daylight" is another good example of this approach, with the guitar styles intersecting and playing off each other.  "Flashback" displays a more frantic riff, perhaps the most typically 'metal' sounding one on the album.  The disc closes with "Mystery," a moodier track that mostly eschews the heavy guitar in favor of a throbbing bassline and whispery synths.

Although generally an enjoyable album, there is still some room for improvement.  The synth/guitar mix is good but there are many times when neither one seems to be doing that much, giving a somewhat empty feel to several songs.  Perhaps this minimal approach is intentional, but to my ears there is just something missing and I keep waiting for either the guitar or the keyboards to take off and fill in the blanks.  This isn't helped by the production, which sounds rather thin, particularly in the drum department.

Still, it is cool to hear a band mixing metal and industrial elements this way and doing it in a totally different way from the more known bands (KMFDM, Oomph!, etc.)  There aren't any real standout tracks here, but this album operates more as a soundtrack, something you just let flow and groove along with.  http://www.metech-recordings.com
[Daniel Hinds] 

SCORPIONS
Box of Scorpions (3CD)
(Universal)
Rating - 9.5/10

With everyone from Black Sabbath to Judas Priest to Slayer putting out box sets, seems natural that the Scorpions are long overdue.  This is obviously not a complete collection of their work, but it is a good overview of everything from the very beginning all the way up to the symphonic recordings in 2000 and it is that broad coverage that makes this my favorite Scorps collection yet.

Opening with arguably the best tune from their debut Lonesome Crow, "I'm Going Mad" still sounds as cool and mysterious today as ever.  It's a shame the jazz explorations of that era weren't continued, but then we wouldn't have had all the hard rock classics that make up the rest of these discs.  The rest of disc 1 is made up of classic numbers from Fly to the Rainbow, In Trance, Virgin Killer, Taken By Force, Tokyo Tapes and Lovedrive.  As with any compilation, there are obvious tracks that are sorely missing ("Polar Nights," "Life's Like a River" and "Is There Anybody There?" are the most notable omissions), but there is no way to fault the tracks included, as they are all legendary at this point and rightly so.

Disc two includes a couple more Lovedrive tracks and runs through all the hits from Animal Magnetism, Blackout, Love at First Sting, and Savage Amusement.  Again, the more popular (and shorter) tracks are generally included, with highlights like "Dynamite," "Make it Real," "Don't Make No Promises (Your Body Can't Keep)" and "Still Loving You" making this a rock solid account of the band in the 80s.  The album closes with the somewhat rare and excellent cover of The Who's "I Can't Explain."

The final disc is perhaps the least satisfying, as it collects the weakest era (the 90s) and throws in some bonus tracks that otherwise wouldn't really warrant inclusion on a 'best of' (such as "Over the Top" and "Life Goes Around").  Also, only one track from Pure Instinct appears, the rather blah ballad "You and I," while much more interesting songs like "Wild Child" and "Are You the One?" are absent.

Still, like I said, as an overview of Scorpions' career, this is by far the most complete one available short of buying the full catalog (which I highly recommend, as there is hardly a bad song to be found on the first eleven studio albums).  This album is well timed to hopefully introduce some new fans to the unique rock experience that is Germany's best known band, particularly with a great new album (Unbreakable) out and a US tour coming up shortly.  http://www.the-scorpions.com
[Daniel Hinds]

SCORPIONS
Unbreakable
(Sanctuary)
Rating - 9/10

Let's face it, Scorpions haven't done a truly great album since 1990's Crazy World (and I'm sure purists would have to go even further back).  Sure, there have been some moments of excellence since then, but no cohesive record that a fan could really sink their teeth into.  With Unbreakable, these German legends set out to lay down an album back in their classic style.  While I don't think they succeeded in the way they (or I) expected, Unbreakable is a great album that covers a lot of ground.

The album opens with "New Generation," a dark, edgy slice of metal that manages to incorporate a modern riff without losing that inherent Scorpions style.  Lyrically, I like this song a lot, too, because it falls into that socially-conscious category that I wish the band would do more ("Media Overkill," "China White," "Crossfire," etc.).  "Love 'em or Leave 'em" is a mid-tempo rocker much in the vein of Crazy World's poppier tracks.  "Deep and Dark" is even more like something from that acclaimed album, with a nice catchy chorus, while "Borderline" breaks out of the box a bit as a bluesy stomper that has a certain late-'70s sheen to it.  The fastest, hardest track is easily "Blood to Hot," a throwback to their mid-80s style that celebrates the band's favorite topic (after sex), namely touring the world and rocking out.

Of course, it wouldn't be a true Scorpions album without at least one ballad.  "Maybe I Maybe I" is one of their best in ages, with Klaus' voice sounding as rich and emotional as ever.  The vibe here is sadly romantic, like an old black-and-white movie, even when the heavier guitars come in toward the end.  Although "Someday is Now" always passes by without making much of an impression, it's actually a decent song that rises above mere filler at the chorus.  "My City My Town" could easily have fallen into the schmaltzy category with its universal celebration of one's hometown, but it has its charm (though a bit lightweight musically).  The highpoint of the album is next, "Through My Eyes."  Starting off with a delicate clean guitar riff, it has that build-up to an absolutely killer chorus much like "No One Like You."  This track more than any other really does sound like classic Scorps and is a clear sign there is plenty of life left here.  "Can You Feel It" has another huge chorus and features that vocoder/talkbox effect used on "The Zoo" for a cool solo.  I'm probably insane, but something about the chorus to this song totally reminds me of The Pursuit of Happiness' "Carmalina."  Yes, I know... 'insane'…

"This Time" is on a par with "Someday is Now" in terms of barely escaping the filler tag, while "She Said" is the second and lesser ballad on offer.  Fortunately, the album closes with "Remember the Good Times," which transports us back to the fun, glam-rocky days of the 70s with lyrics that look back fondly on the 60s.  Definitely not a typical Scorpions song (and certainly not a 'modern' sounding song in any way), but a very cool, well-crafted tune that ends the album on an up note.

Although this album sounds more like the early 90s Scorpions than it does the early 80s era, it is a strong effort and hopefully just a hint of more greatness to come.  One suggestion - listen to the album several times before making up your mind because it really does grow on you and get better each time.  http://www.the-scorpions.com
[Daniel Hinds]

SEAR BLISS
Glory and Perdition
(Red Stream)
Rating - 9.5/10

Long one of the world's finest and most underrated black/death metal bands, Sear Bliss have returned with another harrowing yet entrancing masterpiece.  Fast, heavy guitars battle astral keys and the band's trademark trumpet, while mainman András Nagy lays down some seriously grim vocals.  Saying this is the band's best album is difficult because The Haunting is such a classic, but it is damn near and may gain that status in time as it grows on me with each spin.

"Birth of Eternity" opens with a solemn tone before quickly launching into a blackened frenzied.  It is clear right away that Sear Bliss has lost none of its edge, though the production does seem a bit fuller this time around.  "Reverie" is a unique, short bit of atmosphere laden with celestial keys and vocoder, while "Night Journey" is just plain fierce.  The title track exudes pagan beauty while "Two Worlds Collide" has a harder, almost thrash side that reminds me a bit of Immortal at their best.  This song is just plain driven from start to finish, features some of that menacing trumpet to aid the heavy-as-hell guitars, and is perhaps the finest moment on the album.  Speed seems to have taken the place of the doomier elements that existed on earlier Sear Bliss albums, but it works and songs like "Dreams Spectre" demonstrate the band can intertwine the two just as well.  "Blood Serenade" is probably the most unusual (and longest) track, as it mixes some folky melodies and rhythms with the black metal to excellent effect.

After the good but raw sound on Forsaken Symphony, it was cool to hear Sear Bliss take a more produced approach here.  The cover and booklet art is epic as always, matching the ominous grandeur of the music nicely.  If you haven't experience this Hungarian whirlwind of metallic genius yet, this is a great album to start with and there is no time like the present - you will not be disappointed.  http://www.searbliss.hu
[Daniel Hinds]

SETHERY
Kholera
(Woodcut)
Rating - 8.5/10

Goofy band photos aside, this Finnish lot mean business when it comes to their music and they lay down seriously fierce melodic black metal on this, their full-length debut.  Similarities to the likes of Dimmu Borgir, Catamenia, and Emperor can be heard, but there is something distinctly Sethery about this album.  I'm still trying to figure out exactly what element it is though - the drums perhaps?  There do seem to be some unique rhythms and strangely elegant change-ups.

Whatever the case, Kholera is an enjoyable slab of fast, heavy and reasonably complex black metal.  From the titles "Demons Spoke the Lullaby" and "Hellvision Designed," you get a pretty clear grasp that these guys aren't about to accept Jesus Christ as their personal Lord and Saviour.  The blasphemous decrees are delivered with a venomous rasp, while the guitars rage, rip and squawk in just the right measure.  Keyboards are applied liberally to each track, helping build the atmosphere rather than destroy it, and are wisely mixed back just enough to let the guitar riffs dominate when necessary (and when isn't that necessary?).

The songs are pretty damn good from start to finish, but if pressed I would have to pick "(I Am) Condemnation" as my fave, as it is just so OTT and brutal, you can't help but adore it.  While there is certainly no shortage of albums in this vein already on the market, it is always pleasing to hear a band doing the style up right.  http://www.sethery.com
[Daniel Hinds]

SILENT VOICES
Infernal
(Crash)
Rating - 7.5/10

Pessimist that I am, I looked at the band name and half-assed album cover and pegged this as some kind of lame prog-metal band that still worshipped Queensrÿche beyond all reason.  Then I had to go and ruin my snap judgment by actually listening to the CD and, hey, this isn't that at all - it's actually pretty good.

Power metal is cutting a broad swatch across the reviews this time around, which is nice because for a while it was all death metal and my tolerance for endless mediocre power metal is much higher than for endless mediocre death metal.  And since I've had so much crap coming in, I've only had time to review the better albums and Infernal definitely falls into that category.  Their brand of power metal features clean, mostly high vocals, twisty riffs, proggy arrangements and even a touch of modernity (albeit a light one).  There are two tracks that are considerably more elaborate than the rest, namely "Fate Divided" and "Avalon," where the Dream Theater influence starts to really shine through.  As impressive as these tunes are from a technical viewpoint, I preferred the more direct and forceful cuts like "New World Order" and "Infernal Mind."

With members from Requiem and Sonata Arctica, you kind of have an idea what to expect here and Silent Voices delivers.  I was hoping in the end for some slightly more memorable songs, but it's good music and that will suffice for now.  http://www.silentvoices.cjb.net
[Daniel Hinds]

SIRENIA
An Elixir For Existence
(Napalm)
Rating - 9/10

Formed by Morten Veland after his split from Tristania, Sirenia was out to prove something on their debut At Sixes and Sevens and they did indeed.  From the delicious album cover to the infectiously heavy goth metal tunes, the album demanded attention.  Now it is time for Sirenia to demonstrate their staying power and I'm pleased to say An Elixir For Existence does just that.  (I just noticed the odd similarity in titles of the two albums - hope Sirenia doesn't fall into an Anvil-like obsession over this in the future...)

"Lithium and a Lover" has it all, from the heavy riffing to the gloomy melodies and tortured vocals.  For folks who think 'gothic metal' has to be all weepy and wimpy, Sirenia are here to crush that myth.  Morten's vocals roar and the guitars keep pace, with the whole combination approaching black metal intensity on songs like "Voices Within" and "In My Darkest Hours."  But there is balance on every track, with soaring synths and big, rousing choirs taming the brutal side of the band just enough to make things interesting.  Henriette Bordvik doesn't appear as often as I had hoped, but she easily justifies her inclusion in the band with her sweet vocal persuasions, such as on "Euphoria" and "Save Me From Myself."

For fans of everything from H.I.M. to Dimmu Borgir to Nightwish, Sirenia will not disappoint.  With the array of styles corralled onto this album, it would have been easy for the band to lose track of the songs themselves, but thankfully that is not the case at all.  Another strong release from a band with a bright future.  http://www.sirenia.no
[Daniel Hinds]

SIX REASONS TO KILL/ABSIDIA

Morphology of Fear

(Bastardized)

Rating - 6/10

SKINDRED
Babylon
(Lava)
Rating - 5/10

There was a time in the late 80s and early 90s when bands were experimenting with blending seemingly disparate musical styles with often incendiary results, witness the likes of Primus, Faith No More, Living Colour, Pop Will Eat Itself, Mordred, the list goes on.  They key wasn't just in the unusual combinations but also the quality of the songs that were produced.  At some point, though, it became merely an exercise in finding new mixtures and the importance of the songs themselves seemed to evaporate.

Which brings us to the present, dismal state of so-called alternative music.  Skindred try hard and succeed in at least defining a style they can call their own, but large chunks of it still sound like they were culled from the born-weary nu-metal bands still plaguing the scene.  The twist here is a strong reggae/dancehall influence, which comes through mostly in the vocal department.  Frankly, the vocals and somewhat intriguing lyrics are the only thing saving this album.  Musically, the band are enamored with the big, bumpy grooves ala Korn and messed-up arrangements and tweaky guitars ala System of a Down and are just as interesting to listen to as both of those bands (some might take that as a compliment - it isn't).

The production is just as chaotic and bass-heavy as the music itself, which doesn't help.  The occasional electronic inserts are more distracting than anything, though personally I would like to hear the band trade in the tired hardcore riffs and try to put together something more strictly electronic.  "Set it Off" hints at this, with shades of Pitchshifter, and is one of the few enjoyable moments on the album.  I've seen several comparisons to Bad Brains, but I don't really hear it.  Skindred have taken many of the same elements but they fail to put them together in a manner that is remotely as compelling, unfortunately.  http://www.skindred.com
[Daniel Hinds]

SOTAJUMALA
Death Metal Finland
(Woodcut)
Rating - 7/10

It's always nice when the album title also serves as a band bio.  This is my first encounter with these tank-loving maniacs and this is their first full-length album.  The harsh brutality of the album cover is an apt reflection of the no-nonsense music contained within, which isn't likely to find much interest outside of deep death metal circles.

After a menacing intro, "Meidän Maa" bursts forth in declaration of war.  Fast, raw death metal with deep, grave-borne vocals is the name of the game and continues to be throughout most of the record.  "Kuolleet" departs into slower, grindier territory, not unlike classic Obituary or Marduk when they find time to slow down.  At the other end of the spectrum is "Rakkaudesta Sotaan," a two minute pummeling that shifts gears from fast and brutal to faster and more brutal.  No matter what else is going on, there seems to always be room for an impressive high-flying solo on each track.

Sotajumala are one of those bands that is either frustrating or refreshing, depending on what mindset you take in with you.  On the one hand, their lack of originality and somewhat thin production may leave you wishing for more, but alternately their dedication to classic death metal and barbaric intensity may be exactly what you are looking for.  Personally, I'm in the middle - I'd probably lean closer to the latter if I didn't have a dozen similar death metal albums to review alongside this.  http://www.sotajumala.com
[Daniel Hinds]

STEREOCHRIST
Dead River Blues
(Arctic Music)
Rating - 7/10

Budapest Rockin-n-Roll Blues. Formally known as Supernatural, Stereochrist delivers energetic, stoner rock in their first album Dead River Blues. This is not the heaviest album, but it still rocks in its own way.

Stereochrist was deeply influenced by Black Sabbath. You can hear a Sabbath undertone in songs like “Smack the Sun,” “Holosonic,” and “Super Sorrow.”  The stoner rock feel continues to roll nicely with energetic riffs in “Mind Ammo” and “All Along the River.”

Lyricist Felfoldi Peter is not the strongest vocally, but his voice fits the overall sound. It is similar to Manic Frustration or the late Alice in Chains vocalist, but Felfoldi doesn’t have much range. The guitar riffs were very enjoyable. Hegyi Kolos burst delicate harmonies throughout the album. Koltay Tamás plays some up beat, in your face drumming making this a solid release for Arctic Music Group.

This is probably one of the more exciting albums for this genre.  http://www.stereochrist.com
[Lo Walker]

SUBTERRANEAN MASQUERADE
Temporary Psychotic State
(The End Records)
Rating - 3/10

The band name and album title are nearly longer than this 2 song CD EP.  Had I read their one-sheet first, I would have been turned off by the description of this mini CD as a means of self-expression of his deepest and darkest thoughts and emotions.  But as it was, I listened to the music first, and was turned off by the heavy-handed Artistry.  Nevertheless, moody rock emerges here, incorporating a substantial dose of violin, which might make this sound like a prog rock version of Camper Van Beethoven, with deeper, bassier vocals (courtesy Novembers Doom's vocalist for those familiar).  http://www.submasq.com
[Laird Sheldahl]

sunn0)))
White2
(Southern Lord)
Rating - 5/10

sunn0)))’s name, pronounced sun, pertains to sound pressure. They have played with acts, such as Today is The Day and Burnt By The Sun. Their music is simplistically complicated and extremely experimental.

This album consists of three songs lasting approximately one hour. It sounds like a low-budget movie or a ‘hang dog’ misfit documentary soundtrack, perhaps a Harmony Korine film (Gummo, Julien Donkey-Boy).

In comparison to other greats of this genre, such as John Williams (Indiana Jones, Close Encounters, Star Wars, Jaws, ET...) and Danny Elfman (The Nightmare Before Christmas, Edward Scissorhands, Planet of the Apes, Big Fish...), sunn0))) rates pretty low on my scale. Even Howard Shore’s Naked Lunch was much better than this.

Of course, I generally listen to these soundtracks solely when watching a movie. I am not particularly knowledgeable in this area, so my review may be a little biased. If you are into to experimental deep coma music, then this definitely worth checking out.  http://www.southernlord.com
[Lo Walker]

SUSPERIA
Unlimited
(Candlelight)
Rating - 10/10

The only thing that I find even remotely disappointing about Susperia is their billing as “melodic metal”, which is a sadly inadequate and confining description for a band who posses the kind of talent that is on display here.

It also gives the impression that Susperia might be a little lacking in the heaviness department… and nothing could be farther from the truth.  Above all else, the songs that spiral around on this bit of plastic are fucking heavy.  Ranging from mid-tempo crushers to all out, double-bass-kicking-your-ass, high speed thrashers all the songs exhibit a craftsmanship and attention to detail that few bands ever achieve (and more should aspire to).  In particular the vocals of Athera are really standout, ranging from an Entombed-esque basso growl which compliments the thick, meaty rhythms perfectly, to occasional high pitched screams that are somehow equally appropriate.  Add to this precise, intense, scary drumming and a guitar attack that ranges from staccato to bone crushing and you have the elements of Unlimited.

With Unlimited, their 3^rd full length album, Susperia display a level of maturity that I find extremely impressive.  This CD achieves a range of heaviness and attention to detail that is extremely rare and perhaps undervalued of late.  They really stand out from the pervasive array of cookie-cutter bands who are offering increasingly similar products these days.  http://www.susperia.net
[Nels Bruckner]

TANGORODRIM
Unholy and Unlimited (LP)
(Southern Lord)
Rating - 7.5/10

Goddamn, another Tolkien-inspired band this time month?  Cool.  And I say 'month' as if I update The Plague every month any more, ha!  Anyway…  This lot hails from possibly the unholiest place on the planet, Israel, and they play dank, grim, necro fucking black metal.  No melody, no keyboards, and no respect for your ear drums whatsoever.  Apparently, this is only being issued on vinyl in a limited quantity (do you even have to ask how many?).

From the feedback squeals that start the barrage onward, this is a pretty damn bleak album.  The way Hellhammer influenced Darkthrone is clearly the same way Darkthrone has influenced Tangorodrim.  Guitars are omnipresent, raw as an exposed nerve, and plenty repetitive.  Behind that wall of fuzzy terror lies a thumping, surprisingly deft rhythm section.  Not that any of this stuff is brain surgery, but there is a certain skill level that must be achieved to deliver this music with the right feeling and intensity and these guys have it.

The third song (I don't have a tracklist) blends old Mayhem with Hellhammer in a truly inspired way.  The following cut starts off morbid and slow but goes through several changes before calling it quits.  The sixth track almost sounds like ambient noise, the guitars are so simplistic and distorted.

I have a soft spot for this kind of no-frills, primitive as all hell black metal, where each track sounds like it was recorded in a different basement closet and the band don't even seem to notice when things go out of key.  No clue if this is still even possible to get, but black metallers looking for something new (or really old, as the case may be) should take a look.  http://www.southernlord.com
[Daniel Hinds]

TCR
The Chrome Recordings
(Temporal Response)
Rating - 8/10

Whatever happened to Jack Off Jill?  Well, this is the good that came from the split.  As much as I tried to like Scarling’s first effort, I really couldn’t.  So let’s talk a little more TCR.  TCR are TC and Robin Moulder.  They are a cross of several genres, there is definite hard rock element to their music, but mixed in are industrial, trip-hop, and goth elements, with some surreal elements to create a sound which can very well only be labeled TCR.

My favorite element of TCR has to be the compositions of the songs.  There are several elements all co-existing at once held together by the web of TC lyrics and vocal delivery.  I have a tremendous amount of respect for Robin’s ability to write material with depth and complexity.

Scotty G does a good job of capturing all the different elements and mixing them into a state of controlled chaos, while not having any single piece acquiesce to another.  Having given Scotty G his props, let me now bitch a little about my least favorite part of this CD.  The production on a whole is too watery, a little too much reverb, which gives a dizzying effect and I believe detracts from the CD as a whole.  As much as I enjoy the mix of instrumentation, the vocals and the lyrics, there are times when I feel just a little too off-kilter by the underlying liquidity of the sound.

I was fortunate enough to get the special edition packaging of this CD and I just have to mention it is the coolest packaged CD I have ever seen, hand made by the band themselves: leather-bound DVD casing, individual sheets burnt at the edges for the inner packaging, all lyrics included, along with some additional cool artwork speckled through out.  Just too cool for words to really capture.  http://www.t-c-r.net
[Victor Mejia]

TEARABYTE
Gloom Factory
(Screaming Ferret)
Rating - 6/10

I have much respect for the Tearabyte threesome.  They successfully created an aggressive and traditional thrash metal album entitled Gloom Factory.  The band plays high-speed and boisterous rhythms that make an entertaining listen.

“Decent Gloom” and “Technophobic” are enjoyable tracks and follow the same song structure.  Kevin Mead plays some catchy riffs in “Shred the Misery.”  The group also records an interesting version of Pink Floyd’s “Comfortably Numb.”  Plus, a bonus track provides us with a new perspective of the band as we listen to straight up bad country music.  After this comes a live bite that reminds me of a thrashy version of Metallica’s “Search and Destroy.”  http://www.tearabyte.com
[Lo Walker]

TEXTURES

Polars

(Listenable)

Rating - 7/10

THORR'S HAMMER
Dommedagsnatt
(Southern Lord)
Rating - 7/10

Taking black metal aesthetics and stitching them onto a death/doom concoction that is slow as hell and heavy as fuck is what this strange ensemble did back in '95.  The results are about as uplifting and life-affirming as you would expect and hold up pretty well even by today's standards.

Norwegian vocalist Runhild Gammelsäeter alternates between a light, dreamy style and deep-down death growls, with the lyrics remaining in Norwegian (at least as far as I can tell).  The core of this band is also responsible for the sonic torture that is sunn0))), so you know this is brutal, bass-heavy shit.  With Thorr's Hammer, though, they do tend towards a more musical sub-Hellhammer approach rather than the purely experimental.

There are only four tracks here (plus some video stuff), but each track is pretty length save for "Troll."  Opener "Norge" establishes the gameplan and features the most varied vocals, while the title cut sticks to the purely grave-weary vocals.  The longest cut is a live outing called "Mellom Galgene" that just oozes with raw menace - probably my favorite track on here, actually.

Production is about as muddy and bumpy as you would expect, but it works in favor of the dark, doom-laden material so no complaints there.  While this is personally a bit too sluggish for my tastes, there is no denying the intensity of the bleak atmosphere that bleeds forth.  http://www.southernlord.com/hammer.htm
[Daniel Hinds]

TIME REQUIEM
The Inner Circle of Reality
(Regain)
Rating - 8/10

The Inner Circle of Reality offers a metal symphony full of the technicality and heaviness that Time Requiem is known for. The album possesses a remarkable mixture of progressive and neoclassical metal with constituents from bands such as Symphony X, Dream Theatre, Malmsteen, and of course, Majestic. The members of Time Requiem are basically that of the Majestic without Martin. Time Requiem also stores much of the Majestic vibe with more metal elements.

Magnus Nord plays consistent solos throughout the album. He and Andersson play a wealth of great harmonies and hold excellent chord chemistry. Apollo Papathanasio is an excellent vocalist and Peter Wildoer is a monster on the drums. “Reflections” gives a prime neoclassical showcase of heavy double bass and thick guitar. “Inner Circle of Reality” holds that Malmsteen vibe, while “Attar of Roses” continues fast and enchanting.

Co-produced by Richard Andersson (keyboardist) and Jonas Reingold this is a prime production. My only complaint is that the material sounds a bit fragmented at times.  http://www.anderssonmusic.com
[Lo Walker]

TORCHBEARER
Yersinia Pestis
(Metal Blade)
Rating - 6.5/10

Well, the one-sheet for Torchbearer tells me that they are a "mixture of death and thrash metal, enhanced with... black metal".  That about sums it up-- the verses tend to be death metal, the choruses more black metal, with some guitar solos interspersed which might account for the thrash metal element... I really don't have too much to add, except that at a glance, Torch Bearer's logo looks like "Scorched Earth."  Oh yes, and of course, "Yersinia Pestis" is the bacterium which causes The Plague.  http://www.metalblade.com/bands/torchbearer/index2004.html
[Laird Sheldahl]

UHRILEHTO

Vitutus Millennium
(Schwarzdorn)

Rating - 7/10

UNHOLY GHOST
Torrential Reign
(Olympic/Century Media)
Rating - 7/10

Diabolic drummer Aantar Coates, bassist/vocalist Paul Ouellette, guitarist Jerry Martellaro, and Pessimist guitarists Kelly McLauchlin composed Torrential Reign. Unholy Ghost is a new death metal band, but Torrential Reign presents nothing new in death metal. However, its time-honored melodies and intense drumming make it a definite buy for any death metal fanatic.

Juan “Punchy” Gonzales (Morbid Angel) gave a powerful production, but the solos seem out of place at times. Tracks like “Soul Disment” and “Torrential Reign” reduce speed before moving to blasphemous speeds. “Under Existence” and “Denunciation” contain melodic leads, and overall maintain a heavy feel. Material alternates between aggressive and simple heavy riffs creating a dark death metal impression.

Unholy Ghost stays true to its old school roots with elements of Diabolic, Pessimist, Monstrosity, and Morbid Angel.  http://www.unholyghost.com
[Lo Walker]

UNLEASHED
Sworn Allegiance
(Century Media)
Rating - 7/10

There is no doubt that, despite their status as one of the earliest death metal bands still going strong, Unleashed has never been a particular favorite of mine.  From their rather barbaric lyrical stance to the generally banal musical stylings, these Swedes never ranked even close to the likes of Dismember or Entombed.  Their so-called 'comeback album,' 2002's Hell's Unleashed, was just plain sad.

So it was with a great deal of surprise that I plunked Sworn Allegiance in and actually found my head bobbing along from the get-go.  It's not just that the songs and production are better this time around, but there seems to be a sense of rejuvenation in the playing that helps give the songs life.  Whether it is the thrashy speed of "Attack" or the mid-tempo crunch of "Only the Dead," Unleashed live up to their name.

All is not sweet death and roses, though, and there are still some tracks that could legitimately be called 'filler' and Johnny Hedlund's vocals are gruff but kind of ordinary (still light-years ahead of other death metal legends like Glen Benton or David Vincent, though).  And the production, while solid, is a bit non-descript.  Still, as I said, Sworn Allegiance works as well or better than anything Unleashed has done to date and makes for a good heathen distraction.  http://www.unleashed.nu
[Daniel Hinds]

UPHILL BATTLE
Wreck of Nerves
(Relapse)
Rating - 6.5/10

Saturated hardcore with the need for speed, Uphill Battle dazzles a bit less than other recent Relapse artists, but the tradeoff here is sacrificing melody for velocity and power.  But, just as I'm thinking that this album is about nothing but technically proficient hardcore, the track "Another Step" kicks in with this almost annoying series of short-stringed high notes, way up there on the fretboard for some unforeseen reason, but to a really great and distinct effect.  I expected more of this totally-from-left-field sort of metal from a Relapse band, but its not here.  But we do get some good straight up hardcore, short on melody and high on rapidity.  http://www.uphillbattle.org
[Laird Sheldahl]

[various artists]

Doom Capital: Maryland/DC Heavy Rock Underground

(Crucial Blast)

Rating - 7/10

[various artists]

The Grim Compilation Vol. 10

(Metal Age Productions)

Rating - 7/10

[various artists]
Louder Than the Dragon (2CD)
(LMP)
Rating - 7/10

Label samplers are always a mixed bag and this is no exception, but it certainly achieves its goal - giving the listener a thorough taste of all the bands on the LMP roster.  For those not in the know, LMP (Limb Music Products) revels in nothing but true, dyed-in-the-wool power metal.  Anyone who thought the scene might have started dying off will be shocked by the number of bands here, clearly not ready to give up.

Among the highlights of disc one are Black Majesty with their speedy approach and 80s vocal style, Burning Point's heavy and tight pounding, Gun Barrel's unique Saxon-meets-Omen sound, and Midnight Sun's speedy battle cry "Steel to Steel."  The second disc kicks off with a truly excellent Mob Rules track, "Eyes of the Young," which crosses a choppy riff with pure heavy metal class, not to mention some mind-blowing guitar work.  Rhapsody deliver their usual full-tilt symphonic metal extravaganza, while Rising Faith come out of nowhere with a hard-hitting speed metal stomper.  Valley's Eve deliver a slightly more Americanized power metal sound, while Wizard's "Betrayer" isn't one of their best songs but still a good tune.

There are plenty of more mediocre tracks to fill in the gaps of these highlights, with the usual variance in production quality as well.  In a strangely democratic move, the bands appear on this comp in alphabetical order, which is as good a system as any.  For those unfamiliar with most of LMP artists, you couldn't ask for a better introduction than this and you are bound to find some new power metal favorites here.  http://www.limb-music.de
[Daniel Hinds]

VICIOUS
Vile, Vicious & Victorious
(Sound Riot)
Rating - 7.5/10

Trying to decide which is worse the band logo or the album cover pic is about as useful as trying to decide which is scarier, Bush's foreign or domestic policy - it's just plain bad all the way around.  Overcoming my initial mirth and better judgment, I decided to listen to Vicious and it's just a shame that they are saddled with such a bad first impression to the world because this is actually pretty decent, aggressive modern thrash metal.

"Beast" is a competent, agro opening track, but "Trigger Needs Some Action" is really where Vicious start to impress.  The headbanging thrash riffs and raw (but understandable) vocals are tempered by some more melodic leads.  The cleverly titled "Deadicate" offers even more in the way of melodic riffing, with a preliminary solo that is almost too elegant for the hard-hitting riffs that surround it.  But Vicious make it work.  Another highlight is "Boots of Led," a thick, churning track with guitars that tread dangerously close to doom metal.

Vile, Vicious & Victorious traverses a fair amount of ground, from classic thrash to modern melodic death metal, without losing the plot.  The vocals are a little pedestrian and only about half the songs really stand out, but it's a damn good start and I look forward to seeing where Vicious heads in the future.  http://www.viciousonline.tk
[Daniel Hinds]

VILLAIN
Time Machine
(Relentless)
Rating - 8.5/10

Damn, yet more cool old-school metal!  In this case, it's not a new band trying to sound old either, this was actually recorded back in 1985 and it has stood the test of time quite well.  Villain plays powerful, classic heavy metal, with high-pitched vocals, sing-along choruses, and even a couple ballads to balance things out.

The first half of this disc features all the songs from the professional-sounding album Only Time Will Tell.  "Kamikaze" is upbeat power metal with soaring vocals and sets the pace nicely.  The title track is notable for opening with a riff almost straight off of King Diamond's "Halloween," but the rest of the song certainly carves its own path, heavy yet with those big melodic vocals.  A more rock 'n' roll vibe jumps out as the next track kicks in and it becomes apparent quickly why - it's a cover of Queen's "Tie Your Mother Down."  The band is equally skilled at delivering true power ballads, as one listen to "She'll Make You Fall (In Love)" will prove (though "Just Close Your Eyes" veers a little too close to Dokken territory for comfort).  "Thrills in the Night" (written before KISS' song of that same name) has a main riff strangely similar to U.D.O.'s "Raiders of Beyond," surely a coincidence.  The last eight tracks are rehearsal and live tracks that match the quality of the studio cuts song-wise, but are noticeably muddier and bass-heavy - about the quality of a decent bootleg.

California bands in the 80s were certainly a schizophrenic bunch, with most adopting at least some of the glam image even if the music was heavy (witness Malice, W.A.S.P., Leatherwolf, and Villain).  Many of those bands were also underrated in the grand scheme of things, with too much attention going undeservedly to the likes of Warrant and Motley Crue.  Villain weren't totally original or 100% brilliant, but they were damn fine musicians and wrote some excellent, diverse songs that more than deserve this CD release.  http://www.relentless-records.us
[Daniel Hinds]

VOMITORY
Primal Massacre
(Metal Blade)
Rating - 7/10

Vomitory creates a death metal and thrash fusion named Primal Massacre.  This album is a continuation of Blood Rapture.  Fifteen years of consistently extreme compositions grant these Swede’s some much-deserved respect.  Unfortunately, their persistent sound comes off as a lack of originality to an unexpected fan.

Overall, the production is good and their songwriting is decent.  They keep the songs flowing at a speedy pace and provide plenty of intricate riffs.  “Primal Massacre” contains grinding guitars.  Tobias pummels blast beats galore, and Erik’s garbled vocals suit the band's thick sound.  Die-hard death metal fans and collectors will enjoy this album.  http://www.vomitory.net
[Lo Walker]

VULGAR PIGEONS
Imperialism
(Willowtip)
Rating - 8/10

Vulgar Pigeons deliver a destructive package called Imperialism. They lie on the hardcore side of grind with their detrimental tones and aggressive old-school rhythms. Dave Leyva screams viciously and growls from unknown depths about political and social issues. John Gotelli pounds the drums with stable precision, while Jeff Lenormand carries a classic guitar tone.

Adding some punk style rapidity to song “Attack of the Bullet Belt Committee,” Vulgar Pigeons experiment with new realms. Producer Scott Hull (Agoraphobic Nosebleed) did a good job with this recording. However, I think it could have been better. The songs were well written consisting of several metal elements, thrash, hardcore, grind, and death metal, but the recording needs more power to feel what’s going on. “Blot of Humanity” evolves into this intriguing blend of styles.

Imperialism bears several components of bands such as Carcass, Inpropagation, Pig Destroyer, Goatsblood, and Cephalic Carnage. It has all the ingredients for a solid thrash, grind-hardcore metal album.  http://www.vulgarpigeons.com
[Lo Walker]

WARNING S.F
Aftermath
(Relentless)
Rating - 8/10

Having grown up enraptured with the Bay Area metal scene, the name Warning was familiar.  Though I hadn't actually heard the band prior to this, I remember reading about them in zines of the day like Metal Mania and it is quite cool to finally hear them and discover they actually had (have) a pretty unique style.

The first seven tracks are newly recorded versions of songs that date back to the early 80s.  The mix of classic metal arrangements and modern recording technology is a bit odd at first, but the quality of the songs shines through and Warning S.F. make it clear they play power metal the way it was meant to be played - classy but heavy.  "Road Death" could be compared to Jag Panzer with deeper vocals, while the title cut reminds me more of bands like Angel Witch and Witchfinder General.  With "Thunderhead," the double-bass pummeling is stepped up and I can imagine this song goes down a storm live.  "Sounds of Armageddon" and "Happy Doomsday" display a more complex, epic side of the band, with lots of tempo changes and some more melodic moments to offset the heavy bits.  This wouldn't be a Bay Area band if there wasn't some top-notch guitar work to be had and one listen to the soloing on "Happy Doomsday" will leave no doubt.  "The Noose" closes out the modern section in speedy Omen style.

The three tracks taken from 1985 are actually quite good, too.  "Fall Upon Your Knees" has a ripping Kill 'em All type riff, not to mention a great bridge and solo section, while "Not a Chance in Hell" has a more power metal approach in line with the earlier tracks on the CD.  The aptly named "Metal Maniac" sounds like a frenzied mix of Oz and Motörhead - great stuff.

The recording quality for the new material is pretty strong, with a thick guitar tone and very professional drum sound.  It's cool to hear more underground bands getting back in action alongside bigger acts like Death Angel and Exodus and Warning S.F. is definitely a band that deserves to be heard.  http://www.warningsf.com
[Daniel Hinds]

XASTHUR
Telepathic With the Deceased
(Moribund)
Rating - 4/10

Black metal from a label in Washington State might be a bit of a surprise to you., but what might not be a surprise is that Xasthur dispenses with many of the trappings of a typical Black Metal album.  Most notably missing are a halfway decent recording quality, and speed on the guitars.  First, the recording quality: it's at the level of demo cassette.  This is too bad, because musically I think Xasthur is pretty interesting-- the guitars are squashed and distorted and slow and have more to do with ethereal/goth melodics than they do hair-metal guitar solos and such.  Typical Black metal vocals are perhaps too pristine for Xasthur, so they run them though heavy doses of distortion.  Sadly, I can't really comment on the drums, as the recording was so flat as to make them completely missable.  This is certainly a band to watch out for, but an album that can easily be missed.  http://xasthur.mercurous.net
[Laird Sheldahl]