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)