 AARNI
Bathos
(Firedoom)
Rating – 7/10
Finnish doom is the initial impression of Aarni, as they
fill their lengthy compositions with enough gloom and heavy riffage to make
even the most morose metal fan crack a smile. But there is more going on
here, for better or worse. Blend in some gothic atmospherics, general stoner
trippiness and a willingness to experiment and you will be on your way to
discovering what Bathos is all about.
The first full-on assault is “Squaring the Circle,” a creeping, evil riff
matched with somber clean vocals that reside somewhere between gothic moaning
and a trancelike drone. “Kivijumala” is a sprawling composition that you can
get lost in all day, while “V.I.T.R.I.O.L.” simply floats by in serenity.
“The Thunder, Perfect Mindfuck” employs some deathy vocals – not the best
move, in my opinion.
The downside of Bathos is mainly the drums and overall production. I’m
hoping the band uses programmed drums because I would hate to think someone
could actually play with that little feeling. And the vocals and guitars both
sound a bit muted, with the mix spreading everything out far too much.
Still, there is a certain charm to Aarni’s mixed-up style. The colorful,
psychedelic album art is, at first glance, at odds with the dark metal
contained within. But in the grand scope of all things Aarni, it makes as
much sense as anything else, including the amusing questionnaire included at
the back of the CD booklet. Aarni is not only not your typical doom metal
band, they aren’t your typical band, period.
http://www.aarni.info
[Daniel Hinds]
BELPHEGOR
Goatreich – Fleshcult
(Napalm Records)
Rating - 9/10
Why is it not surprising that Austrians would know how to
make some serious Black / Death Metal? Goatreich – Fleshcult is just
that – SERIOUS Death Metal.
Belphegor’s latest CD exhibits all the earmarks of an experienced, front line
death metal act. Concise, full-auto drumming, tortured vocals, anguished
guitar lines, crushing heaviness, brutal speed… it’s all here in spades. And
do I even need to mention that it’s oppressively evil and Satanic?
Of course, that’s all good stuff. But, what really makes Goatreich
shine is the excellent production and the thoughtful arrangements. This is
one death metal act that clearly takes a lot of pride in their craft and it
really shows. Belphegor manage to remain steadfastly true to their
single-minded theme without sacrificing variety and originality. It makes for
an enjoyable album where the songs don’t tend to blend together and boredom
never sets in.
http://www.belphegor.at
[Nels Bruckner]
BEYOND THE FLESH
What the Mind Perceives
(Escapi)
Rating - 7/10
On this CD Beyond the Flesh produce a mix of thrash and
death which, while played with suitable skill, never really breaks the mold or
manages to say much new. It’s a problem that lots of bands struggle with, in
this increasingly saturated market. Don’t get me wrong though, Beyond the
Flesh definitely have the goods – they are a solid band and I wouldn’t be
surprised at all if they were able to produce some very impressive music if
they could rise above the somewhat formulaic material that they have recorded
this time around. The drumming in particular has some standout moments. As
it is, they don’t manage to break away from the pack and it’s hard to see
What the Mind Perceives as more than a competent entry in the “also ran”
category.
http://www.beyondtheflesh.net
[Nels Bruckner]
BORN FROM PAIN
Sands of Time
(Metal Blade)
Rating - 8/10
Born from Pain is heavy European hardcore with an early
90s vibe. Sands of Time incorporates forceful vocals with complex
guitars and energetic drums. The production of this album captures the bands
raw energy. This is not one of those over-polished albums that leave you
wondering, “is this same band I was listening to on my way to the show?”
Che’s vocals are particularly distinct on this album. He delivers vocals Jamie
Jasta style over dark music. The vocal patterns are consistently forceful;
however, at times overpowering.
Karl and Stefan perform epic and plucky guitars in massive tone. Their riffing
resembles standard American hardcore, but their use of fast paced guitar licks
and dynamic combinations hint to their metal influences. “Return” and
“Stainless” contain great Slayer inspired guitar solos and riff work.
The drum work is generally good. The snare is a bit stiff, but Pieter pounds
some solid drumbeats. Overall, this is a mid-paced album with plenty of fierce
breakdowns and some faster segments. The album remains heavy beginning to end,
and isn’t lacking in harmonious interludes. It’s sharp, powerful, and
straightforward. Perhaps, its only downfall was its lack of creative writing.
The album ended nicely, leaving the listener with just enough to settle in.
The group continues to prove their worth touring with known influences, such
as Hatebreed, and signing an international deal with Metal Blade Records. I am
looking forward to hearing the next one.
http://www.bornfrompain.com
[Lo Walker]
CIRCUS MAXIMUS
The 1st Chapter
(Sensory)
Rating - 8/10
Seeing the Sensory imprint immediately led me to deduce
this lot played progressive metal and, sure enough, that’s exactly what you
get on The 1st Chapter. The songs are complex and offer
plenty of offbeat time signatures and flashy musicianship. Attention to
detail is the order of the day as everything sounds flawless, yet Circus
Maximus manage to keep things from coming across as sterile, thankfully. The
clean vocals and overall sound remind me of Dream Theater in no small amount
but the execution is quite brilliant.
“Sin” makes for a good introduction, rushing headlong through a myriad of
riffs and tempos, with some amazing drum fills and a very elegant solo
rounding things out nicely. Shifting gears, “Alive” is a far more melodic
number, with more of an AOR base than a metal one. No prog album would be
complete without at least one epic length track – this one has two. First up
is “Glory of the Empire,” which starts off very sweet and acoustic and
proceeds logically from there for the next ten minutes. Surprisingly, this
one seems to have fewer radical change-ups than most of the shorter songs,
such as the speedy instrumental “Biosfear” which follows it. The title track
is the real behemoth here though, clocking in at nearly twenty minutes and
winding through nearly as many change-ups as the rest of the songs combined.
“Imperial Destruction” closes the album on a bit of a weak point, featuring
the worst chorus of the whole collection.
There seem to be quite a few more progressively-minded acts hitting the
shelves these days and Norway’s Circus Maximus is clearly in the upper echelon
of this new wave of metallic wizards. If they can develop a bit more of their
own voice, they will be unstoppable.
http://www.circusmaximussite.com
[Daniel Hinds]
DEMOLITION
Existence
(Twilight)
Rating - 7/10
Demolition is old-school thrash with new direction. The
quartet hails from Austria presenting melodic thrash and sharing the stage
with international acts, such as Dio, Kreator, and Manowar. The band released
their first debut on their own label, which eventually allowed them a slot at
Gutter Records. Now with Twilight, the group is steadily building a force to
be reckoned with.
Their previous album, Out of Noland is more aggressive vocally, but the
guitar work on Existence is notable. Thomas Pippersteiner maintains his
awesome guitar power and speed. The riffs are addictive and remain in your
mind long after the record is removed from your player.
As stated before, the vocals tend to be monotonous and not has aggressive as
in the past; however, Wolfgang Suessenbeck has definitely improved since the
Darkside days. The musicianship between these guys seems to be a strong one,
which implies that better things will come.
“Betrayer” is a compelling thrash track. The production is a little rough, but
suiting to the groups style. Their known influences are Kreator, Exodus, and
Destruction, and Demolition stays true to these roots. It is a worthy listen
by any loyal fan of the metal genre. http://www.demolition.at
[Lo Walker]
DEMON
Better the Devil You Know!
(Spaced Out Music)
Rating - 8.5/10
When it comes to NWOBHM bands, Demon was one of the best
and one of the most unique. The early albums are all classics, from Night
of the Demon up to and including the epic British Standard Approved
(one of the most underrated concept albums of all time). Time has moved on
and the band has gone through its share of ups and downs, with vocalist Dave
Hill being the only remaining member from the early years, but the spirit has
never died and Better the Devil you Know is the best and most energetic
album the band has done since the 80s.
As usual for Demon, there is a great deal of variety in the tracks offered
here. You can kind of generalize them into two categories - the ones that
sound like old Demon and the ones that don't. Opener "Better the Devil You
Know" is one of the latter, with a big riff and arena-like chorus, while "Dead
of the Night" could easily have come out of The Unexpected Guest
sessions. "Standing on the Edge" is superb track, coming across a bit in the
Scorpions/Accept vein and just totally rocking. "Taking on the World" is more
upbeat with a 'whoa-oh-oh' chorus that actually works - the band really seems
to have taken their time in working up good, memorable choruses on this
album. "Warriors" is another good example, reminding me a bit of King's X on
the verses. "Live Again" is another one that reminds me of the early days, a
nice, straight-forward but very effective metal track. Note must be made of
the keyboards which are used quite effectively and diversely throughout this
album. The organ sounds (see "Obsession" for a good example) are particularly
sweet. The album closes with the piano-led ballad "Change." As much as I
like variety it gives the album, the song just didn't stick with me the way
past ballads have.
Better the Devil You Know may not be in the same league as the early
Demon albums but I was still mightily impressed. While the last outing (Spaced
Out Monkey) had its moments, it felt a little forced in some ways, whereas
this one just flows from start to finish. It just feels like the band is
finally comfortable embracing their past while still brining in new elements
to keep the band looking forward.
http://www.the-demon.com
[Daniel Hinds]
DEW SCENTED
Issue VI
(Nuclear Blast)
Rating - 8.7/10
German thrashers Dew Scented are back with their latest
CD, Issue VI. Musically the album offers a tight mix of old school
thrash and high-speed death metal. The recording and production quality are
excellent, with an incredibly clear and strong bottom end. The mix really
highlights the impressive and meaty double-bass drumming. The vocals fall
somewhere between the strangled scream of Kreator and the agro shouting of New
York hardcore – a combo that works surprisingly well.
All in all, this is an extremely strong effort that fans of German thrash and
speed metal should check out.
http://www.dew-scented.de
[Nels Bruckner]
DOMAIN
Last Days of Utopia
(LMP/SPV)
Rating – 7.5/10
Those allergic to high-flying concepts, frilly backing
vocals, loads of melody and power metal in general, this album is not for
you. If you were to tone down Rhapsody’s approach a bit and throw in some
classic Rainbow and a complete disregard for what might be considered ‘cool’
by today’s listeners, you would have some clue what to expect from Domain.
After a minute-long intro (that is practically a song unto itself, busy as it
is), “A New Beginning” crashes forth in all its feel-good glory. The soaring
vocals are clean and display quite a range, managing to avoid the usual
annoying qualities of many high-pitched vocals. “On Stormy Seas” is a
nine-minute epic that builds up nicely and showcases a fairly progressive edge
in the process. Domain have a penchant for coming up with rather ‘happy’
sounding keyboard and guitar melodies, which may turn off some who like their
metal dark and dreary, but it works quite well within the context of what the
band is trying to achieve with songs like “Ocean Paradise” and the
nimble-fingered title cut. “The Beauty of Hope,” a rather weak ballad, is the
only major misstep here.
Not as heavy as Stratovarius, not as classically OTT as Rhapsody and not as
boring as Sonata Arctica, Domain manage to find a place of their own in the
modern power metal scene and Last Days of Utopia is a satisfying
display of their prowess.
http://www.domainband.de
[Daniel Hinds]
DRACONIAN
Arcane Rain Fell
(Napalm)
Rating – 8/10
This is full-on goth/doom metal done with plenty of style
and atmosphere that does well in bettering the band’s 2003 debut. Impressions
of Tristania, MDB, Celtic Frost and ToT are all present, yet this Swedish lot
manages to pull it off without directly copying anyone.
Draconian are clearly one of those bands that are more concerned with
completeness than with brevity, as they open with a nine-minute monster called
“A Scenery of Loss.” Chilly synths accompany a massive dirge of a riff that
eventually (and very organically) evolves into a more mid-tempo chug. Somber
male vocals are mixed with ghostly death growls and soaring female vox,
keeping all the bases covered. The one thing I could do without is the spoken
vocal parts on “Daylight Misery” and “The Abhorrent Rays” – they aren’t
terrible, but they are more distracting than anything. “Heaven Laid in Tears”
is another excellent track, where Lisa Johansson gets to really show off her
angelic voice to full effect. In case things weren’t gloomy or elaborate
enough for you, the album closes with “Death, Come Near Me,” a fifteen-minute
leviathan that is guaranteed to close your eyes in sepulchral bliss. There is
a bit in the middle where the female and male vocals come together rather
impressively, a tactic I would like to see the band utilize more in the
future.
The production is maybe the weakest element on this album and it’s not that
bad. The main problem with it is the drums lack a real ‘thump!’ and tend to
get a bit lost in the mix sometimes. But the vocals and guitars sound great
and they are what ultimately carry this kind of music anyway.
Those who prefer their goth metal to be utterly dreary and doomy, Draconian
have come up with the perfect formula. A little more variety in the tempo
department would have livened things up a bit for me personally, but there is
no faulting what is here and the clarity of the band’s vision.
http://www.draconian.se
[Daniel Hinds]
DUNGEON
One Step Beyond
(LMP)
Rating - 7.5/10
I remember hearing this band on an LMP comp a while back
and the Dungeon track didn't do much to make itself memorable. Fortunately,
the material on this full album is better, though still maybe not living up to
the band's full potential.
The album opens with "The Power Within," a fairly speedy track that winds its
way through several different riffs. Dungeon seem to be more at home
delivering this type of fast, technical power metal (see also "One Step
Beyond" and "Surface Tension") than the slower, more emotional tracks (see the
plodding "Tarranno del Mar" and the meandering "The Hunger"). "The Art of
War" starts off a bit like Iced Earth and then storms forth with some of the
album's best playing. The clean, mid-range vocals which fail to impress on
much of the album cover a lot more ground on this tune as well.
I'm not sure what the 'X' factor is that is missing here; maybe it is just the
rather tepid energy level for material that could really fly if it was revved
up a tad. Still, kudos to Dungeon for forging some solid, well-arranged power
metal tunes that don't immediately fall into any obvious preconceived
categories. http://www.dungeon.cd
[Daniel Hinds]
FATES WARNING
Awaken the Guardian (2CD+DVD)
(Metal Blade)
Rating (original album) - 10/10
Rating (special edition) - 7/10
This release is unbelievably frustrating and is such a
missed opportunity. Awaken the Guardian was the last great Fates
Warning album (though No Exit was also quite good) and when I heard it
was being remastered and released in a deluxe package with a bonus disc of
demos and live tracks PLUS a DVD of concert footage from 1986, I was
completely psyched, but sadly the proper effort was not put into making this
release truly special.
Let me start on a positive note though by talking about the album itself, one
of the timeless classic metal records from the 1980s. Although The Spectre
Within has come to be my fave Fates album, Awaken the Guardian is
right up there with it and is the first album I ever bought by the band so it
holds a special place in my heart. The opening three tracks are simply
flawless, unique and complete.
The deceptively simple acoustic intro of "The Sorceress" builds beautifully
into the heavy main riff that drives this song as it ebbs and flows,
eventually hitting that killer break midway through where the band ploughs
into a riff heavy enough to impress Celtic Frost. The mythical lyrics are
infinitely more poetic than the second-rate junk spewed by today's power metal
legions. Even more potent and cutting are the lyrics to "Valley of the
Dolls," a faster tune that kicks off in an almost exact replica of Mercyful
Fate's classic "Devil Eyes" before taking its own unique direction. The only
thing better than having a song so accurately skewer the glam 'metal' scene
was knowing full well that most glam fans wouldn't even get it. "Fata Morgana"
seemed like the closest thing to a 'single' this album offered, due in large
part to its immediately memorable chorus, but even here the band takes us
through many twists and turns along the way.
The first of two epic-length tracks is next, namely "Guardian." This is a
tune that didn't really strike a chord with me at first but after many, many
spins of the album it has grown on me considerably over the years. It is
immensely complex, features some just gorgeous acoustic guitar passages, and
really points towards the band's more progressive future. "Prelude to Ruin"
is nearly as involved but a lot heavier overall and generally a bit more
accessible. This one is a bit like "Orphan Gypsy" from Spectre, as it feels
like a journey as it moves from one part to the next - very smooth, very
well-crafted. The oddball track of the album was always "Giant's Lore (Heart
of Winter)," as it was the only song written by (then-new guitarist) guitarist
Frank Aresti rather than Jim Matheos. It's a decent song but the guitars and
the vocals just never seem to magically mesh the way they do on the other
tracks. "Time Long Past" is a poignant instrumental the serves as a lead-in
to the album's longest track, "Exodus." Not as the good as "Guardian" in my
book but still a damn fine piece of work.
The bonus disc is worth a listen, mainly for the three demo versions of Awaken
songs. "The Sorceress," "Valley of the Dolls" and "Prelude to Ruin" are
remarkably similar in arrangement at least to what appeared on the album, but
there are enough differences to make them interesting. Perhaps the most
obvious differences are some of the choices that John made with the vocal
lines, opting to not go as high as did on the final recordings in a few
spots. Also, there is a whole section in the middle of "Valley" that was
excised from the final draft. The sound quality on the six live tracks isn't
the greatest but it is passable and shows a slightly rawer interpretation of
the songs, including a cover of Sabbath's brilliant "Die Young."
Okay, on to my complaints about this special edition. First off, the cover
art has been high-contrast working over, which, while it certainly brightens
it up a bit, kind of kills the dark ambience that made the original piece so
perfect. The band logo has doubled in size, overpowering the cover, whereas
it was just kind of hanging out up in the corner on the original. This is all
minor indeed compared to the most grievous mistake - leaving out the back
cover artwork entirely. As gorgeous as the front cover was, the back cover of
the original album was simply stunning. It appeared on the original CD
release but is nowhere to be found here. And it's not like there isn't plenty
of room - a twelve-page booklet, four-page booklet with the DVD, both tray
cards, and the cardboard slipcase that houses both cases. Every available
panel merely features elements from the front cover art. I can only assume
there was a licensing issue involved, but they really should have worked it
out as it really diminishes the overall package.
The DVD is a bit of a sticky point as well. On the one hand, it is cool to
see the band in their prime pounding out these songs with incredible skill and
zeal (John Arch's vocals are particularly impressive), but the quality of the
video and especially the audio is sooooo bad, it is hard to know what is going
on even if you're intimately familiar with the songs. It is sad to think that
this is the best visual document that exists of the band from this era, but I
guess it is better than nothing at all so I don't want to bitch too much about
it.
So am I saying you should buy the old version of the CD simply due to these
deficiencies? Hardly. The sound quality here is vastly improved, the extra
tracks are cool and there are even some band photos included that weren't on
the original version. I know there are a lot of Fates fans who love their
latter-day work, but to me this band will always be remembered for their
crowning achievements - The Spectre Within and Awaken the Guardian.
This is a timeless album that sounds as good in 2005 as it did in 1986. If
you want the full experience, buy this edition and then find a copy of the LP
so you can appreciate all of the artwork the way it was intended in the first
place. http://www.fateswarning.com
[Daniel Hinds]
FIREWIND
Forged By Fire
(Magick)
Rating – 8.5/10
Gus G. is one of those creative whirlwinds that seems to
be everywhere, kind of like Sharlee D’Angelo or Mike Wead were a few years
back. Firewind didn’t impress me too much with the rather blah Burning
Earth, but I’m pleased to say that Forged By Fire is a big step
forward.
First off, the production is bigger, heavier and just better overall. The
guitars just shred and rip right out of the speakers, while the drums are very
full sounding. Secondly, the band seems to have stepped things up in the
songwriting department as well, with far more memorable cuts populating this
disc. “Tyranny” kicks off like a power metal version of “Detroit Rock City”
and was a wise choice as a single (the video is even included on this disc as
a bonus). Several songs have big, catchy choruses that almost tread into AOR
territory (the otherwise pulverizing “The Forgotten Memory”), but this is
actually a good thing, giving the songs a unique, melodic flavor. Some modern
riffs creep in here and there (“Feast of the Savages”) but this is pure heavy
metal, there is no doubt about that. And it goes without saying that the
guitar pyrotechnics are stunning from start to finish.
Firewind is cool because they are at times heavier than most power metal
bands, but at the same time more melodic and accessible. It is a really
interesting dynamic that the band employs and the result is an overall very
enjoyable album.
http://www.firewind.gr
[Daniel Hinds]
FLOTSAM AND JETSAM
Dreams of Death
(Crash Music)
Rating - 8/10
Flotsam and Jetsam are an amazing story, if for no other
reason than that they are still around. When thrash was new, these guys were
there, breaking new ground with Metallica, Anthrax, and all the others. It’s
good to see that they are still at it.
Dreams of Death is a very impressive effort for Flotsam. It’s
instantly recognizable as Flotsam, but isn’t afraid to experiment a bit and go
a ways off the beaten path. It’s really nice to see that even after all this
time, the band are willing to explore and take some chances. So, I give the
album high marks for attempting to break out of the mold. I also give high
marks for the general heaviness of the material. We all know how often
“branching out” equates with “wussing out”. Not so here. There is some
slower, more atmospheric material (like “Nascentes Morimar”) but there is also
plenty of up tempo thrash and really heavy stuff as well. It strikes a nice
balance.
The recording and production are very good. Some will no doubt say the album
is over-produced, and while I agree with that to some extent, it actually
seems appropriate to the more experimental nature of the material. In other
words, it works.
If anything, Dreams of Death’s biggest positive is also its biggest
negative. The diversity and introspective nature of the material does not
lend to a smooth flow, giving the album a kind of up/down, start/stop feeling
at times. Certainly not enough to ruin things, but enough to be noticeable
and a little distracting at times. If you are a Flotsam fan you should
definitely check this offering out.
http://www.flotsam-and-jetsam.com
[Nels Bruckner]
GEMINI FIVE
Babylon Rockets
(Deadline)
Rating – 9.5/10
It’s funny how things change over time. Back in the 80s,
anything that smacked of ‘glam metal’ was pure anathema to me. I could
tolerate the first two Crue albums and the first L.A. Guns but that was about
it. My tastes have changed a bit since then however and I can appreciate what
some of those bands were doing (though I still can’t deal with the Warrant,
Pretty Boy Floyd, Mr. Big, etc. types).
Gemini Five is a Swedish outfit that takes their cues from the classic Sunset
Strip rockers and throw in a few bits of 70s glam rock and even a touch of
modern technology to come up with a sound that is vibrant, catchy as hell and
just a blast to listen to.
The title track kicks things off splendidly, rocking hard and fast, while
“24/7” is a bit more tempered but no less enjoyable. In one of the most
inspired cover choices of recent years, Gemini Five rock up Dead or Alive’s
“You Spin Me Round” perfectly. The lyrics are perfect for L.A. sleaze rock
and the song itself is truly a classic. “Get It Off” rips in the vein of
latter-day Shotgun Messiah, while “Automaticool” drops some not-so-subtle
hints as to Gemini Five’s influences. Perhaps the most impressive thing here
is the band’s ability to pull of ballads just as well as the rockers –
definitely a rare trait in this genre. The songs “Hardcore” and “Chemicals
Between Us” are effectively emotional without being whiney or boring.
Babylon Rockets is a diverse collection of top-quality tunes that prove
rock ‘n’ roll is still alive and kicking in the 21st century.
Excellent production, musicianship and song-writing makes for a massive
success of an album.
http://www.gemini5.net
[Daniel Hinds]
GREEN CARNATION
The Quiet Offspring
(The End)
Rating - 8.5/10
At first glance, this is the kind of record that I
usually can’t stand. It is a mix of modern and progressive rock with some
vocal lines that fall in line with bands like My Sister’s Machine and Alice in
Chains. *yawn* Yet, from the very first song onward, Green Carnation
captivate with clean playing and some incredibly memorable and well-crafted
songs.
Best in known as the band Tchort started after serving his time in Emperor,
there is really no musical connection between the two bands at all. The songs
here are generally compact and, with a few exceptions, stick to fairly
straight-forward arrangements. Metallic guitar riffs that seem to draw as
much on 70s stoner bands as on edgier modern rock bands blend in seamlessly
with clean and acoustic passages. The keyboard work is highly finessed, too,
ranging from a classic organ sound to piano to more distinctly synth-sounding
patches. Mention must also be made of the vocals, which are crisp, mid-range
and unique enough to help Green Carnation stand out from the crowd.
The production is rock solid, though the mix is a tad bit dry for my tastes.
Choosing song highlights is a challenge as the quality is pretty consistent
throughout, but I guess “Just When You Think It’s Safe” and “Dead But
Dreaming” are two of the more instantly memorable ones. Few bands can combine
elements from the past successfully with current styles, but Green Carnation
pull it off effortlessly and The Quiet Offspring is their most
impressive album yet.
http://www.greencarnation.no
[Daniel Hinds]
HAMMERFALL
Chapter V: Unbent, Unbowed, Unbroken
(Nuclear Blast)
Rating - 6/10
This review is very difficult to write and I have been
putting it off now for quite a while, hoping that this album would eventually
grow on me. It hasn't. I love HammerFall and their first two albums are
metal classics in my book, but that magic seems to be painfully absent this
time around, except on a couple tracks.
"Secrets" is a decent opener, galloping along in rather typical HammerFall
power metal fashion, but lacking a bit of that 'oomph' that opening tracks in
the past have had. "Blood Bound" has more of the grinding drive that the band
does so well and making it the first single was an excellent move. "Fury of
the Wild" builds on a classic Accept-styled riff with some impressive vocals,
while "Hammer of Justice" is a tepid rocker saved only by the strong chorus.
The required ballad appears in the form of "Never, Ever," a decent hand-waving
tune with some more personal lyrics. "Born To Rule" fails to live up to its
name and "The Templar Flame" is a mere shadow of past glories. "Imperial" is
a surprise, a two-minute acoustic piece that is quite striking with a rather
melancholy atmosphere for a HammerFall tune. "Take the Black" is another
underachiever but the real disappointment of the album is saved for last - the
12-minute "Knights of the 21st Century." The song itself is
overwrought, sure, but the addition of vocals by Cronos (of Venom fame) simply
ruins it. Don't get me wrong, I love Venom, but Cronos' voice just does not
fit in here at all and he spends most of the time making silly growling
noises. The bits where he and Joacim sing in unison are simply awful. It's a
shame because there are some good ideas in this track and it would have been
cool to hear HammerFall pull off such an epic track by themselves.
One thing I will credit this album for is the lyrics. The themes cover
familiar ground, but the lyrics themselves area bit more esoteric and open to
interpretation than has been the case in the past. Also, the production and
mixing are flawless, sounding fuller than ever.
It really pains me to not be able to rate this album higher but the songs just
aren't there. The best tunes here would be average tracks on any other
HammerFall album, while the bad ones just don't belong at all. Hopefully this
is merely a single misstep and next time things will be back on track.
http://www.hammerfall.net
[Daniel Hinds]
HIBRIA
Defying the Rules
(Magick)
Rating – 7/10
If the comic-booky cover art doesn’t give it away, this
is trad/power metal very much in the same vein as bands like HammerFall and
Sacred Steel, with the overall quality falling about halfway between those two
(i.e. not brilliant but not crap). This is the debut album by these Brazilian
metallists and there is much promise here indeed.
The opening track “Steel Lord on Wheels” is upbeat with a catchy chorus and
some cool riffing. The vocals are clean and range from mid to high – not
thoroughly distinctive but generally pretty good. Where the songs themselves
aren’t maybe that memorable (“Change Your Life Line” or “A Kingdom to Share),
the guitar work is still quite impressive and worth a listen. “Living Under
Ice” and the dramatic flair of “The Faceless in Charge” are highlights from
the second-half of the album and it is interesting that Hibria eschews any
ballads (power or otherwise) on this album.
I’m torn about this album because, on one hand, I love this style of metal and
am always glad to hear new bands taking a stab at it, but on the other hand,
it feels a bit mediocre most of the time. Still, Hibria clearly have the
skills and there are some standout cuts here. Not a must-have but worth a
spin. http://www.hibria.com
[Daniel Hinds]
IN MEMORIUM
From Misery…Comes Darkness
(Moribund)
Rating – 8/10
This is a cool American band that combines melodic death
metal with black metal in a quite convincing manner. Speed definitely plays a
factor but the band is also very adept at slowing things down and taking the
doom angle. It is this diversity and attention to detail that really helps
elevate this above so many other recent black/death metal releases.
“Ravenslaughter” is a great start to the ceremony, thrashing along like early
Dark Tranquillity with plenty of cool change-ups and some surprisingly melodic
guitar bits throughout. “From Misery…” shows off the band’s gloomier side,
though it picks up quick enough. Desolate piano heralds the epic-length “The
Hourless Season,” the first two minutes of which is a slow build-up before
launching headlong into black metal mayhem. “In the Form of Darkness” has a
Darkthrone sense of menace, while “Legend of the Well-Fiend” is another
lengthy, multi-faceted affair. In case the musicianship hadn’t already
impressed you by this point, the album ends with a fairly engaging
instrumental.
The production quality is probably my biggest sticking point. It has that MP3
sound quality to it, where the cymbals and hi-hats get kinda squishy and the
guitars fail to really cut through the mix. You’d think by now I’d be used to
poor production on black metal albums, but alas, it still bugs me. Still,
there is plenty of quality in the other departments to make up for this and In
Memorium have a bright (or should that be pitch-black?) future if they can
keep building from here.
http://www.moribundcult.com
[Daniel Hinds]
KORPIKLAANI
Voice of Wilderness
(Napalm)
Rating - 8.5/10
This is one of those bands that has really carved out a
specific niche for themselves and they are sticking with it. Festive,
polka-flavored folk metal with hints of old In Extremo and Skyclad is the
basis, with gruff but intelligible vocals and big beer-chant sing-a-long
choruses. It's not an everyday kind of record, but for the right mood, you
won't find anything better.
The first two cuts are very much in the vein described above, but "Fields of
Fire" shows a bit of a detour. The folkish melodies and violin are still
present but the song is built more around a classic power metal styled riff,
with a strangely moody chorus - a great song all in all. "Pine Woods" is an
instrumental that covers a lot of ground as well, while "Spirit of the Forest"
features a more tribal flair. Accordion is used to excellent effect on
several tracks, with my personal favorite being the somewhat gloomy "Native
Land." "Old Tale" is a prime example of just how heavy the band can be when
they want to.
No doubt some will find Korpiklaani's style silly - you know the types, the
ones who don't think metal and fun can coexist - but fuck that, this is some
great music. While many of the great folk-metal outfits have veered off into
more pedestrian territory or disappeared entirely, it is rather heart-warming
to hear a band as good and clearly dedicated as Korpiklaani keeping the
tradition alive.
http://www.korpiklaani.com
[Daniel Hinds]
LOST SOUL
Chaostream
(Earache/Wicked World)
Rating - 8/10
Poland’s Lost Soul did it right with Chaostream –
a creative package, intense riffs, and varied song structure. This record is
the best representation of the band’s abilities to date. Plus, the production
is excellent. Each song possesses its own distinct sound while complimenting
the album as a whole.
The album is filled with brutality and complex melodies. Though at times
monotonous, the vocals are powerful and the songs are longer than your average
metal track. Piotr Ostrowski rips skillful guitar solos. A great example of
Piotr and Jacek Grecki’s guitar capabilities is in “Christian Meat.” The
musicianship between these guys is excellent. During songs “Godstate” and “The
Hidden Law,” I found myself comparing this group to Nile, but the trio’s known
influences are Vader, Cryptopsy, and Behemoth.
Chaostream is a great way for Lost Soul to begin their partnership with
Wicked World.
http://www.lostsoul.pl
[Lo Walker]
LUNATIC DICTATOR
Suicide for Life
(Twilight)
Rating - 7/10
Lunatic Dictator assembled in 1988 and called it quits
only four years later. After a ten-year lull, the band united once again and
joined forces with Twilight Records. The group is known for creating fine
blends of death metal and thrash; therefore, expectations tend to be high for
this group. Fortunately, they meet those expectations with Suicide for Life.
The album exemplifies a magnificent production and tenacity; however, it does
not stand out.
The song structures are simple, yet enjoyable. The record begins perfectly
with mid-tempo “Silent Screams” and moves to a powerful track “Remember the
Traps.” “Suicide for Life” contains undeniable hard-core elements and
excellent breakdowns, but my favorite tracks are “Until Death” and “Call of
Death.” Both mid-tempo works show the bands full capabilities.
Their known influences are Bolt Thrower and Slayer. Suicide for Life is
a worthy purchase for all metal fans.
http://www.lunaticdictator.de
[Lo Walker]
MANITOU
The Mad Moon Rising
(Rage of Achilles)
Rating - 8.5/10
What I expected to be some kind of melodic death metal
album actually turned out to be a Finnish out fit that plays a rather
impressive style of prog metal. The most obvious comparison (to my ears) is
Tad Morose, but the technicality leads the band into Dream Theater territory
as well.
The songs are rich and the arrangements complex, with plenty of unusual chord
progressions and time changes to keep things lively, but the band never lose
focus. This is about songs and there is a logic and flow to the tunes here
that is kind of rare (sadly) on a lot of modern progressive albums - it's not
all about showing off the playing skills. Sure, there are plenty of
impressive bits to be found, but they are incidental to the songs rather than
the other way around. Choosing standout tracks is nigh impossible as this
album works from beginning to end, simple as that.
Playing and production-wise, this is a very polished and professional-sounding
release. Hard to believe at first that this is the band's debut album, but
then further investigation reveals that they have recorded several demos and
been around for seven years, so it makes a bit more sense. Anyone looking for
some well-written metal played with a plethora of skill, look no further -
Manitou has arrived.
http://www.manitouband.com
[Daniel Hinds]
METALIUM
Demons of Insanity: Chapter Five
(Crash)
Rating – 7.5/10
Okay, I’ve heard three of Metalium’s albums so far and I
won’t even pretend to know what the hell the overall concept is, but I do
quite enjoy their brand of classic heavy metal. Fortunately, Demons of
Insanity is considerably better overall than the last one (As One)
and might even be the band’s best yet. Plus, hey, any band that can get Don
Airey to guest on their album must be doing something right.
After the usual (slightly hilarious) spoken intro track, “Power of Time”
vaults forth at full speed and simply kicks ass. This is power metal with
plenty of power. Similarly, the title track, while a bit slower, features a
ripping riff that just crushes. “Cyber Horizon” has a more classic feel,
while “Ride On” falls a bit flat for some reason. “Endless Believer” suffers
a bit of the same fate, but “Sky is Falling” brings the energy level back up
and sets things right. “Destiny” has a suitably catchy chorus, while “Mother
Earth” incorporates some odd riffing and a really cool progression from verse
to chorus. The rest of the album falls into a slightly more mediocre groove,
particularly the ultra-blah ballad “Silence of the Night.”
Production-wise, Demons of Insanity has it all – big drums, crunchy
guitars, clear vocals. The performances are equally impressive, with some
truly fine lead work and powerhouse drumming. Metalium have a keen sense of
arrangement, too, keeping it simple but very fluid. All in all, this is an
excellent album that will please fans of HammerFall and Primal Fear without
really sounding like either band. (By the way, while writing this review I
went to the band’s site and read the whole concept behind the various albums…
kind of wish I hadn’t…)
http://www.metalium.de
[Daniel Hinds]
MITHRAS
Forever Advancing… Legions
(Candlelight)
Rating - 7/10
The English band Mithras formed in 1998 and derived their
name from a hidden ancient roman god. Their debut, Forever advancing…
legions, was released in 2002 on Golden Lake Productions. Worlds beyond
the veil followed in 2003 contributing largely to the band’s success. The
group has been named “UK’s most promising death metal band” and listed as one
of the top ten selling titles on Copro Direct for 2003. The band has since
signed for 3 albums with Candlelight Records.
Candlelight is also re-releasing Forever advancing… legions and
presenting an extreme, atmospheric and ambient metal in an abstruse packet.
Leon Macey records tight and speedy drum work along with daunting guitars. His
avant-garde style provides the album with a feeling of refined sophistication.
Double bass tracks by Rayner Coss are powerfully dynamic. Rayner also bawls
impressive vocals throughout this album though the lyrics are not typical of
the death metal genre. They relate to topics such as, transcending death,
spirituality, mysticism, dreams, and the possibility of other life forms.
Some exceptional guitar solos ring throughout "Sloping Altars," which consists
of skillful tempo shifts and spine-tingling grinding. "Arena Sands" presents a
medieval appeal corroborated with atmospheric keyboard sections. Quieter
tracks such as, "The Green Wanderer Returns" are more contemplative. The
theatrical composition delicately compliments the rest of the album. "Wrath Of
God" possesses pinched harmonics and syncopated rhythms. It verges on catchy,
but is perhaps my favorite track due to its more technical nature.
The production is good; however, there are a few incredibly busy moments.
Overall, the music was well written and proficiently performed. The album
holds practical and creative structures Mithras are known for. It sounds as
though it could use some re-mastering to clean up volume differences. The
volume noticeably changes between quiet and louder sections throughout the
album.
Mithras list Morbid Angel, Bal Sagoth, Slayer, Emperor, Dreamtribe, and Dead
Can Dance as some of their influences. This is an extreme metal band with few
boundaries.
http://www.mithras.org.uk
[Lo Walker]
MOR DAGOR
Necropedophilia
(Twilight)
Rating - 6/10
Mor Dagor formed in the early nineties and released two
albums on Eigenproduktion Records before signing with Twilight.
Necropedophilia is the group’s first release on Twilight. The production
is average. Plenty of riffs and melodies and lots of energy, but the album
does not offer anything new. It seems to be missing something, but still it is
worth mentioning.
The record is full of rapid black metal rhythms. The overall sound is raw. The
songs are extensive, but aggressive. Pestilence and Beast play grim guitars
with a few short solos throughout the album. The vocals of Pestilence and
Beast are decent. Torturer pounds the drums with great intensity while Lord
Astaroth hammers the bass. “Throne of Flesh” is perhaps my favorite track on
the album.
Influences include Belphegor, Enthroned, Pestilence, and Dark Funeral.
http://www.mor-dagor.de
[Lo Walker]
NACHTMYSTIUM
Eulogy IV
(Southern Lord)
Rating - 7/10
Who decided that Black Metal sounds best when the
recording quality is horrible?? I exaggerate, the quality of this isn't
horrible, but it's not professional by any means. Which is too bad, because I
really like the take these three Americans have on Black Metal. There's an
infusion of southern rock (blues influenced at least) here, so instead of
sounding like an aggressive invasion from the frozen North, this is
melancholic decay from some forgotten swamp. It reaches up now and again to
hit you hard ("Bleed for Thee") but generally sits back and wails and beckons
you to sink. I will definitely keep my ears open for this group, especially
if I'm in a real downer of a mood; I just hope they get some quality time in
the recording studio. Unlike many "underground" Black Metal bands, these guys
don't rely on the lo-fi sound to achieve a level of despair and hopelessness.
http://www.southernlord.com
[Laird Sheldahl]
NAPALM DEATH
The Code is Red...Long Live the Code
(Century Media)
Rating - 8/10
The new Napalm Death reminds me of.... old Napalm Death.
That alone may be all you need to read. Sure, there aren't any 5 second
songs, but nothing hits the 5 minute mark either. The production is cleaner,
the musicianship tighter, but this is still dirty painful spastic political
death. OK, so the vocalist isn't fat anymore, either. There are guest
vocalist appearances by former Dead Kennedy's and Carcass singers, which when
I read about that I was unnerved... remembering how Jello Biafra stuck his
annoyingly unmistakable voice over every seminal defunct punk, making everyone
from DOA to Steel Pole Bathtub sound like DK. But, luckily, the backing
vocals are tucked waaaayyyyy in back and don't disturb my Napalm Death
listening pleasure.
http://www.enemyofthemusicbusiness.com
[Laird Sheldahl]
NIHILIST
1987-1989
(Threeman/Candlelight)
Rating – 7.5/10
This is a collection of all the various demos recorded by
this quite infamous Swedish outfit. Nihilist played a very raw brand of
death/thrash metal that hinted at the directions its members would take in
later, more known acts like Entombed and Unleashed. Though the songwriting is
fairly simple and the production and playing are far from stellar, there is a
certain rough charm to be found on the fourteen cuts offered here.
Up first is the ’88 Premature Autopsy demo, three songs of primitive
thrash that owe as much to early Sodom as to anything else. The next three
tracks are from the Only Shreds Remain demo and you can hear that Entombed
‘crunch’ come into being for the first time. Also, the vocals have shifted
from a gruff thrashcore approach to a deeper, deathier style. The heavily
distorted bass and guitars rumble along in a wonderfully dirty manner that
make up for the occasional tape drop-out. Speed is still key at this point –
even the slow start to “Face of Evil” eventually kicks over into high gear
before the vocals come in.
Moving into ’89, we have the two-song Drowned demo. The vocals take on
an even deathier ambience, while the overall sound is strangely boomier and
less effective. Of the two, “When Life Has Ceased” is the best, featuring a
bit of that same evil energy that early Sepultura exuded. Three more cuts
appear here from the same recording sessions, “Face of Evil” appears again
here but it is the elaborate and strangely mature “Morbid Devourment” that
rules this set.
Finally, we are presented with the three songs from Entombed’s But Life
Goes On demo, also from ’89. All three cuts – “Shreds of Flesh,” “But
Life Goes On” and “”The Truth Beyond” – would appear again on actual Entombed
releases, but it is cool to hear these primitive renditions. The musicianship
has clearly tightened up considerably and the production values have improved
without losing that barbaric edge that made early death metal so good.
As a historical document, this release is pretty vital, particularly for
Entombed fans. It is cool to hear the band grow and progress from the
beginning of this album to the end, setting the stage for the move to Left
Hand Path perfectly. Just don’t expect a collection of exceptional tunes
played and recorded to perfection and you’ll be happy.
http://www.entombed.org
[Daniel Hinds]
NOCTURNE
Guide to Extinction
(Triple-X)
Rating – 6.5/10
When it comes to the more industrialized side of modern
metal, Nocturne has been one of the better and more consistent acts to
follow. Somehow I was expecting this disc to be a bit more vital sounding but
it still works within the framework Nocturne has laid for itself over the
years.
The key ingredients that make Nocturne listenable are the smooth integration
of synths into a guitar-heavy format and vocalist Lacey Conner’s distinctive
voice. She is good at sounding devilishly sweet and then turning right around
and spitting out the venom quite convincingly. The lyrics have a suitably
clever nastiness that perfectly matches her style as well as the music. A few
tunes stand out of the lot too, namely the swaying “Nothing” and the inspired
cover of “Cocaine Sex.” Though “Biting My Nails” might have been a better
choice musically for Nocturne, RSW’s depraved “Cocaine Sex” works perfectly
here from a lyrical standpoint. “Alibi” is quite catchy and “Passion” has a
slow, brutal grind to it that is equally effective.
On the downside, the relentlessly sluggish tempos and forgettable downtuned
guitars smack of everything bad that nu-metal brought to the table. Also,
repetition problems crop up on tracks like “I Lie,” “Walk Away” and “Dirty
Sanchez,” where the band seems content to just repeat lackluster vocal lines
and riffs in hopes of filling up four minutes.
Having seen Nocturne live, there is no doubt they are capable musicians with
good presence, but there is just a general lack of memorable songs on Guide to
Extinction. With a couple of exceptions, most of the material sounds like
second-rate 16 Volt and Ministry, evoking a predictable lack of enthusiasm.
Hopefully the future will see the band sharpen up and diversify their
songwriting skills and they will deliver a truly crushing album.
http://www.nocturne.cc
[Daniel Hinds]
OCTAVIA SPERATI
Winter Enclosure
(Candlelight)
Rating – 8.5/10
Somehow I was expecting some form of black/death metal
from this outfit but instead we are treated to a rather unique brand of dark
metal that incorporates several different elements. Octavia Sperati proves
that you can play with class and melody and still remain dead heavy.
Double-bass drumming is mixed with mournful melodies and clean, strong female
lead vocals on opener “Lifelines of Depths,” while a somewhat quirky,
alternative flavor creeps into “Soundless.” This tune is a nice surprise as
it quickly establishes the fact that Octavia Sperati aren’t going to just
re-write the same song ten times and call it an album, plus it features some
of the most memorable vocal lines and riffs on the whole album. Some fine
(and suitably gloomy) piano work comes to the fore on “Hymn” and “Future Is,”
while the icy “Below Zero” is a truly inspired evolution of classic Sabbath.
“Without Air (After)” closes the album with some distorted vocals and an
almost psychedelic feel.
One thing I liked with the production is the willingness to experiment, using
various effects on the guitars in the same song, panning them to different
spots for emphasis, etc. Nothing fancy mind you but perhaps a bit more
creative and thought-out than your typical underground metal album these days.
As an all-female band (well, as soon as they find a permanent drummer anyway),
Octavia Sperati will no doubt have to endure the usual accusations of
gimmickry, but they have already taken a huge step in silencing any criticism
by releasing a tremendously powerful and original debut album in the form of
Winter Enclosure.
http://www.octavia-sperati.com
[Daniel Hinds]
P.H.O.B.O.S.
Tectonics
(Candlelight)
Rating - 9/10
With an album title like 'Tectonics', you might suspect
this is massive, slow and grinding. OK, but so are a lot of other bands--
P.H.O.B.O.S., though, isn't afraid to stack up a bunch of other pedals besides
the distortion kind to create towering walls of liquid sound. And the effects
aren't just used to distort guitars and vocals... the drums get heavily
treated too, getting in on the squishing and mangling fun. P.H.O.B.O.S. isn't
just trying to be loud louder LOUDEST, they have crafted themselves a sound
here. I do wish they would also craft themselves some decent song titles ("Nietzchean
Dynamics"? "Wisdoom"?), but hey, that's what I get for reading stuff. This
is good, gaping-hole-in-the-earth's-crust sort of metal... I am sure there is
some better genre description that ends in -core, but I'll call it Earth's
core-core and recommend it to anyone who likes good sound design and some
melody in their Doom-core.
http://www.phobosdrone.org
[Laird Sheldahl]
PARAGON
Revenge
(Magick)
Rating - 9/10
There was a special time in the early-to-mid 80s when
bands were mixing traditional metal elements with more extreme influences,
with bands like Jag Panzer, Metal Church, Grave Digger, OZ and Helloween (pre-Kiske)
delivering some truly intense headbanging moments. That is exactly what
Paragon reminds me of. The polished musicality of bands like Maiden and
Priest is taken up a notch with gruff (but still melodic) vocals, pounding
double-bass drumming and some very hard-driving, speedy riffs.
"Impaler" is a great way to start things off - the riff is simply infectious.
"Assassins" follows in similar fashion, while "Traitor" opens with one of
those great Accept-like riffs that will have your head bobbing immediately.
There are two 'epic' tracks on Revenge, namely "Masters of the Seas" and
"Beyond the Veil." The former is quite involved with a certain Maiden quality
to its scope, while the latter is slower and less intricate, with a bit more
of a groove. "Empire of the Lost" isn't as long but it still has quite a
vast feel to it - not a favorite on first listen but it has grown on me
considerably, due in large part to the strong build-up and chorus. Closing
the album is fittingly raucous cover of Manowar's "The Gods Made Heavy Metal."
Production is solid and full-sounding without sounding overblown, thanks to
Piet Sielck of Iron Savior fame. The guitars have that really big crunch that
Accept mastered circa Balls to the Wall. For those who don't think
bands should look back for inspiration will not be happy with Paragon, but for
the rest of us, this is a hugely enjoyable slab of old-school metal done with
plenty of class and a fair amount of originality.
http://www.paragon-legions.com
[Daniel Hinds]
PARIA
Misanthropos
(Blackmarket)
Rating - 7/10
Paria fuses hardcore with heavy metal in Misanthropos.
The record does not add anything to the scene, but the music is catchy. It
embeds itself in your skull, and you will find yourself singing the title
track during dinner two days after you listened to the CD. However, the songs
are longer than usual for this style and rarely repeat the same riff. While
commendable, it’s not exactly easy listening. Take for example, “Human Error.”
This song consists of so many combinations and changes it’s hard to focus, but
still a song with great moments.
The album contains some stoner/psychedelic rock passages mixed with an
abundance of pummeling drumbeats and heavy/death metal riffs. At times this
album hints to Mastodon and Glass Casket with several tempo changes and
breakdowns. John and Andrew unveil an assortment of solos, slides, and
excellent harmonies. “The Absurdity of Solace” provides a rapid acoustic
segment that develops into powerful melodic chords.
Dustin compliments each song just the way a bass player should, and the
drumming is exceptional. Although I’m not a fan of the kick drum, Corey
pummels blast beats and rolls throughout. Brian’s vocals suit the overall
sound perfectly. There is just enough distortion for a thick edge, but clear
enough to be distinguished.
The production is decent, a solid mix, and another magnificent layout by
Blackmarket. Influences include Red Chord, Unearth, and As I Lay Dying. http://www.pariamusic.com
[Lo Walker]
PLASTIC EARTH
S.E.A.M.01
(World Chaos)
Rating - 8/10
Good melodic thrash metal from Japan. Plastic Earth's
bio makes reference to Soilwork, which isn't too far off the mark. Oh, the
very basic recipe is there, the recipe to which many thrash bands adhere:
gruff vocals during the verses mixed with bass-heavy muted rhythm guitar
chunks, then during the melodic sung choruses add big screeching power
chords. But unlike many mediocre bands who get this combo, Plastic Earth adds
a few more elements here and there to keep from repeating the same song ad
nauseum. The title track gets an almost 80's pop-like feeling to its chorus,
which continues in parts of the track "Remember Pain," while "Nothing Not"
gets a hefty dose of straight up speed guitar work. Still, this isn't on par
with Soilwork's finest, but is still a pretty good album.
http://www.world-chaos.com
[Laird Sheldahl]
PUNGENT STENCH
Ampeauty
(Nuclear Blast)
Rating - 8/10
Austria’s Pungent Stench packaged the best old school
death and grind and named it Ampeauty. Their relentless bolts from the
blue have become a refined tradition that must be appreciated. The record
contains all the usual offensive lyrics and macabre cover art Pungent Stench
is known for, but Ampeauty takes things a step further with finely
honed humor apparent in not just the lyrics, but the music too.
Don Cochino grunts vivid lyrics so offensive it’s hilarious. He grasps the
humor in perverse subjects as the songs reach outlandish dimensions. For
example, in “Human Garbage” Cochino smashes the faces of lowlife cunts, and
sex torture is fascinating when “Lynndie” grabs the leash.
The album contains catchy tracks such as “Invisible Empire” and “The Amp
Hymn,” where remnants of early Carcass seep through the laidback grind style.
Pungent Stench creates a mysteriously morbid atmosphere that is oddly fresh
and genuine. Testi, Stench, and Cochino coordinate spectacular, old school
metal riffs and demonstrate excellent musicianship.
Ampeauty is recording Nuclear Blast can be proud of. The trio’s
influences include Carcass and Entombed.
http://www.pungentstench.net/
[Lo Walker]
RIGOR SARDONICOUS
Principia Sardonica
(Paragon)
Rating - 7/10
Dear faithful doom fans: Paragon Records and Rigor
Sardonicous have something just for you – Principia Sardonica. This
album compromises nothing. It is doom pure and simple. The depressed and
oppressed can wallow in somber sounds of sludgy guitars and grim vocals. It
doesn’t add anything new to the scene, but Winter and My Dying Bride fans are
sure to enjoy.
The atmosphere is horrifyingly melancholic. The album consists of several
mesmeric segments. “Risus ex Mortuus” drags along drawing out every ache in
your body. While “Sleepless’” inhuman vocals and dark gloom riffs create a
somewhat thaumaturgic sonance.
Though the recording is decent, it seems empty at times, but the overall sound
is menacing and heavy. I don’t know much about doom, but from what I gather it
has all the necessities of a good doom metal record – mind-numbingly slow,
very heavy, and gloomy.
http://www.smilingdeath.com
[Lo Walker]
ROYAL HUNT
Paper Blood
(Magna Carta)
Rating – 8/10
My first encounter with this long-running progressive
power metal outfit was the excellent The Mission, an album that still
finds its way into my player fairly often. Though I was a bit disappointed
with Paper Blood at first, due mainly to the lack of modern edge that
helped take The Mission to the next level, this is still a powerful record.
As expected, there is a great deal of variety on offer here, from fast,
neo-classical pieces to neo-power ballads to soaring epics. “Break Your
Chains” has a drive and vocal rhythm reminiscent of Pretty Maids’ classic
“Back to Back,” while “Never Give Up” showcases the big backing vocal choruses
the band does so well. “Twice Around the World” is notable for incorporating
an extended (and fierce) guitar solo, followed by what amounts to a mini-drum
solo. Another of my faves is the first bonus track, “Edge of the World,”
where a big riff is combined with a catchy chorus and the result reminds me a
bit of Cornerstone.
The musicianship is one of the things that really sells Royal Hunt, from Andre
Andersen’s diverse and dynamic keyboards to Marcus Jidell’s fiery guitar
playing. John West ties it all together with his strong voice, giving the
music the emotional balance it needs.
As I said, some of the spark and edge that made The Mission so unique
is missing here, but there is still plenty of great playing and songwriting to
make this well worth buying.
http://www.royalhunt.com
[Daniel Hinds]
SUMMON
Fallen (CD+DVD)
(Moribund)
Rating - 8/10
This special edition of Summon's latest is quite a
milestone really, the first truly underground black/death metal band to
release an album mixed in 5.1 surround sound (that I know of anyway). Sadly,
I don't have the setup to appreciate this feature, but I was quite impressed
with the standard stereo mix.
"Blood Red Skies" rips out of the gate with some very intense riffing, several
interesting change-ups and blast furnace vocals to match the ravaging music.
"Mindrot" is a bit more typically death metal sounding and less memorable,
while the thrash influence comes to the fore on "Upon Wings of Chaos." The
bridge in the middle has a particularly classic sound to it - very nice.
The rest of the album follows a similar mix of styles, some working better
than others, but the intensity never really relenting. "Sacred Nothing" is
particularly devastating, while "Loud as Hell, Fast as Fuck" has a truly retro
Venom/Bathory vibe to it that warms the heart (and then plunges a dagger
through it).
In addition to the 5.1 mixes of the album, the DVD contains three videos. One
is a really well-produced promo clip for "Sacred Nothing" that should be
getting heavy play on the metal shows if it isn't already, while the other two
are very low-budget homemade affairs. All in all, this is an impressive
package put together by one of America's few decent metal bands and well worth
checking into.
http://www.blackenedmoon.com/summon/entry01.html
[Daniel Hinds]
TAAKE
…Doedskvad
(Dark Essence)
Rating - 7/10
I first heard this rather fierce Norwegian black metal
outfit via the album Nattestid several years back - a grim but
ultimately somewhat forgettable outing. Well, time may continue to roll but
Taake is clearly not planning on evolving any time soon, as this album still
roars along in classic Norwegian black metal fashion. As with the other Taake
releases, this is a single piece broken up into several parts and maybe it is
because of the lack of good black metal in recent times or maybe Taake has
honed their craft, but the individual tracks seem to have a bit more
personality this time around.
Part III was the first to really capture my attention, as it is built around a
speedy but still rather melodic guitar line that owes a lot to the more
folkish traditions. Each part is relatively long (with part VII hitting the
nine-minute mark) and moves through various tempos and riffs without losing
the dark atmosphere that ties it all together. Høst's vocals have a good
biting edge to them, while the drumming is suitably manic during the fast
parts (of which there are plenty, don't worry). Part V takes moves through
some almost progressive riffs in the middle, challenging the likes of Enslaved
at their own game.
The production here is a bit thin and wooden but it works for the style
employed quite well. The album cover art is strangely bad but at least the
band photos show a healthy love for corpse paint and equally healthy hatred
for Christianity. Not a ground-breaking record in any sense nor a
particularly stellar one, Taake have still managed to put together a
satisfying blast of convincing old-school black metal here with enough
surprises to keep you listening.
http://darkessencerecords.no
[Daniel Hinds]
TRISTANIA
Midwintertears (CD+DVD)
(Napalm)
Rating - 9/10
This is a very nice collection of odds and ends that will
please die-hard fans of Tristania as well as more casual listeners. The CD
consists of two EPs, namely '97's Midwintertears (the band's first
release) and '99's Angina, while the DVD is the Widow's Tour
video that features six tracks.
Usually I'm not much for instrumental intros as they tend to be just
throwaways these days, but "Sirene" is very beautiful and builds the tension
perfectly to lead into "Midwintertears." Deathy male vocals drive most of the
latter, but a piano break in the middle is accompanied by some gorgeous female
vox, more elegant than ethereal, courtesy of Vibeke Stene.
The last three songs are from the Angina EP that came out in '99 and
features a sharper attack, with an almost black metal feel at times (albeit a
very symphonic one). The balance of male/female vocals and guitar/keyboard
interplay is still superb. "Saturnine" is the most unusual piece, as it
features a somewhat industrial flavor and lasts just over two minutes.
As for the DVD, it makes for a nice bonus. There are four live clips followed
by a promo video for "Evenfall" and a tour/video montage of "Wasteland's
Caress." The sound and video quality are both quite strong throughout, with
the band performing with incredible precision. Vibeke does some
unintentionally amusing interpretative gothic dance moves, but she also
captures these intense expressions of utter possession - certainly the most
visually intriguing member of the band.
The packaging on this release is wonderful - it includes a nice new cover
piece, but inside are replicas of the original EP and video covers, along with
lyrics and a band shot. Very slick, very much a testament to how this type of
release should be done.
http://www.tristania.com
[Daniel Hinds]
UNSHINE
Earth Magick
(Crash)
Rating - 7/10
Wasn't sure what to make of Unshine from the rather dark
album cover, but they play a fairly decent brand of melodic metal with clean
female vocals, keyboards and a touch of melancholy. There is room for
tightening up the sound but overall this is an enjoyable listen.
Opening with "Rowena's Song" may not be the best choice, as it is long and a
bit on the slow side. The more upbeat "Not For Me" gets the energy flowing a
bit more, while "The Last Moment" has a more epic flow, based around a waltz
time signature. "Snow White" is probably the most metallic number, owing
mainly to the main riff. On the other hand, "Supergirl" has probably the most
memorable chorus and radio potential.
Production-wise, there's nothing too special about Earth Magick. It
has a bit of a flat sound overall, with the guitars in particular sounding
limp. The songs themselves show promise though and the overall sound is
reasonably original so it will be interesting to see where Unshine take their
sound in the future. Not an essential release but worth checking out for
those looking for something melodic and a little off the beaten path.
http://www.unshine.com
[Daniel Hinds]
URGEHAL
Through Thick Fog Till Death
(Southern Lord)
Rating - 7.5/10
To paraphrase a wise man – there’s just something special
about poorly recorded death metal. And, honestly, that may be true. The lack
of a highly professional sheen to the recording and production somehow makes
some death metal seem more serious, more sinister, more threatening. It makes
the corpse paint seem less Halloween and more disturbing.
That’s definitely the case with Urgehal’s CD, Through Thick Fog Till Death.
The production and recording aren’t really all that bad, but they are rough
and angry. This lends an old-school sincerity to the whole affair. With song
titles like “666”, “Raise the Symbols of Satan”, and “Supreme Blasphemy”
Urgehal pull no punches in their portrayal of evil. And… it pretty much
works.
http://www.southernlord.com
[Nels Bruckner]
VICIOUS ART
Fire Falls & the Waiting Waters
(Threeman Recordings/Candlelight)
Rating - 8/10
Fire Falls & the Waiting Waters marks the debut CD
from Vicious Art, and an impressive first effort it is. The excellently
recorded and produced CD features a very high energy blend of thrash and
death. There is plenty of variety throughout. One problem that Vicious Art
does not suffer from is the tendency that many bands have developed of writing
very uni-dimensional and repetitious songs. Rather, Vicious Art has complex
arrangements and interesting tempo shifts, making for a very listenable CD.
http://www.viciousart.se
[Nels Bruckner]
VISIONS OF ATLANTIS
Eternal Endless Infinity
(Napalm)
Rating – 6.5/10
This is a reissue of this Austrian band’s first album and
includes three demo tracks as a bonus. Comparisons to Nightwish are
unavoidable, as the band pounds out keyboard-heavy, goth-tinged power metal
with operatic female and clean male vocals. I guess the most obvious
difference is the male vocals are more melodic and there is much more
interplay between the male and female singers.
Following a pointlessly short intro, “Lovebearing Storm” sets things in motion
with a rapid tempo that only slows down toward the end of the track.
“Silence” lacks the opener’s energy, but “Mermaid’s Wintertale” cranks things
back up again. Songs that could be really quite heavy, such as “Lords of the
Sea,” seem to be held back by the relentlessly restrained vocals and buried
guitar tracks. In the end, some songs are clearly better than others, but
none of them really rise up and demand your attention.
Mirthful album title aside, I do quite like the colorful cover artwork. The
production on the album is solid, though lacking a bit of the punch that the
follow-up has. VOA is a band that I wanted to like more than I actually did.
Cast Away is clearly a superior album so I would definitely recommend starting
with that one and, if you fall in love with it, then explore Eternal
Endless Infinity.
http://www.visionsofatlantis.com
[Daniel Hinds]
WIDOW
On Fire
(Cruz Del Sur)
Rating – 7.5/10
Let's see.. old English style font:
check....rock star poses on album cover: check...fire: check... yep, looks
like Widow is al set to rock it ol’ school. Once you get past the cheesy
clichés, though, this is a surprisingly good album that treads familiar
territory but adds enough spice to make it sound fresh.
An American Werewolf in London provides the inspiration (and sound
samples) for the opening cut "An American Werewolf in Raleigh," a high-flying
romp with plenty of Maiden gallop (circa Somewhere in Time). The
three-pronged vocal attack is really showcased on "The Preacher’s Daughter,"
with clean male and female vocals intertwined with some more deathy vox acting
to underscore certain lyrics. Power ballad territory is tread with “Not
Alone,” while “I’ll Bury You Alive” is a very satisfying mini-epic. Other
songs are less triumphant, like the strangely sluggish “Sinderella,” and the
guitars could use a bit more bite throughout.
Widow succeed mainly because they know how to mix elements from the past with
those from the present and make it work. I didn’t love every single song here
but I do quite enjoy the band’s sound and the album has a good flow to it.
Fans of everything from 3 Inches of Blood to Nocturnal Rites to Paragon would
be advised to give On Fire a spin or two.
http://www.burning-village.com
[Daniel Hinds]
WOLVERINE
The Window Purpose
(Earache)
Rating - 5/10
This is a re-release of Woverine's "formative stages" and
as with most re-releases I can sum up my review by saying "this is for those
who can't get enough Wolverine, but probably not for anyone else." But, as
far as Prog-rock goes these guys do a much better job of fusing the harder
elements of modern (as in post 70's) loud metal with the more melodic,
falsetto emotional art metal. I'm one who believes that Death metal and Hair
metal just shouldn't be combined... but if you think otherwise, then you
should look into Wolverine because they cover a lot of ground with skill.
http://www.wolverine-overdose.com
[Laird Sheldahl] |
