AGONY LORDS
Nihilist Passion
(X-Rated Records)

The first five tracks are all new cuts. "Path of Pride" kicks off in classic metal fashion ala Omen or something, with the vocals having a much gruffer, more thrash touch.  "Faithless" is a little more restrained overall, but features some incredible bass playing and guitar leads.  Acoustic guitars and spoken vocals herald the start of "All Saints Are Bleeding," which eventually launches into a nice speedy riff.  "Self Apocalyptic Defiance" once more brings the bass to the forefront, with a really cool, jazzy feel and ever-shifting arrangement.  This song really shows off Agony Lords' originality and I'd love to hear more material along these lines.  "Daemonium" is the final new track and is a bit more straightforward than those preceding it.

The remaining nine songs on Nihilist Passion are live tracks, culled from the band's '98 tour.  The sound quality is a little inconsistent, but generally listenable.  Of the songs presented, "The Gift of Darkness" and "The Shadow and the Silence" stood out the most.  "Sacrifice Me" has a really interesting middle section, where the band experiment with some non-metal influences again.  Both "Self Apocalyptic Defiance" and "Daemonium" appear again here in live versions.  From a 'value for money' perspective, this CD is a good deal, as you get 67 minutes in all, but I would have preferred to see the band release the five new songs as an MCD and maybe do a separate, proper live album.

Comparing Agony Lords to any other band is pretty much impossible.  They have a distinctive 80s heavy metal feel, yet not exclusively so.  If I had to fault the band on any counts it would be the production and the drumming.  The former is just a bit flat, taking some of the heaviness off the guitars, while the latter is a little looser than the music demands at times.  Also, the vocals are good for what they are, but seem a little limited at times, especially considering the depth of the music.

This isn't a perfect album, but it is a highly intriguing one.  Agony Lords really have achieved their own style and it is a good one.  I would love to hear them record in a kick-ass studio like Abyss or Fredman, perhaps with a better drummer.  The guitarwork and bass playing on this album are just killer and go a long way towards making up for the album's shortcomings.  Anyone on the lookout for a unique album with a classic metal feel to it would be well-advised to give Agony Lords a chance.  More info: http://members.tripod.com/~xrr
[Daniel Hinds]

APOPTYGMA BERZERK
Welcome To Earth
(Tatra)

After the incredible album 7, it seemed like APB was all set to deliver its defining release.  Welcome To Earth is very impressive, to be sure, but it doesn't quite deliver everything I expected.  Perhaps it is a case of expectations being set too high, I don't know, but even after nearly a dozen spins, this album just doesn't suck me in the way I was hoping. 

Having said that, though, there are a number of truly phenomenal songs to be found here.  After a suitable intro, "Starsign" kicks in with one of the most infectious beats I've heard all year.  Stephan Groth's vocals are clean, melodic and emotionally-charged, but it is the densely-layered synths that make this song so spectacular.  "Eclipse" has a lighter, more house-influenced vibe and is also quite impressive.

At this point, the album takes a serious turn for the weird and doesn't recover for until track 8.  First up is "Help Me!," a very minimal, trancey track that is rather experimental, especially with the sporadic vocals and samples.  "Kathy's Song [Come Lie Next To Me]" is a bit more normal, in terms of the driving EBM-ish synthline and beat, but even here there is an unusual atmosphere that reminds me more of projects like Everything But The Girl.  "Untitled 3" is more or less an ambient bridge to the next song, "Moment of Tranquility," which features the main theme from Twin Peaks at its core.

Surprisingly, the song that gets the album back on track is a Metallica cover, namely "Fade to Black."  Unlike the downbeat original, this version is fast and dancey, making for a very fresh take on the song.  Stephan changes the inflection of the vocal line, too, along with adding some cool bells and what sounds like a sample from "The Unforgiven" at one point.  "64k" is weird little gap-closer, while "Paranoia" is another excellent club cut.  "Soultaker" is even livelier, with a somewhat trancey approach, until the vocals kick in and then it is pure APB.  "LNDP3" is an okay ballad, with enchanting lead vocals by Kari Pettersen.  The album fades into complete etherealness on the beatless "Time To Move On."  As usual, things can't end so simply and, after a lengthy pause, a 'hidden' track appears.  The untitled song has a very lo-tech feel, with a nice, noisy rhythm and catchy little analog melody.

Expectations aside, Welcome To Earth is a good album that demonstrates a keen sense of melody and songcraft.  The real flaw of the album is in the flow, as the whole mid-part of the disc just kills the energy built up by the opening tracks.  I understand Stephan's desire to keep the sound fresh and not just fall into writing the same song over and over, but I think a simple re-shuffle would make the album sound much more cohesive.  Of course, I think you could make the same argument about all of his albums - perhaps it is time for another side-project to express some of the more esoteric ideas?
[Daniel Hinds]

BIRMINGHAM 6
Resurrection
(COP Intl.)

The opening one-two punch of "Israel" and "This Girl" quickly establishes the duo's talent for laying down the beats and manipulating samples to perfection.  "Policestate (Mutual Blade)" is an interesting, upbeat mix of the song that appeared only on a Cleo comp.  "All Around the Watchtower" is one of the Mindhallucination cuts that has never seen a US release in any form before now.  It's a cool, more mid-tempo track with some reallllllly blatant KMFDM and Ministry samples.  B6 have that same skill as FLA, in that they can use obvious samples and make them work in a whole new context - a feat that seems beyond many lesser bands.  The other non-US track from Mindhallucination, "Radicals," appears later on.  This one is one of my favorites, with some really driving guitar samples and lyrics that are straight out of KMFDM's "Godlike."

This release is really interesting even if you already have Assassinate, as the versions here are quite different.  "Mindhallucination" and "Who Do You Love? (Evil)" are particularly interesting, with only the samples and vocals making them recognizable at times.  The album closes with Razormaid! mixes of "Israel" and "This Girl," neither of which really impressed me too much (maybe it's because the songs are already so dance friendly and it doesn't sound like much was done to them).

Sadly, it appears that B6's future is in question, as vocalist Kim Løhde Petersen split during their '97 tour of the US and remaining member Michael Hillerup is facing a lawsuit by Jean-Luc DeMeyer over payment for his contribution to the band's second album, Error of Judgement.  Hopefully Michael can get things sorted out and continue, but until then at least we now have access to some more of their classic material.
[Daniel Hinds]

CAGE DECAY
Symbiosis
(self-released)

"3411 [unarmed]" is a suitably off-the-wall starting point, with the chaotic mix of ambience and d 'n' b beats.  "Spiraling Thoughts" has an almost tribal feel to the drums and samples, reminding me a bit of old Delerium at times.  "Sculptures For the Blind" follows in a similar fashion, though even here it is already clear that Cage Decay have achieved that ever-so-difficult task of giving their songs individuality.  "Detroit Fist" is a bit more straight-forward, with a trancey beat and more repetitive sequences.

One of the coolest tunes is the too-short "Grey Muscles Failing," which has a more experimental feel to it and features some truly unique sounds.  "Unsettle" sounds like some huge chunk of decaying machinery with a nasty beat dropped in rather casually.  "The Insect Child" treads into highly danceable trance territory without destroying the album's continuity.  The album begins to morph in a more ambient/trance direction at this point, culminating in "Subjection To Transparency [Becoming a Ghost]," which sounds like a great soundtrack piece from some dark sci-fi flick.

Kevin manages to create an atmosphere with his work that is slightly disturbing, a little bit dark, but mostly just very experimental and creative.  The style is rather timeless, too, and I could see this appealing to fans of old Coil and Controlled Bleeding just as easily as it does to fans of today's power electronics and d n' b artists.  For me personally, I need to be in the right mood to enjoy this kind of work, as it is challenging material.  When that mood strikes, though, you can bet I'll be reaching for this disc immediately.  More info:  cagedecay@hotmail.com
[Daniel Hinds]

CARPATHIAN FOREST
Black Shining Leather
(Avantgarde)

The title track kicks in after a brief intro and the band's time-tested brand of raw black metal is sounds better than ever.  Taking cues from the likes of Darkthrone and Mayhem, Carpathian Forest also serve up plenty of Celtic Frost-like riffs.  The production has that somewhat thin, high-end feel that made many early black metal albums so distinctive, yet you can still easily hear the bass playing throughout.  Weird.  The guitar sound is the perfect blend of raw and heavy and should be an inspiration for up-and-coming black metallers everywhere.

The generally primitive assault is tempered with some well-placed keyboards here and there, such as the break midway through "The Swordsmen.". The Morbid Tales influence can be felt on many tracks, such as "Sadomasochistic" and "Pierced Genitalia," but it is always filtered through Carpathian Forest's own style as well.  The experimental piece "Lupus" even harks back to things like "Danse Macabre," but Carpathian Forest actually pull it off a lot better, exuding a truly creepy atmosphere.  The album closes with a cover of The Cure's "A Forest," coupling a strange synth rhythm with a clean guitar sound not too dissimilar from the original.  An unusual, very atmospheric version that shows the band has a few tricks up its sleeve still.

Lyrically, the band alternate between the usual black metal fodder (ice-cold mountains, the woods, etc.) and more personal faire, such as suicide and S&M.  All of them are delivered in the grimmest of black metal vocal deliveries, definitely one of Carpathian' Forest's strongest points.

Despite the huge delay in getting this, their official debut full-length, out the door, Carpathian Forest are supposedly already set to release a follow-up this year.  If you want some well-played, thoroughly misanthropic and evil black metal, look no further than Black Shining Leather.
[Daniel Hinds]

THE CROWN
Deathrace King
(Metal Blade)

"Deathexplosion" is a perfect title for the opening salvo, a neck-snapping riff monster if there ever was one.  "Executioner (Slayer of the Night)" is even more frenetic, with the bands death metal sound coming through a bit more.  There is a definite undertone of classic thrash metal everywhere on this album, but it has a much more complex and up-to-date sound than most of the retro-thrashers out there.  "Back From the Grave" starts off like Dark Tranquility on speed, but quickly drops into one of the coolest riffs I've heard in a while.  "Devil Gate Ride" has a real classic death feel to it, while "Vengeance" slows things down for a more grinding journey.

The consistency of Deathrace King is phenomenal.  Each new song throws something new into the mix.  "Rebel Angel" has a definite rock 'n' roll feel without sacrificing the metallic heaviness one iota.  "I Won't Follow" is an all-out thrasher, with some exquisitely melodic leads tempering the mayhem.  "Blitzkrieg Witchcraft" and "Dead Man's Song" are a little less memorable but still quite good, while "Total Satan" is like super-charged Bathory circa "Burnin' Leather" and "Die In Fire."  The last cut "Killing Star" starts off slow, very reminiscent of "War Pigs," before the relentless snare-snare-snare beat takes over and it becomes 100% The Crown.

I've only heard a bit of The Crown's older work, so I can't really compare, but I can safely say this is a brilliant, storming piece of death/thrash.  The only band I can think of in this same league is Defleshed and I think The Crown offer a little more variety.  Kudos for coming up with such memorable riffs, too - no easy task in this day and age.  If you dig heavy, raw, fast metal of any kind, The Crown is bound to have something to please you.  Highly recommended.
[Daniel Hinds]

DARK SANCTUARY
Royaume Mélancolique
(Ancestral Craft)

The first half of the ten-minute "L'Autre Monde" is built purely out of flute-like synths and other ethereal instrumentation.  Then, the song bursts forth with Marquise Ermia's soaring, operatic vocals, piano, and some very grand-sounding orchestral drums.  "L'Ombre Triste" takes a more subdued direction, with a softer vocal delivery, acoustic guitars and floating strings.  "Night Rain" kicks off with the tried-and-true rainstorm sample, along with an ominous synth pad and sparse acoustic guitar.  From here the song slowly builds, adding more guitar, some well-placed toms and distant, mournful banshee wails.  "Le Réve de la Nymphe" kicks in with a brooding piano line that is somewhere between Amorphis and Arcana, with the vocals really setting the mood once again.  "Valley of the Pain" is little more folk-oriented than much of the album, but I wish it were longer.  That is one of my few complaints with this album:  the long songs I wish were shorter and the short ones I wish were longer.  Case in point:  at 13 minutes plus, "Anatheme" is just a little too drawn out for its own good.

There is a real dark beauty to Dark Sanctuary's work.  The songs are may occasionally be a bit overlong, but for the patient listener, they are a pretty rewarding experience.  Marquise (and please forgive me if I am spelling her name wrong - the font is a bit difficult to read) has a stunning voice, very rich and beautiful.  The rest of the band is impressive, too, especially when it comes to the keyboards and violin.

Dark Sanctuary is really everything I expect from a good darkwave band.  Involved, atmospheric songs are matched with heartbreakingly beautiful female vocals, plaintive strings and depressive piano melodies.  It's the perfect soundtrack to a candle-lit October evening.  Fans of bands like Arcana and Dargaard (as well as the usual darkwave suspects, like DCD, etc.) should definitely seek this one out.
[Daniel Hinds]

DERIDE
3-track Promo
(self-released)

"Another Day" is the first cut and is reasonably effective at mixing harsh post-thrash with some catchier bits.  "Through It All" has a cool, rather jagged riff at its heart, with the vocals alternating between the hardcorish shouts and a clean style.  The chorus has a considerably more melodic feel to it, with some multi-tracked vocals, making this probably the most distinctive track here.  "Godfed" is just pure brutality from start to finish, reminding me of Meshuggah's harder moments.  A third vocal style - a higher-pitched screech - is also introduced on this one.  I'm not sure that this style works as well as the other two, but it shows that the band is at least willing to experiment, which is good.

If you're looking for ultra pissed-off, modern-sounding metal with big, beefy riffs and vocals to match, Deride are bound to satisfy.  The recording quality on this promo is outstanding, even better than a lot of things I've heard on actual labels lately.  Speaking of which, the band are in search of a label themselves and, based on this output, shouldn't have a problem finding one.  More info: http://home.c2i.net/deride
[Daniel Hinds]

DIVE
True Lies
(COP Intl.)

"True Lies" kicks the album off with a somewhat noisy rhythm, but a nice bleepy, analog-y synthline comes in that harks back to his Klinik days.  "Sidewalk Sinner" is a more straight-forward Dive tune, along the lines of the more accessible tracks from Snakedressed (the last Dive release).  This track is a perfect example of modern Dive at its best.  Dirk starts with a fairly simple rhythm and melody, yet somehow gives it an incredible sense of depth.  His slightly menacing, half-whispered vocals mesh perfectly with the noisy yet musical samples.  "Voodoo Child" is another great example of layered sounds and percussion creating a sound bigger than the sum of its parts.

Fans of older Dive aren't left out, either.  Tracks like "Give It To Me" and "Are You Awake?" favor the darker, more minimal approach of Dive's earlier albums.  Perhaps the most extreme example is the album closer, a remix of "True Lies" that approaches Sonar in terms of cranium-cracking distortion and simplicity.  Normally, I love this kind of stuff, but somehow it just doesn't work on this track and I much prefer the original mix.

While I've always admired Dirk Iven's work, I felt some of the tunes circa No Pain - No Game were getting to be a little too minimal and similar for their own good.  Fortunately, with Snakedressed, Dirk really expanded the palette he used for Dive, giving the songs considerably more individuality.  True Lies is just an extension of the same philosophy and the songs are even more diverse and involved.  While far too many bands in the electro/industrial field look to others for inspiration, Dirk Ivens has set sail for uncharted lands and True Lies is one of his best discoveries to date.
[Daniel Hinds]

DREAM INTO DUST
The World We Have Lost
(Chthonic Streams)

After the ambient/noise intro "Maelstrom," Dream Into Dust really display their unique sound with "Cross the Abyss."  Mixing acoustic guitars, sparse orchestral strings, rigid, noisy rhythms and clean sorrowful vocals, this song displays a character unlike any other band I've heard.  "Mercury Falling" is an even darker, more apocalyptic track, while "Nothing But Blood" has a more acoustic base.  "Enemy At the Gates" returns to a noisier ambience similar to "Maelstrom," but is overlaid with spoken vocals (which aren't quite as effective as the sung vocals elsewhere).  "Farewell to Eden" has a very epic, symphonic feel to it that, with the vocals, is strangely reminiscent of Depeche Mode's blackest moments.  The title track has a very dense, militaristic rhythm to it, with a short ambient interlude halfway through (like the eye of the storm).

One thing that really impresses me about Dream Into Dust is the effective use of many diverse instruments and sounds from song to song.  They give each song a character of its own, yet the album works as a whole, too.  Derek Rush is also quite skilled at fusing acoustic instrumentation with samples and keys.  Fans of bands like Sol Invictus and the other World Serpent types will no doubt love this, but I think its appeal is even broader than that.  The vocals have that laid-back but slightly disturbed feel that a lot of The Church's work has, while fans of darkwave and gothic metal should find some definite pleasure in the atmosphere created throughout.  More info: http://www.chthonicstreams.com/dream.html
[Daniel Hinds]

GORGOROTH
Incipit Satan
(Nuclear Blast)

The title track makes for an effective start to the proceedings, blasting off at full speed and only relenting at a few points later in the song.  Infernus' vocals are thorat-peelingly raw, some of the grimmest I've heard in a while.  He mixes them up with some lower, cleaner vocals from time to time, making for a nice balance.  "A World to Win" follows a much more tempered tempo with an almost Manowar-like riff and some very triumphant guitar harmonies.  Taking a turn for the weird is "Litani til Satan," with a doomier sound and someone speaking German in a deep voice throughout.  The effect is kind of cool for a bit but gets old, as there aren't really any change-ups.

The oddly-titled "Unchain My Heart!!!" gets the band back on track.  After an almost pretty piano intro, the band rip into some stomping blackened thrash, not unlike a demented Sodom.  There are a couple extended screams in this song that are truly inspired.  The Wagner influence can be felt on any number of tracks, though "An Excert of X" seemed to capture that brooding, militaristic feel better than the rest.  The spoken vocals return, though, and I kind of wish they had left this one as in instrumental. 

The production on Incipit Satan is what you'd expect from a "True Norwegian Black Metal" album - raw and trebly but still very listenable.  The inclusion of the occasional electronic bits was unexpected and, although they are used sparingly and to relatively decent effect, I think the album could have been just as good without them.  "Will to Power" is a bizarre collection of industrial beats and noisy loops, while the album closer "When Love Rages Wild in My Heart" is something of an amalgamation of all the styles presented on the album, focusing more on the clean, almost-gothic vocals throughout.

Gorgoroth seem to be loved an loathed pretty equally in the black metal scene and I can see why.  On the one hand, they are on a fairly major label and experiment with sequences and melody; on the other hand, they have remained fairly true to the original Norwegian black metal sound and offer praise to the likes of Satan and Nietzsche.  Personally, I was pretty impressed with this offering, mainly because the band keep things varied from song to song and deliver the whole package with a suitable amount of conviction.  It didn't blow me away the same way the latest Enochian Crescent and Ancient Wisdom albums did, but it's certainly a strong effort from one of the scene's veterans.
[Daniel Hinds]

GRAVE DIGGER
Excalibur
(Nuclear Blast)

If you're not familiar with Grave Digger, they started out in the mid-80s as a rather unique-sounding German power/speed metal band, thanks mainly to the uniquely gruff, yet almost comical vocals.  They pounded out incredibly dense speed metal on classics like Heavy Metal Breakdown, Witch Hunter and War Games, often accompanied by inadvertently silly English lyrics.  After some rough times at the end of the 80s, the band got it back together and recorded a string of albums in the 90s and now the US is finally seeing the release of last year's Excalibur.

Excalibur begins with a somewhat subdued, appropriately mythical-sounding keyboard piece called "The Secrets of Merlin," before getting down to business with "Pendragon."  This tune straight-out rocks and shows that Grave Digger can still deliver the pounding speed metal as well as anyone.  Chris Boltendahl's rugged voice sounds just like I remember from my last brush with Grave Digger, War Games (I won't mention the whole Digger fiasco...).  The title track is next and kicks off with a riff that is strangely similar to Die Krupps "Dawning of Doom," but settles down into spirited metal number with a cool, melodic solo and some big, colorful choruses.  It is this latter element that seems the main difference from what I remember of old Grave Digger - they seem to take their cue from folks like Gamma Ray for the big choir choruses these days.  Not that this is bad, mind you, as it does tend to give the band a little more up-to-date sound without infringing too much on their classic style.

Things slow down a bit with "The Round Table (Forever)," which sounds like a cross between latter-day Accept and HammerFall.  "Morgane Le Fay" kicks off all mellow, but quickly evolves into a rager reminiscent of their older work.  "Tristan's Fate" is another speedy one that makes excellent use of the choir throughout.  The remaining cuts are all solid metal stompers, with "The Final War" standing out the most and the rather blah ballad "Emerald Eyes" the least.  The album ends with a bonus track, "Parcival," which is one of the best on the whole album.  Opening with a raw, Primal Fear-like riff, this is one is an absolute killer.

As much as I love fantasy-oriented metal bands, the whole King Arthur thing has been done to death and should be allowed to rest in peace.  Beyond that, though, I found Excalibur a pretty solid listening experience.  Grave Digger have really learned to write songs that flow (some of their early work was rather awkward) and it's always nice to see a band stick to their guns through all the trends.  In the same way that bands like Saxon and Raven have managed to find their niche and still record quality albums, Grave Digger seem comfortable with their style.  Guess it is time for me to break down and check out some of their other 90s releases...
[Daniel Hinds]

GREYAREA
Fanbelt Algebra
(Victory)

A mere 20 seconds into "Reminder," it is clear that Greyarea are on the pop side of the punk spectrum.  The vocals are clean, the chorus is 'catchy' and the riffs upbeat and melodic.  The song is energetic, to be sure, but comes off as a little too 'nice.'  "Sour Grapes" and "Hold On Tight" trade in the energy for an even poppier sound, although the latter does feature a nice, bouncy bassline.  "Better Man" comes the closest on the whole album to the kind of punk I like best - hardcore.  Sure, it's still melodic and has the "whoa-oh' choruses, but it's also fast and it rocks.  I'm reminded of Bad Religion a bit or some of the less harsh NYHC bands.

Sadly, Greyarea immediately turn around and take a dump in the form of blah near-ballad "Silence."  The rest of the album is much better, more on track with the first four songs.  "Colossus" and "Rotten Eggs" are the best of the lot, while "So Much More" and "Cannonball" are the blandest.  It's a mixed bag all the way around, which is good from the perspective that it gives the album a good deal of diversity, but not so good when you consider just how crap some of these tracks are.

Even before Green Day sold millions with their horrible, watered down version of pop-punk, I could never bring myself to really like this kind of stuff.  It's not complex or melodic enough to be interesting or pretty and it isn't visceral enough to work on a physical level.  There are some good, catchy tunes here, though, and when they are firing on all thrusters, Greyarea are one of the best I've heard in this genre.  Take that for what it's worth.
[Daniel Hinds]

GRUNTSPLATTER
The Death Fires
(Crowd Control)

Trying to describe music like this is difficult, as it needs to be experienced.  Unlike pop music, where the listener is generally presented with whatever emotion the songwriter is trying to get across, Gruntsplatter aren't as blatant.  Here, the emotions and images are evoked from within, exciting the listener's imagination rather than dulling it. 

The sounds utilized on the various cuts are generally dark and obscure, with some wind-like sounds dominating most of the album.  The sheer variety is impressive, yet the album never loses its cohesiveness.  There is a great deal of noise here, too, but it is a subdued, brooding type of noise, not the chaotic brutality of power electronics.  The overall effect is rather calming, despite the subtly disturbing undertone of the whole album.  An atmosphere of gray death, a lonely vigil at a forgotten sepulcher.

That's what I got from my first couple of listens anyway.  I'm sure others will have a completely different interpretation, which is the beauty of this album.  Having tried my hand at music along these lines myself, I know just how difficult it is to do it well (I haven't quite got there yet myself).  What may seem like simple noise to the casual listener is actually very well thought-out sound placement, with the various elements layered in just the right way to make it work as a whole.  Another winner from Crowd Control.
[Daniel Hinds]

JAGUAR
Wake Me
(Neat Metal)

With the recent resurgence of interest in all kinds of classic heavy metal, it made sense for Jaguar to return to the fray.  Guitarist Garry Peppard and bassist Jeff Cox have returned and enlisted Nathan Cox (drums) and Jamie Manton (vocals) to complete the new line-up.  The band apparently got a great reaction at Wacken '99 and have put together an album of all new material in the shape of Wake Me.

My initial reaction to hearing this album was one of disappointment.  The classic Jaguar sound is only present on about half of the tracks, with the rest favoring a slightly more modern approach.  Funk is the most obvious new element incorporated into a few of the songs.  After a few spins, I started to get into the album a bit more and appreciate it for what it is.  There are also a lot of NWOBHM references to be found that don't directly relate to what Jaguar was doing during that era.

Opener "Mouth & Trousers" has some bizarre lyrics and a crazy chorus that reminds me a great deal of old Raven.  Jamie Manton has a kind of nasal tone, but it seemed natural after a bit.  The most obvious example of old-school Jaguar is "Sucker," with a riff right along the lines of "Axe Crazy." Even here, though, the band experiment with some funk influences, with generally good but somewhat dated results.  "Occasional Hell" also harks back to Jaguar's glory days, while "Polish" is very much in the mould of "No Lies."  Bizarrely, the song "Power Games" is one of the least traditional-sounding tunes, with a very choppy riff that gives it a distinctly 90s flavor.  The chorus does bring to mind old Saxon and Maiden, though, and the wah-ed out solo is pure metallic bliss.  "Dawn Chorus" returns to the band's double-bass attack (Nathan Cox has really mastered the Jaguar drum style) and Jamie even sounds a bit like old vocalist Paul Merrill at a couple points.

The production on Wake Me is pretty much perfect for the music.  It isn't overproduced, allowing the songs' natural energy to emerge.  The vocals sound a bit dry in the mix on a couple tracks, but that's a minor quibble.  All of the playing is uniformly strong, too, and it sounds like the band is having a lot of fun - always a good sign.

It is almost surreal in a way to hear a new Jaguar album.  They seem to frozen in time, within a specific movement, that it is difficult to approach a new piece of work from them nearly twenty years down the line.  Not sure if they will make many new fans, but I think Jaguar stand a good chance of recapturing the hearts of their original listeners. Wake Me isn't an immediate album, but one that grows on you with each listen.  Somehow, I picture these songs sounding even better live, too.
[Daniel Hinds]

KATAKLYSM
The Prophecy (Stigmata of the Immaculate)
(Nuclear Blast)

After a mood-setting spoken intro, the first bomb is dropped in the form of "1999:6661:2000," a song that just screams 'DEATH METAL!' at every turn.  Growling vocals juxtaposed with the occasional high-pitched shriek, blastbeats, speedy jagged riffs - it's all here.  Other tracks that impress immediately include the punishing "Laments of Fear & Despair" and the almost catchy "Machiavellian."  "Astral Empire" is one of my faves, as it shows the band exploring some new territory, with harmonics and unusual arrangements.  The album closer, "Renaissance," has an almost mini-epic feel to it that belies the rather pedestrian nature of much of the rest of the album.  If the band could deliver a whole album this good, it would be an essential purchase, so there is definitely hope for the future.

For a frame of reference, my idea of great death metal is Vader, Dismember and Gardenian and my idea of crap is Deicide, Cannibal Corpse and Six Feet Under.  Kataklysm fall somewhere in between, both stylistically and quality-wise.  If you want something fast, relentless and very deathy, The Prophecy may just what you need.  Otherwise, it just isn't special enough to really recommend for the 2 or 3 standout tunes.
[Daniel Hinds]

KING'S X
Please Come Home...Mr. Bulbous
(Metal Blade)

For some reason, I was under the impression King's X had split (maybe they did?), but anyway, it is 2000 and the band have a brand new album.  Sadly, it tends toward their latter releases far more than the early ones.  The basic elements are still there - heavy riffs juxtaposed with jangly ones, accompanied by very 60s-sounding vocal harmonies that evoke The Beatles a little too often.  There is just this kind of apathetic feeling to the songwriting that makes it difficult to get into most of the tunes.

On the up-side, "She's Gone Away" is kind of catchy and "Move Me" has a bit of an old Pink Floyd feel that works on some levels.  "Charlie Sheen" has a slightly offbeat rhythm, giving it a more progressive feel than most of the album.  That's about it, though, as the rest of the songs vary between boring and borderline dreadful.  The production is clean but perhaps a little too 'live'-sounding, with the snares coming off a bit snappy.

Fans of King's X will probably dig Please Come Home..., as it is unmistakably them.  For me, it isn't innovative enough or interesting enough to want to listen to it again.  If you're new to the band and are intrigued, definitely start with Out of the Silent Planet first.
[Daniel Hinds]

MALEVOLENCE
Martyrialized
(Maquiavel)

"Brotherhood of Christ" and "Diabolical Eve" are pretty straight-forward, with aggressive guitars and low, hate-filled vocals.  "Hunters of the Red Moon" is a bit more leftfield, with a slower, kind of trance-inducing riff that mixes heavy guitar with clean.  The effect is quite original, making this one of my favorite cuts on the album.  The elaborately-monikered "Les Salles Obscures des Rose Noire XVIII" features an unusual arrangement, with some symphonic keys coming in for an unexpected change-up in the middle.  "Thy Extremist Operetta" is set in a 3/4 time signature and displays some very cool, fluid basslines.  "A Shinning Onslaught of Tyranny" has some of the most memorable melodies on the album, followed closely by "Oceans of Fire." 

Being the jaded critic that I am, it is so easy to pick up an album, see where the band is from, look at their logo and song titles and dismiss them as one genre or another.  Malevolence, despite utilizing elements from established styles, managed to confound me at almost every turn.  The music is solid and very heavy, yet the underlying melodic and technical sense gives it a very different feel to most death metal, even from the melodic death metallers of the world.  The songs feel like elaborate compositions, even though most clock in at around 4 minutes, with unexpected twists and turns that always take the listener some place new and interesting.  The somewhat one-dimensional death vocals are really the only limiting factor on Martyrialized, but even here I got used to them quickly and found that they complemented the music pretty well most of the time.

The production is top-notch, thanks to Fredrik Nordström and his Fredman Studio.  If you are looking for something that is as melodic, innovative and brutal and you have tired of the In Flames clones of the world, I heartily recommend Malevolence.  It's short - only 30 minutes - but every minute is pure quality.  Not sure how difficult this is to get a hold of, but you can write to the label at:  maquiavel@mail.telepac.pt
[Daniel Hinds]

MAYEHM
Grand Declaration of War
(Necropolis/Season of Mist)

"Part II" is a good opening for the CD, matching a mid-tempo, marching rhythm with some grim but tempered vocals.  Things start to go wrong on the title track, though, as the alternate vocal style emerges.  Here, Maniac delivers most of the lyrics in a pompous, spoken style that is more annoying than anything.  The music is impressive, though, with some incredibly complex riffs and chording, verging on a progressive feel at times.  "In the Lies Where Upon You Lay" is closer to what I was hoping for from this album as a whole, with fast, convoluted riffing matched by sick, grim vocals throughout.  The military snares return on "A Time To Die," along with the spoken vocals (which are almost comical at times).  It picks up shortly, however, and turns into one of the album's most intense tracks.

"Part III" is where Mayhem really takes some chances.  Built around an electronic beat, the song some dark ambient samples, industrial synths and whispered vocals.  The experiment is surprisingly successful, coming over as a really dark, minimal version of Front Line Assembly or something.  "II Princip" returns to more familiar ground, though the spoken vocals return again.  Some vocoded vocals make for an interesting break near the middle.  "A Bloodsword and a Colder Sun" is an interesting departure from the rest of the album, as it clocks in at over 9 minutes and features some really cool slow, doomy riffs.  "Completion In Science of Agony" is (gasp) almost catchy, not a trait usually associated with Mayhem (maybe Hellhammer's moonlighting in Kovenant is starting to rub off...)

The playing on Grand Declaration of War cannot be faulted, a fact made even more impressive when you look at the rather inept playing on early Mayhem releases.  Hellhammer sounds inhuman at times, delivering some of the fastest double-bass drumming I've heard in a while, and Blasphemer's riffing is no less spectacular.  The production is a bit weak, though, especially when the tempo kicks into overdrive.

How will die-hard black metallers react to this album?  It will be interesting to see, though I'm sure many will cry 'sell-out!'  In some ways, Mayhem are a bit behind the times, as bands like Dødheimsgard, Arcturus and even Satyricon have already established the link between electronic music and black metal.  Still, Mayhem are sort of the lynchpin for all modern black metal, so Grand Declaration of War will no doubt be viewed as the most important bridging of styles yet.  Despite going a bit overboard with the variety of vocal styles and effects, I think Mayhem have succeeded in transcending the claustrophobic confines of black metal without completely losing its essence.  It is no Into the Pandemonium, but it is probably as close as we'll see for a while.
[Daniel Hinds]

MDFMK
mdfmk
(Republic)

"Now" is a good stage-setter, as it mixes some heavy riffing with some truly off-the-wall rhythms and both Sascha and Skold's vocals.  "Rabble Rouser" is even more rocking, with a more KMFDM-ish vibe.  The third member of MDFMK makes her welcome appearance here as well.  Ex-Drill singer Lucia Cifarelli adds some distinctive backing vocals and a short spoken bit.  She really gets to shine on "Get Out of My Head," where she takes over the lead vocal spot.  This tune is kind of the anomaly on the album, with a less aggressive, more pop feel to it, akin to recent Garbage in many ways.

The rest of the album follows in similar style as the first two tracks, with the results ranging from good to great.  "Gasoline" mixes d 'n' b rhythms and smooth verses with harsh choruses and slamming riffs, not unlike some of the stuff on Xtort.  Skold really gets to show off his melodic voice here, something that never got utilized enough in KMFDM.  "Torpedoes" has a cool, funky rhythm that harks back to the "Go to Hell" days, while "Be Like Me" shows some very deft manipulation of the band's gear with stunning results.  "Transmutator" has a slight SMG feel to it, mainly due to the funky vocal delivery, while "Control" is another upbeat rager.  The amount of guitar on this album really surprised me and I'm really glad to hear it used so effectively.  "Hyrdo-Electric" features a slower, heavier riff and Lucia returns to center stage.  "Witch Hunt" is a great way to end the proceedings, with its mix of bombastic synths and Nihil-era riffage - classic stuff!

The choice of MDFMK as the band's new moniker is appropriate, as the ties to KMFDM are strong.  Musically and lyrically, there is little here that really varies from what KMFDM was doing, much to my personal satisfaction.  If you took the best tracks from the last two KMFDM albums, put them together and juiced them up with more energy and the sense of fun from older KMFDM records, you'd have MDFMK.  While still not up to the standards set up albums like Angst and Xtort, MDFMK is a strong return to form and will hopefully be successful enough to keep their new label happy enough to keep paying them more than "a couple of bucks."
[Daniel Hinds]

MENTAL HOME
Upon the Shores of Inner Seas
(Century Media)

"Downstairs" is a nice introduction to what Mental Home do, with a great keyboard melody and a fairly heavy riff.  "Late to Revise" is perhaps a bit more experimental, with some interesting chords and a vocal delivery that harks back to Voivod's latter days with Snake (Angel Rat and Outer Limits).  "Eternal Moon" begins with a gorgeous piano and synth piece before the guitars come in for one of the album's catchiest tracks.  "Bliss" is a little moodier and shows off a slightly more progressive side to the band, while "Against My Will" is a strange blend of black metal, church organ music and the (un)usual Mental Home sound.  The vocals here remind me a bit of modern-day Amorphis, which take on a whole new feel in the context of Mental Home's distinctly different musical style.  The album ends with "Amidst the Waves '99," another excellent song that utilizes guitar harmonies and memorable vocal lines to the fullest.

This band has been in existence since 1993 and has undergone surprisingly little in the way of line-up changes.  Upon the Shores of Inner Seas is their third full-length album to date and, if it is any indication, I will need to seek out the first two very soon.  This isn't everyday kind of music, but for the rainy day when you want something that isn't too brutal or too depressing, Mental Home offer a clear, innovative sound that gets better with each spin.
[Daniel Hinds]

NECROPHORUS
Drifting In Motion
(Crowd Control)

Track 1 is called "Lost Land - part 1" and a very gentle blend of what sounds like a babbling brook and synth pads.  "Ice Shifting" starts as more of a soundscape, with dripping water, the occasional footsteps and some kind of jangling metal, but it morphs a couple of times during its journey.  "Frost" evokes the eternal chill of space, while "Partial Melt" harks back to "Ice Shifting" in style.  "Lost Land - part 2" is the most minimal piece, filled with tension like an approaching storm.  The album concludes with the fifteen-minute "Drifting," which acts as a nice summation of everything that precedes it.

Somehow I went into this album expecting it to be a lot more raucous and noisy, but I'm glad it is what it is.  With Drifting In Motion, Peter has created a work that is both vast and peaceful, organic and beautiful.  It is a goal that many ambient albums strive for but few actually attain.
[Daniel Hinds]

OBTAINED ENSLAVEMENT
The Shepherd and the Hounds of Hell
(Napalm)

Okay, still with me?  Survived the superficial stuff?  Good, on to the music.  Obtained Enslavement have really honed their craft, presenting something of a streamlined version of black metal here.  The keyboards are gone, giving the band a somewhat stripped-down and more in-your-face attack.  The results vary, but on tracks like the raging "Ride the Whore" and the doomy title cut, the new approach clearly works.  "Lucifer's Lament" has a slightly more melodic feel to it, with some odd change-ups that are atypical for black or death metal.  "Millennium Beast" has an even more involved arrangement and features a cool solo in its midst. 

The vocals are of the usual grim black metal variety, probably the least original element of OE's sound, but they fit in pretty well.  There are also some more majestic, clean vocals here and there that make for a nice counterpoint.  Produced by Terje Refsnes and the band, the sound on The Shepherd and the Hounds of Hell is clean, loud and plenty heavy.  Performance-wise, nothing really stands out, but the band certainly do a decent job with some reasonably complex material.

I'm a bit torn about rating this album.  I miss some of the atmosphere from Soulblight, lost mainly with the subtraction of keyboards from the band's sound.  At the same time, I feel that this album has a more distinctive style to it than their previous works, making it an important step in the band's evolution.  The band continue their trend of not writing catchy riffs or hummable melodies, yet they still keep you coming back, getting something a little different from each listen.  I can't say I find this album as ultimately captivating as Soulblight, but it is a strong release nonetheless.
[Daniel Hinds]

PITCHSHIFTER
Deviant
(MCA)

Setting the 'sell-out' argument aside for the moment, I've got to admit that Pitchshifter have managed to craft some fairly catchy tunes here.  Tracks like "Condescension" and "Dead Battery" are very straight-forward little numbers that have MTV hit appeal all over them.  The album is remarkably consistent in this regard, too, which also has the downside of getting a bit stale by the end.  Fortunately, there are a couple of diversions, most notably the excellent "As Seen On TV," which features a hysterical (and very pointed) rant by Jello Biafra.  One thing that songs like this (and others like "Hidden Agenda" and "Everything's Fucked") demonstrate is that Pitchshifter have more in common with bands like Rage Against the Machine and The Offspring lyrically than the braindead macho crap like Limp Bizkit and Sugar Ray.

My general disgust with bands like Bizkit and Korn is no secret, so I was a bit dismayed to hear Pitchshifter had moved into the same realm.  These Brits do manage to make it a lot more bearable, though, somehow taking the annoying edge of the style without losing the commercial appeal.  It ain't perfect and I doubt this CD will see much time in my player, but I'll give them credit for at least making a decent, listenable album.  If there is any justice, this will outsell crap like Incubus and give Britain an actual star in the hard rock field again.
[Daniel Hinds]

RAISE HELL
Not Dead Yet
(Nuclear Blast)

"Dance With the Devil" is a nice mid-tempo rocker, with sore-throated vocals that give Mille a run for his money.  "Babes" is a metallized version of The Doors' "Light My Fire" (I guess...)  "Back Attack" raises the tempo finally, but only a bit.  "Devilyn" kicks off with clean guitar and a darkly melodic solo, before delving into a dense, heavy riff.  Even still, the song features a rather catchy chorus and is bound to be the radio favorite from the album.  The title track is twisted piece of speedy thrash that brings to mind old Overkill and Kreator in equal measure.  The remaining tracks are generally of the same quality, though the minute-long "He Is Coming" could have been a minute shorter as far as I'm concerend...

The production on Not Dead Yet adds a lot to the overall impact.  It has a nice full sound, with the drums and guitars sounding particularly good.  The playing itself is nothing special, but then again, this isn't the most challenging material in the world either.  I found the vocals a little tiring after a while, but they generally work pretty well and are a nice break from the endless stream of death growls out there.

I'm glad to see a relatively new band like Raise Hell take some chances and distance themselves from the trends.  The kind of cheesy lyrics and cover art only add to the band's charm, much in the way it did for bands like Hallow's Eve and Sodom way back when.  Many critics will probably just write these guys off, but I found this album to be a lot of fun.
[Daniel Hinds]

SAVATAGE
Ghost In The Ruins
(Nuclear Blast)

"City Beneath the Surface" kicks off in classic Sava tradition, followed by the classic "24 Hours Ago."  It's the third track "Legions," however, where the album really htis its stride and the whole band seems to be on fire.  Three of the band's more mellow offerings are up next, in the shape of "Strange Wings," "Gutter Ballet" and "When the Crowds Are Gone," all delivered to perfection.  "Of Rage and War" is a little less impressive, but the double-shot of "The Dungeons Are Calling" and "Sirens" set things right again.  "Hounds" was never one of my favorite studio tracks, but it seems to warm to the live environment a bit more.

Criss gets the spotlight for a short intro to "Hall of the Mountain King," where he gets to show off his obvious fretboard skills.  In terms of metal guitarists, I've always felt that Criss' abilities were severely underrated and it took his tragic death for people to finally take notice on a large scale.  The last track, "Post Script," is a beautiful little acoustic piece that was taken from a soundcheck for one of their 1990 shows.

The flow of this album is pretty good, considering the tracks are taken from many different shows and tours.  Paul O'Neil and Jon Oliva did a great job of piecing together the material to make Ghost in the Ruins a seamless listening experience.  Jon's vocals are a bit strained on a few of the tracks, but I think that was pretty much par for the course with the Savatage live experience (and perhaps part of the reason Jon decided to fade into the background a bit later on).  The rest of the band are all on-target and on a few occasions, quite electric.

Ghost in the Ruins is a nice tribute to Criss.  It reflects arguably the most creative period in the band's history and showcases Criss doing what he did best - letting fly with the mind-bending leads in a live setting.  While perhaps not an 'essential' live album, it is nevertheless a very good one and a cool souvenir for old fans of the band (like me) who still pull out Power of the Night from time to time to relive the glory days of power metal.
[Daniel Hinds]

SCHIZOID
2000 Promotional Sampler
(self-released)

"Grim Prospects" is one of the more accessible tunes, with a noisy funk backdrop that is like a cross between early Devo and Public Enemy.  "New God" treads far more minimal territory, developing into an almost ambient noise piece by the end.  In case things weren't weird enough already, Schizoid next tackles Floyd's "Waiting For the Worms," substituting distorted beats and sizzling guitar for the more restrained original music.  The result is amusing, but loses its novelty after a couple spins.

The press seems to have branded Schizoid as a 'digital hardcore' band, which is fine I suppose, as I think they actually fit that name better than most of the crap that gets called by that name.  Take the tune "Dead By Dawn" (a Deicide cover?  Hard to say...) - this track is a brutal mix of digital beats, sampled guitar and numerous other just fucked elements.  "Pained" follows suit in a faster, even harsher style, with some screeching vocals that will strip the paint off your walls.  "Confusion" features a slower, more straightforward rhythm and riff (both submerged in distortion, of course), but even here Mr. Smith makes some brief forays into the realm of speed.  The final track is an unlisted 8-minute behemoth that owes more to the long slow grinders from the past couple Ministry albums than anything, though it manages to avoid being quite that boring.

Schizoid doesn't play by any rules and this attitude benefits the music dramatically.  The arrangements are always unpredictable, adhering to no preconceived notion of verse/chorus/verse/chorus symmetry.  The only constant is anger and there is plenty of it to go around.  The production quality is incredibly basic, distractingly so at times, but at other times it actually complements the music, giving it that underground, very punk feel.  The levels could be EQed a little better throughout, though, to give it at least a more consistent volume.  Minor complaints, though, and the music J. Smith creates is violently energetic and very fresh sounding.  Check out the full-length Schizoid album All Things Are Connected, which will be out shortly.  More info: http://www.lunaticfringe.com/~schizoid
[Daniel Hinds]

SINNER
The End of Sanctuary
(Nuclear Blast)

Well, it's been a couple years and Sinner are back for another round.  My initial reaction to this album was a bit lukewarm, as it didn't have the OTT heaviness of the last one.  The style here is more restrained, harking back even more to the 80s metal of bands like Wild Dogs, Maiden, Lizzy Borden, etc.  After a few spins, though, I began to warm to The End of Sanctuary and, in some ways, I think it may actually be better than The Nature of Evil.

"Signed, Sealed & Delivered" is one of the most retro sounding tunes on offer, with a classic metal chorus if there ever was one.  "Blood Relations" is a bit more technical, with some nods to Maiden/Helloween.  The title track is interesting, as it features a pulsing synth-line that puts me in mind of the better tracks on Priest's Turbo (i.e. "Out in the Cold" and "Turbo Lover").  A super-heavy, Primal Fear-esque riff kicks in to start "Pain In Your Neck," a song that owes a great deal to classic Accept (and a bit to AC/DC, too).  "Edge of the Blade" is a somewhat non-descript tune that is saved by a strong chorus, while "The Prophecy" has a strong Thin Lizzy feel throughout.

The first really unusual song comes in the form of "Destiny."  Starting with a series of symphonic strings, the song evolves into a slow, moody piece that almost seems more appropriate for a band like Stratovarius.  It is interesting to hear an epic piece like this in the context of a band like Sinner, though, and I think they pull it off remarkably well.  Things head south from here, though.  "Congress of Deceit" and "Heavy Duty" are rather forgettable, kind of commercial tunes, while "Night of the Wolf" is just plain boring.  "Broken World" reignites the album, with some really driving fast, parts mixed with classic power metal a ripping solo.  "Hand of the Saint" is an excellent closing number, with a very heavy Primal Fear riff and memorable chorus.

All the performances are top-notch, as expected, with Mat sounding more confident than ever behind the mic.  The production may be a bit slicker this time, but it is still plenty heavy and suits the music to a tee.  I'm still not sure I'd call this an 'essential' purchase, but it is a very solid collection of classic metal and, if you're new to Sinner, is a great place to start.

Finally, what would a Sinner review be without some comment on the cover art?  After the hideously awful 'art' that disgraced the cover of The Nature of Evil, Sinner have gone one better this time with one of the goofiest covers I've seen in a while.  Sheesh, even Manowar know better than this!
[Daniel Hinds]

STUCK MOJO
Declaration of a Headhunter
(Century Media)

Right away, the band set the tone for the album by expressing their conservative views on the appropriately-titled "A Lesson in Insensitivity."  The band posing with guns in front of a giant American flag is nauseating enough, but whatever - it's a free country and they can express whatever views they want.  I agree with the band's repeated calls for increased individual responsibility, but they seem to want that in place of any social responsibility instead of in conjunction with it.  To me, that spells disaster and leads to the militia mentality that is plaguing our country already.

The first real song is "Hatebreed," an angsty number that blends nu-metal with hard-hitting rap in fairly convincing fashion.  "Set the Tone" is a little more original and has some actual melody.  A few rather forgettable tracks later comes "Give War a Chance," which opens with a melody that sounds just like "Dream On" by Aerosmith before the hard-hitting riffs come crashing in.  Album closer "Walk the Line" has some nice harmony guitar bits, giving it an edge over many of the others.

The vocals vary between rap, death/hardcore growls and clean singing (which I believe is the work of the band's new bass player).  None of the styles is particularly innovative, but I find the rapping the least offensive and wish they'd incorporate more rap into their sound.  So many bands get this 'rap-metal' tag, yet hardly any of them actually rap!  I guess I could lay part of the blame on the degeneration of rap music itself in the past ten years, but come on people, get a clue.

I'd like to see Stuck Mojo break it big only because it would benefit Century Media, a label that has brought us the likes of Sentenced and The Gathering.  They are also less annoying than Limp Bizkit and their legions of followers, but that isn't saying much.  Declaration of a Headhunter is a well-produced collection of terminally average songs that celebrate America's negative stereotypes.  Pass.
[Daniel Hinds]

U.D.O.
Holy
(Nuclear Blast)

The title track makes for a great opener, with intro that builds into a pure Accept track, much in the spirit of "Up To the Limit" among others.  "Raiders From Beyond" shows a slightly faster, heavier sound that is more in line with what I expect from U.D.O.  The dubiously-titled "Shout It Out" is another winner, with some excellent leadwork.  "Recall the Sin" hints at "Princess of the Dawn" and should make for a great live track.  "Thunder in the Tower" is another distinctively U.D.O. song, with an almost march-like cadence.

Speed is the key on "Back Off," along with a certain Rainbow influence on the pre-chorus and some of the guitar-work.  "Friends Will Be Friends" is a rather forgettable tune, while "State Run Operation" has a strangely commercial feel to it.  Maybe 'commercial' isn't the right word, as it has nothing in common with today's polluted album charts, but the main riff has a rather 'happy' feel to it.  "Danger" is a great mid-tempo metal track that returns to old-school Accept territory.  "Ride the Storm" is similar but suffers from a rather weak chorus.  One of my fave tracks on the album has to be "Cut Me Out," a rather off-the-wall track that features a jazzy piano line at the start and continues the same riff with the guitars throughout.  It's a bit mellower than some of the others, but it is also incredibly catchy and features some of Udo's best vocals on the album.  The jazzy, cabaret feel it has, especially during the solo, further enhances what is already a killer track.

For someone that has been recording and touring for over 25 years, Udo sounds amazingly good.  He may not have quite the power and versatility he did in 1982, but damn close.  The lyrics are pretty naff (as you might guess from the song titles), but Udo does a great job with making the vocals memorable, both his leads and the big choruses.  It's great to see another Accept alumni, Stefan Kaufmann, in the band as well.  He is handling the guitar duties these days instead of drums, but he also lends his skills in the production and mixing department, making for a thoroughly classic sounding heavy metal album. 

What else is there to say?  This is powerful, classic metal in its purest form, delivered by one of the genres most original and enduring figures.  The cover art is a bit cheesy (though not in comparison to the past couple albums!), but don't let that throw you.  These eleven songs are worth the effort and deserve the attention of all true metal fans.
[Daniel Hinds]

VADER
Litany
(Metal Blade)

Never ones to fuck around with lengthy intros, "Wings" launches straight away into full-speed ahead death metal.  The production on Litany is incredible - very heavy, full and warm sounding.  The bass drum has the most solid 'thump!' I've heard since the days of Reign in Blood.  "The One Made of Dreams" follows in fine form, complete with a riff that has a certain "South of Heaven" feel to it.  "Xeper" has a more mid-tempo feel to it and harks back to that transition period between thrash and death metal.  "North" is a stormer - short, fast and brutal.  Slayer rears its ugly head again in the "Criminally Insane" drum break halfway through "A World of Hurt."  "The Final Massacre" is a fitting ending to this whirlwind album, mixing up the tempos in the album's most complex tune (not to mention one of its best).

This isn't to say that every song on Litany is perfect.  For instance, "The Calling" seems to really lack the creative juice and energy of much of the album.  There are a couple others that aren't immediately memorable either, but by and large, Litany is a strong collection of top-quality death metal.

Vader are like the Motorhead of death metal - album after album of quality music without losing their original sound.  Strong riffs and tight musicianship round out an already impressive package.  A must for Vader fans, Litany is also an essential purchase for anyone interested in the state of death metal in 2000 - it doesn't get any better than this.
[Daniel Hinds]

[various artists]
A Fistful of Rock n Roll - vol. 1
(Tee Pee)

Gaza Strippers are one of my faves, with their raw and punky "Missile Command."  Electric Frankenstein (who are the main force behind compiling this disc) deliver the excellent "Speed Girl."  Gritty hard rock with a punk attitude and a ripping solo.  Rock City Riot are a little less memorable but no less energetic, much in the same vein as Electric Frankenstein.  Candy Snatchers up the punk knob a few notches, while B-Movie Rats hark back to classic KISS for their highly energetic (okay, pretty much everything on this disc is 'raw' and 'energetic' so I'll give it a rest...) "Living on the Outside."  RC5 crank out "She Destroyer," a short-but-sweet punky 70s rocker.  Mullens are rather forgettable, while Action Swingers mix an Alice Cooper sneer with some unfortunately dismal production.  Nutrajet are a little more with it, with some surprisingly catchy vocal melodies.  El Diablo take us back to AC/DC's Let There Be Rock days with stellar results, reminding me a bit of a ra--er, a less polished version of New American Shame.  Great stuff!

The last five songs aren't quite as successful, but don't suck either.  Zeke take a noisier, garage approach, with vocals that threaten to morph into shrieks akin to The Accused but never quite do.  Mud City Manglers are more of a fast punk outfit, but suffer from a rather muddy recording (ironically).  Downside Special's "Heart of a Dog" features a classic late 60s hard rock riff, but doesn't build on it as well as it could have.  Pizzle sound like crap and the music itself isn't good enough to overcome this limitation.  Bel Rays are kind enough to end the album on an up note, though, with their blend of 60s R&B and up-tempo Hendrixian rock 'n' roll.

Overall, this is an excellent comp.  Just hearing so many up-and-coming rock bands that actually ROCK is heartwarming and this collection will give you plenty of new bands to check out and spend your money on.  Apparently this one is just the first in a series of releases intended to expose people to the burgeoning "punk rock 'n' roll" scene here in the States and around the world.  Kudos to Tee Pee for releasing this and I look forward to hearing more!  More info:  http://www.teepeerecords.com
[Daniel Hinds]

[various artists]
A Fistful of Rock 'n' Roll - vol. 2
(Tee Pee)

The ubiquitous Supersuckers are up first with a decent stab of heavy indie/grunge rock, while Snake Charmers take a distinctly more punk position.  The tambourines make for a nice touch during the chorus of the latter.  Haunted Head are next with one of the album's most energetic numbers, the upbeat and raw "Screaming At You."  The production is crap but the song's fun-loving energy rises above it all.  La Donnas are fairly blah, while Jakkpot give Haunted Head a run for their money in the speed department.  Silver Tongued Devils are dense and grimy, with dueling lead vocal styles that alternate between gruff and kind of whiny.  Dead Man's Choir need a bigger recording budget, while Fearless Leader are just boring.  Pilsner aren't even that interesting, while Chicken Hawks falter mostly in the recording department.

Things finally get better with Streetwalkin Cheetahs and their blaster "Motor City Rock 'n' Roll."  A little MC5, a little old, old Kiss and plenty of the band's own spark makes this possibly my favorite cut on the album.  Easy Action have a rather thin sound, with vocals that are buried in the mix yet still amazingly irritating.  Iron Boss make up for them, however, with a good retro-rocker that has some endearing lyrics to boot (with a title like "Motherfucker" how can you go wrong?).  Dexateens score with their brilliantly-named "Teenagers Piss Off," but have just a little too garage-y a sound.  Jones Crusher close the album with "Mamasita," an average track at best.

Overall, I was kind of disappointed with vol. 2, especially after how good the first one was.  There are some great tracks, to be sure, but the focus seems a little too intent on the garage/punk side of the spectrum and it wears a bit thin.  Supposedly, future volumes will branch out to bands outside of the USA - can't wait to hear them!  More info:  http://www.teepeerecords.com
[Daniel Hinds]

[various artists]
Identity 6: Behold Another World
(Century Media)

Stuck Mojo deliver the opening salvo with "Hatebreed," one of the better examples of their rather tired nu-metal/rap sound.  Skinlab fair worse, with "Second Skin," a boring mix of Pantera and, I don't know, Alice in Chains?  Whatever.  Moonspell swoops in to save the day with "Lustmord," a track that amply displays the band's gothic tendencies as well as their harsher, metallic side.  Sentenced offer up one of the strongest cuts from their Crimson disc, the emotionally-charged "No More Beating As One."  The over-hyped Shadows Fall are next with their weird (and horribly produced) blend of power, thrash and death metal.  This band has some potential, but they are in serious need of a better vocalist and way better production.  Krisiun are next with the affectionately titled "Soul Devourer," a slab of fast-then-faster death metal brutality that makes up for any lack of originality with sheer intensity.

Dark Tranquility may have made a misstep in some fans' eyes with their progressive Projector album, but if "Doberman" is any indication, it was actually a step in the right direction.  The band's patented melodic Swedish death metal is still intact, but mixed with some cleaner vox, a more complex arrangement and a nice, ethereal mid-section.  Jag Panzer are next with "King at a Price," a track from their new album, but it would be just as comfortable on either of their past two releases.  Classy, melodic power metal with medieval-themed lyrics - no one can touch Jag Panzer in this field.  Samael confirms my suspicions with "Supra Karma" from their Eternal album - taken in small doses, their mix of metallic riffs and electronics is quite listenable.  Trying to sit through a whole album, on the other hand...  Tiamat offer a rather downbeat cut, the rather uninspiring "For Her Pleasure," while Soilwork turn things around completely, with an intense blast of melodic death metal, not unlike older Dark Tranquility but maybe a little more pissed-off sounding.  Winters Bane (that would be 'Ripper' Owens old band before the Priest gig) give us "Heart of a Killer."  The music here is fairly pedestrian metal in the classic style, with Owens' vocals not impressing me any more here than in Priest.  An average song is made into an instant skip thanks to some truly atrocious lyrics.

Mental Home are one of the comps most unusual acts, as they play a brand of progressive metal that is quite unique.  Using keyboards, restrained guitar melodies and clean vocals, the band create a sound on "Eternal Moan" that reminds me a bit of Voivod circa Outer Limits.  Maybe a bit of Anacrusis in there, too, but Mental Home really do wonders with the keyboards and have defined a sound all their own.  Merauder are still around folks, as evidenced by their contribution "Find My Way."  No improvement, sadly, as they still slog their way through some rather dull power-metal-core.  Arch Enemy fix things up immediately with "Pilgrim," and Old Mans' Child keep the high going with the blackened "Obscure Divine Manifestation."  Angel Dust even go them one better, with their ever-so-catchy brand of power metal (they should tour with Jag Panzer).  Eyehategod close off the album in a noisy, sludgy bog of doom-core by the name of "Story of the Eye."

Like I said, this is (like most label samplers) a hit and miss affair.  I think it is generally safe to say that the songs are good representations of each band.  For $5, it's hard to go wrong and if this disc turns you on to even one or two new bands, it's probably worth it.
[Daniel Hinds]

[various artists]
Tribute To Kreator
(Full Moon Productions)

Black Witchery open with a rousing version of "Tormentor" - very raw and faithful.  Krisiun's "Total Death" sounds like it was recorded in the 80s, from the rather clunky production to the questionable drumming.  Centinex offer a slightly more modern feel on "Ripping Corpse," but it sounds like it was recorded off of an AM radio - very tinny.  The playing here is very tight, however, and the band do a good job of putting their own stamp on it.  Goddess of Desire surprise me with a pretty decent version of "Under the Guillotine" (I guess they can play, they just can't write their own songs...)

The first really updated track on the comp is Angel Corpse's "Pleasure To Kill."  They take the original and give it a serious injection of death metal.  Pazuzu (I'm guessing the American one?) deliver a raw "Living In Fear," with the drums almost disappearing in the tinny mix (see Centinex).  Mystifier mix things up a bit, with vocal styles ranging from clean to gruff to outright raw, on "Storm of the Beast."  Hemlock offer a very live-sounding version of "Awakening of the Gods," one of my fave Kreator tunes from that era.  The vocals on this one are screechy (even compared to Kreator), but the music is pretty close to the original.  Acheron close the proceedings with one of the album's best-produced tracks, an utterly frenetic version of the venerable "Flag of Hate."

I was quite surprised by how authentic these versions sound.  From the playing to the production to the arrangements, almost all of the bands here stayed very close to Kreator's original brand of raw, speedy thrash metal.  As you probably have noticed, all the bands also chose tracks from the early albums only.  Granted, these were the records that really inspired most people, but I'd like to have seen a couple of newer cuts thrown in, too.  My only other complaint is the brevity of the album - 9 songs, 38 minutes.  A band like Kreator deserves a 4-CD boxset for a tribute, dammit!  Both of these gripes are with what isn't here, though, and what is present on this CD is very enjoyable and should please both fans of Kreator and the individual bands here.  Maybe we could have a 'vol. 2' in a year or two...?
[Daniel Hinds]

VEHEMENT
Unbalanced For Mankind
(Cellar)

"Immaculate Entrapment" is a nice, no-nonsense thrasher with rough vocals that threaten to sink into death metal territory but never do.  This is one of the best tracks, with some really interesting change-ups and lots of energy.  "Allergicide" follows in similar form, with perhaps a slightly more modern feel.  "Inhale the Mist" is the first kind of disappointing track, as it never really gets going and drags on way longer than any of the others.  "Forever Lost" gets things back on track and "Creation" is a cool little acoustic instrumental that comes as a pleasant surprise immediately afterward.  "Overtrolled" is another fairly involved piece that has a faint Frost atmosphere on some of the vocals, while "Procrehatred" kicks off in full-speed Slayer mode and remains pretty relentless throughout.

Like I said earlier, Vehement aren't going to win any originality contests, but at least they make up for it with conviction and some strong songs.  This is underground thrash metal, pure and simple - brutal but not unforgiving, complex and nary a melody to be found (okay, maybe one or two!).  As the band develops their own sound a bit more, I can easily see them making waves on a worldwide basis.  Unbalanced For Mankind is a very promising start indeed.  More info: http://www.vehement.net
[Daniel Hinds]