27
Songs From the Edge of the Wing
(Release)

"Easy Trigger" thumps and rolls along, not really going anywhere and not in a hurry to not get there.  "Bird of Paradise" fairs better, following a similar path, but with a more mellow atmosphere to work within.  "The Lone Mariachi" takes a left-turn, with a rather Mediterranean vibe and some spoken male vocals relating the song's story.  "Warm Hands, Cold Heart" brings the jazz influences to the forefront and is one of my favorite cuts here.  Sadly, the band follow it with several more meandering, less captivating numbers.

Eclectic is an often overused term for music, but it really does fit 27.  Little bits of many different genres collide with mixed results.  When it all works, it is a thing of beauty and I do look forward to seeing where they go from here.  Hmm…  just noticed that the album is 27 minutes long… coincidence or…?
[Daniel Hinds]

AKERCOCKE
The Goat of Mendes
(Peaceville)

The songs are generally pretty brutal, with no keyboards or frilly melodies.  Still, there is a certain amount of restraint and precision to some of the riffs and leads.  The guitars have that rather grim rumble that early 90s Napalm Death sported, while the vocals careen from blood-curdling screeches to sub-Barnes grunts.  There are even some clean vox now and again, just to surprise and shock those that have stuck around and accepted the band's more extreme nature.

The video contained on this disc is similar hit-and-miss reflection of the band's musical stance.  The close-up color shots of the band are bad and the strobe scenes just plain silly, but the black and white footage is fairly creative and well shot (even if the main theme of the vid seems to be the band getting in and out of a BMW).  Oh, and of course there is quite a bit of close-up footage of an attractive, naked woman, so that has to score some points, too.

Perhaps it is merely the concept of a talented, thoroughly intense black metal band hailing from England that has set the press alight.  Whatever the case, Akercocke aren't the most original or greatest band you'll ever hear, but they have the talent and energy to make some enjoyable noise.  Their next album will be the real test to see if they are here to stay or not, but Goat of Mendes is a respectable start.
[Daniel Hinds]

ALTAR
Red Harvest
(Crush)

Lyrically, you gotta love these guys too.  Attacks on religion (Christianity in particular), multinational corporations and stupidity and weakness in general fuel the fire.  The music rocks in a nice mixture of mid-tempo thrash, fast but not insane death metal and classic metal.  A bit like Deceased in that respect, but I think maybe a little more mature in a strange way.

I found myself enjoying this album more than I thought I would, that's always a plus.  It's not groundbreaking in the least little bit, but it is well produced, well played and pretty well written, too.  Altar blasphemes, threatens and just plain rocks with the best of 'em!  I'd love to see the guys in Altar beat the members of Blink 182 to death with their own instruments.  No idea why that came to mind, it's just something that I would really love to watch and I'm sure Altar would be happy to oblige.
[Daniel Hinds]

ANATA
Dreams of Death and Dismay
(Relapse)

"Die Laughing" blasts forth with no warning and you know right away what you're in for for the next 45 minutes.  The vocals are gruff, but remain listenable and work with the music quite well.  The band mix up the tempos quite a bit, as "God of Death" takes a slower approach (at least parts of it…).  A hint of thrash makes its way into songs like "Insurrection," though by and large this is fairly straight-up death metal record.  Some classic Frost riffage rears its head in the last cut, the 8-minute "The Temple / Erratic."  Verra nice!

The band is quite impressive overall, especially the lead guitarist who tears it up with some of the most effortless sounding and pleasing solos I've heard on a death metal album in a while.  The production is crisp, punchy and a perfect match for the band's sound.  All in all, this is how I wish more death metal acts sounded and it should appeal to the fans across the board, melodic to ultra-brutal.
[Daniel Hinds]

ARCHAEAN HARMONY
Nihility Mundane Soul
(Independent Records)

Opening track “Nihility Mundane Soul, Eschatology Bereft…l' Apostasy” clocks in at over nine minutes and makes more twists and turns than the entire Darkthrone oeuvre.  From keyboard-rich atmospherics to deadly Coroner-esque riffing to clean, reflective piano passages, the rest of the album follows suit in similar style.  Darkmortem’s vocals are of the severely raw and grim school and complement the music rather well, keeping out of the way of the more intricate musical moments and then charging forth full speed when needed.

As with a lot of independent bands, the production suffers a bit, but it is still quite listenable.  Also, the band relies on programmed drums, which work most of the time but once in a while fall short of matching the impact that the rest of the music is trying to make.

Overall, I was quite impressed by Archaean Harmony, a band I’d never heard of (from a country that isn’t exactly Black Metal Central).  With black metal branching out the way it has been in the last couple years, it is no surprise to see someone give it a progressive touch and this trio really nailed it with this album.
[Daniel Hinds]

ASTROQUEEN
Into Submission
(Pavement)

The most prominent feature of Astroqueen's sound is the demonic bass, which roars somewhere between the earth-shaking rumble of Kyuss and the dirty rattle of Nebula.  The painfully fuzzy guitar is right behind it, with the powerhouse drumming moving everything along.  This is no doom band, make no mistake.  The songs tend to rocket right along, though there are of course exceptions.  "Brain Phase Voyage," for example, takes a more plodding, acid-rock direction and "Go to Sleep (I'm Gone)" truly lives up to the name 'stoner rock.'

The High Crusade-esque album art makes for the perfect companion to the grooves contained within.  Astroqueen play infectious, fun music that makes you long for the 70s in no uncertain terms.
[Daniel Hinds]

AVANTASIA
The Metal Opera
(Century Media)

Whether or not Avantasia is a success is kind of how you look at it.  On the one hand, it is a slickly produced slab of classically influenced power metal, very much in the vein of Edguy, Rhapsody, Stratovarius, etc.  In this respect, it should most definitely please the fans of all the bands involved.  On the other hand, none of the tracks really stand out as being extremely memorable or impressive.  Good but not great.

The story is apparently very involved, a fantasy tale involving many different characters and themes, and it is cool that Tobias got different vocalists to handle each facet of the story.  Musically, my favorite cuts are the faster ones, such as "Reach Out For the Light," "Serpents in Paradise" and "The Glory of Rome."  The classical interludes here and there are done well enough, but kind of interrupt the flow of the album a bit more than they should.  The epic "Sign of the Cross" near the end is a definite winner, with Kai Hansen's distinctive voice coming through loud and clear.

Overall, this is a pretty fine album and I'm sure it will grow on me more with repeated listenings.  It is the double-edge sword of a 'supergroup' project such as this that lead expectations to be much too high and, thus, disappointing the listener on the first couple of spins.  It is already on the verge of surpassing the enjoyment level I had on the last Edguy album, so that is a good sign.
[Daniel Hinds]

BAD WIZARD
Free and Easy
(Tee Pee)

Bad Wizard are originally from Athens, Georgia, but made the pilgrimage to New York, land of all things raw and dirty, to let their sound loose.  Acid-tongued vocals dance amidst Marshall-cranking numbers like "Barefootin' Man" and "Endless Lady" for that perfect mix of adrenaline and more adrenaline.  "Natural High" has more of a mid-tempo chug, ala New American Shame or The Donnas even.  "Tiger Tooth" and "Free and Easy" take the more frenetic, hell-bent for leather, live fast, die young, spit in your face and beat out another verse before you even notice route.

As a young band just setting out, it isn't surprising that the production is a bit on the minimal side.  It isn't bad, don't get me wrong, but I can just imagine that Free and Easy would be utterly lethal if it had the same level of engineering that a record like Powertrip or King of the Road did.  All the more reason to buy this now so they can afford a bigger studio budget next time.  What else can I say?  Kick out the jams, motherfuckers!
[Daniel Hinds]

BEAUTIFUL CREATURES
Beautiful Creatures
(Warner Bros.)

First song "1 a.m." has all the grit and venom of the best L.A. sleaze rock, plus one hell of a riff.  Joe's vocals are as impassioned as ever, forming the perfect counterpart to the band's edgy sound.  "Wasted" has a bit more of the funky swagger that Bang Tango was known for, while "Step Back" is just balls-to-the-wall rockin'.  "Ride" is a more laid-back rocker/ballad hybrid, while "Wish" harks back to Let There Be Rock AC/DC.

The band break out the acoustic guitar for "Kick Out," which threatens to be just a little too nice, but it eventually builds to a powerhouse chorus.  "Kickin For Days" is reminiscent of Guns N' Roses at their best, while "Time and Time Again" is a full-on ballad that doesn't quite hold its own compared to the rest of the material on the album.  Guitarist Dj Ashba provides some tasty blues-drenched leads throughout the album, with the solo spot on "Goin Off" being one of my favorites.  The album ends with another great slab of AC/DC inspired mayhem called "I Got It All," where Joe really lets loose.

Will Beautiful Creatures stand a chance in this day and age?  It is hard to say, but if people like Buckcherry and The Living End can make inroads, BC certainly have a chance.  They've got he talent and there are plenty of great songs here to help them make their case, so hopefully the general public will wise up and trade in their Incubus and Staind CDs for a copy of Beautiful Creatures.
[Daniel Hinds]

BELFEGOR
The Kingdom of Glacial Palaces
(WWIII)

As the title track sets the tone, the guitars come through just a little too reedy and the snare drum is more of a ‘bonk’ than a proper ‘whack!’ but maybe that’s just me being nitpicky.  On the plus side, the band does mix up their arrangements a bit, shifting gears now and again to keep things moving.  The album never stops and each song starts off almost identically, in full blast mode.  “Somewhere Beyond This Reality” takes a slightly less vicious attack and features probably my favorite riff of the lot, a slightly more melodic one.

This album is difficult for me to review, because it isn’t terrible but neither is it outstanding in any fashion.  The band can play, they write some somewhat interesting riffs and they certainly maintain an underground level of proper brutality, but it just all sounds too familiar.  Given a bigger budget and some more inspired songwriting sessions, I’m sure Belfegor would impress in a major way, but for me, this just didn’t do much.  I will admit they have THE most unreadable band logo I’ve seen in ages.  Even knowing the band’s name, I can’t make out half the letters.  Bravo!
[Daniel Hinds]

BLUE ÖYSTER CULT
Curse of the Hidden Mirror
(CMC)

"Dance on Stilts," is most definitely a Buck Dharma track, more in the lighter vein of "Burning For You" than some of the moodier stuff like "Harvest Moon."  Personally, I like this track, but it makes for a rather muted opening to the album and should have been saved for later in the track listing.  "Showtime" is an interesting blend of rock and reggae rhythms, tainted only a bit by some rather awkward lyrics in the vein of "Power Underneath Despair" from Harvest Moon.  Strangely, this is one of the few lyrics here not penned by Jon Shirley, whose words always seem to get in the way of themselves.  "The Old Gods Return" is the first truly classic-sounding BÖC track and could easily have been on Fire of Unknown Origin or Cultosaurus Erectus, with its heavier riffs and Lovecraftian theme.

Buck strikes again with "Pocket," a much more upbeat and catchy number that should have been the opening track.  "One Step Ahead of the Devil" invokes early Zep in its hard rocking style.  No BÖC album would be complete without at least one misstep (witness "Going Through the Motions," "Del Rio's Song," "Fallen Angel," etc.) and here we get the rather trivial "I Just Like to Be Bad."  Some nice piano, but the lyrics are too silly and the chorus is pretty dreadful.  "Here Comes That Feeling" is a somewhat non-descript Buck song, while "Stone of Love" is much more in line with his best work.  "Eye of the Hurricane," the album's heaviest track, is already a classic, as it went down a storm (sic) on the band's last tour.  "Good to Feel Hungry" is nifty little jazzy tune that comes as close the feel of the first three albums as anything they have done since then.  The organ solo on this one is particularly pleasing, further adding to that early 70s vibe.

While the material on Curse… might not be as impressive to my ears as Heaven Forbid, the band sounds considerably more comfortable this time around.  Also, Eric Bloom's vocals are in much better form, sounding as good as he ever did in the 70s.  All BÖC albums take a while to properly grow on me, with the likes of Club Ninja and Mirrors taking many more spins than the rest.  I am sure that eventually I will come to cherish Curse of the Hidden Mirror as dearly as any of the band's other releases.  Until then, it is still a must-have for all fans and definitely something to check into for any rock and metal fan that hasn't succumbed to the powers of the Cult yet…
[Daniel Hinds]

CALES
The Pass in Time
(Redblack)

"Wandering Phantom" lays the groundwork, with its waltz rhythm and clean vocals, reminding me a bit of a (much) heavier Jethro Tull at times.  "Along Paths of Return" takes a slower, heavier turn ala Sear Bliss, though again the vocals are kept clear, taking on an almost gothic tone at times.  The progressive influence resurfaces on the free-spirited "From the Bosom," though the eleven-minute "Sacrifice to Fire" is clearly the centerpiece of the album.  The song ebbs and flow, from acoustic to heavy guitar, through different sounds of nature, in a very elaborate and deliberate manner.  "Burn My Blood" is a little less interesting, but "The Last Winter Dance" kicks the tempo up a notch or two.

Clocking in at over an hour, The Pass in Time is definitely value for money, particularly since it remains consistently good throughout.  Those who enjoy the mystical brand of folk and Viking metal employed by the likes of Bathory and Otyg simply must give Cales a listen.  More info at:  http://www.redblack.cz
[Daniel Hinds]

CHAOS AS SHELTER
Midnight Prayer - Illusion [2CD]
(Crowd Control Activities)

Chaos as Shelter is true ambient music.  No beats, no melodies, often nothing even musical sounding going on.  Some tracks are expansive and sedate, others brooding and noisy.  All are quite drawn out, allowing the various sonic elements a chance to breathe and intermingle as they wash over the listener.  Broken into two discs - 'Midnight Prayer' and 'Illusion' - the album works best as dark of night meditative piece.  Both discs have a great deal of variety, though Illusion seems to have a more spacious, serene overall feel to it.

When producing an album as lengthy and involved as this one, it is very important to create a sense of atmosphere that is consistent throughout.  Utilizing high-quality sounds and manipulating them in just the right way, Chaos as Shelter have created one of the most pleasing and complete ambient releases I've ever heard.
[Daniel Hinds]

CYBELE
Interactive Playground
(Voices of Wonder)

One of the most important changes is the loss of drummer Monica Ruud.  Not only has the band lost the quirky jazz rhythms that Monica employed, but they have given up on the human beat altogether in favor of electronic percussion.  This move actually suits the new Cybele material just right, with the move toward a more futuristic sound and image.  "Unison" builds up in a dark, dreamy fashion, utilizing some really subtle synth and guitar atmospheres that really set the mood for the album.  "Living Satellites" sounds like a great single to me with a driving, acoustic guitar riff and catchy chorus.  Vocalist Hilde Wahl still doesn't have the most mellifluous voice in the world, but she does a good job and adds a certain wistful touch to the overall feel of the music.  "Dreams" is a fine example, as it is a pretty but kind of sad-sounding ballad.  "Nevereverland" (which is apparently taken from an animated piece of the same name) is in a similar vein, relying almost entirely on acoustic guitar and soft vocals to carry it.  In case you think the band might turn into a folk band, they display some rather fine programming skills on the more keyboard driven "No Signature."

I like how Cybele has incorporated electronic rhythms and more modern-sounding synth lines without falling into sounding like just another trip-hop or alternative band.  They have retained the essence of what has made them unique all along and refined it a bit in the process.  It may still be a bit too left-field for most people, but it makes for a nice diversion now and again and it is somehow comforting knowing there are acts like Cybele out there, walking their own path regardless of trends and expectations.
[Daniel Hinds]

DECEASED
Behind the Mourner's Veil
(Relapse)

The horror theme is established right away with "It's Alive!," a nice speedy romp, and is continued on the more menacing "The Mausoleum."  Underrated German thrash merchants Tankard get their due as the band tear into the simple but effective "Zombie Attack."  Showing the band has some punk roots as well, Deceased next tackle D.R.I.'s "Reaganomics" and Warfare's "New Age of Total Warfare," both very much in the vein of the originals.  The vocals on the latter are frighteningly similar to Evo's at times.  Anthrax are the last in line, with "Deathrider" getting a nice update.  It is so cool to hear this song with decent vocals for once…

The album closes with the ten-minute epic "Victims of the Masterplan," a true-life horror story based on the murder of 3 boys in Arkansas.  The song has all the usual twists and turns you'd expect, yet comes off as even more complete and intense than usual for Deceased.  There is an element of primal aggression here reminiscent of Testament at their finest in the Legacy days.  It makes for the perfect ending to an already quite enjoyable album.  While albums of this type are usually not the best choices for folks new to a band, this may be an exception.  Behind the Mourner's Veil serves as a good introduction to Deceased, giving a sense of their influences as well as what they are capable of on their own.
[Daniel Hinds]

DEMON
Night of the Demon [remastered]
(Record Heaven)

This is the band's debut, from way back in 1981, and it is by far the most stripped-down and hard-rocking record Demon ever did.  After a suitably demonic intro, "Night of the Demon" kicks in and you know you are in for some serious headbanging.  "Into the Nightmare" is an even more classic number, featuring a great bridge and a cooler than cool main riff.  "Father of Time" displays a hint of the progressive direction the band would take later on, with a bit of a Pink Floyd flavor to the guitar playing.

"Decisions" is the first non-essential track, taking a lighter hard rock approach and just never quite gelling with the rest of the album.  "Liar" and the Nazareth-like bluesiness of "Big Love" set things back on course.  "Ride the Wind" and "Fool to Play the Hard Way" impress less, though the latter has a strange almost Bob Seger quality to it.  "One Helluva Night," originally the last song on the album, is a super-charged rocker that caps the album perfectly.

As a bonus, four extra tracks are added to this release.  "Wild Woman" is more in the vein of 70s boogie rock, though with Demon's harder edge stamped all over it.  "On the Road Again" is a straight-up rock 'n' roll number - not bad, but nothing special either.  The original version of "Liar" appears next, with little different from the album version except maybe a more pronounced bass line and less flamboyant guitar playing.  Finally, a remix of "Night of the Demon" closes out the disc, featuring a beefier drum sound but not much else.

Dave Hill's vocals have always been the defining element that drives Demon.  Like many great British vocalists before him, he balances powerful melody with a throaty edge, pouring tons of emotion into everything he sings.  Guitarist Mal Spooner (RIP) was the other key ingredient that made classic Demon work so well, as he dreamed up some amazingly catchy and memorable riffs.

For my money, all serious metal fans need to possess the first four Demon albums and Night of the Demon is a good place to start.  The recording is basic, but still sounds surprisingly full after all these years (thanks in large part to the kick-ass remastering job, no doubt).  As with all of these remasters, the packaging is all a fan could hope for - all the original artwork, plus lyrics and a band photo from the time.  All in all, a stellar release and a must-have for fans of the band and 80s metal in general. http://www.the-demon.com/
[Daniel Hinds]

DEMON
The Unexpected Guest [remastered]
(Record Heaven)

"An Observation" is a far more subtle (and creepy) intro than "Full Moon" from the debut and it leads right into the keyboard swell that heralds "Don't Break the Circle."  Cult and psychological themes run throughout The Unexpected Guest, as the band's lyric writing continued to mature.  "Under the Spell" continues the metallic sabbat, while "Total Possession" suffers only slightly from a weak chorus.  "Sign of the Madman" should have been the single, sporting a truly infectious riff, while "Victim of Fortune" has traces of UFO's heavier moments.  "Have We Been Here Before?" is the actual single from the album, which is too bad, as it is far too happy and insubstantial to properly represent the band or this album.  "Strange Institution" is a slower, more brooding track.  I remember not caring much for this one at the time, but hearing it again now, it is actually a great song - very emotional, with some of Dave Hill's best singing.  "The Grand Illusion," "Beyond the Gates" and "Deliver Us From Evil" are three of the band's heaviest and best numbers, with that great raw guitar sound that made the early Demon records so damn cool.

The bonus tracks on this one aren't that exciting, unfortunately.  The 'remix' of "Don't Break the Circle" sounds almost identical to the original, and the 'outtake' mixes of "Have We Been Here Before?," "Victim of Fortune" and "Strange Institution" are given a little more of a 70s vibe with added organ/keyboards.

The development of the band is clear on this album, with keyboards becoming more pronounced and Les Hunt's lead playing is simply stunning.  The songwriting is more confident and thought-out this time around, too, and the production is clearly a step up.  The Unexpected Guest is the first Demon album I ever heard, so it will always have a special place in my heart.  While it isn't as consistent as The Plague or British Standard Approved, the standout tracks are among my favorite from any band in this era.  http://www.recordheaven.net/
[Daniel Hinds]

DEMON
The Plague [remastered]
(Record Heaven)

As the sparkling keyboards fade in, it is obvious right away that the band has matured immensely.  Guitars still play a vital role on The Plague, particularly the rich solos, but keyboards have become the prominent instrument.  More to the point, beautiful piano lines rule tracks like "The Plague" and the album's pièce de résistance, "Fever in the City."  The latter slowly builds up in such precise manner, it is a thing of beauty.  The slowly rolling riffs of "Nowhere to Run" make it one of my favorites as well, while "Blackheath" has a gallop not dissimilar to Floyd's "Run Like Hell."  The pronounced Britishness of the album really comes out on the song "Writings on the Wall," both in terms of the lyrics and musical quirkiness.  "The Only Sane Man" is a bit of a left turn, taking a far more mellow and eccentric direction, but "A Step Too Far" rekindles the heavier edge, albeit with a rather Yes-ish chorus and main melody.

The conceptual element of The Plague has always been a source of much contemplation, as it is open to various interpretations.  The lyrical development from the earlier albums to this one is phenomenal and it only went up on the next release, British Standard Approved (which will hopefully get the remaster treatment here very soon).  From all points - production, writing, playing, presentation - The Plague is a true classic.  http://www.recordheaven.net/
[Daniel Hinds]

DEMON
Spaced Out Monkey
(Record Heaven)

The album opens with a distinctly heavy riff, as "Never Saw it Coming" lumbers in.  The song highlights the best side of modern Demon, with some tasteful keyboard bits and a highly memorable chorus.  "Sound of the Underground" features some cool piano work and a 'woo-hoo-oo' chorus that reminds me of KISS in some twisted way.  There is also a funky breakdown in the middle that is a bit out of place, but hey, at least the band are still experimenting and pushing their sound.

From here, several somewhat forgettable tracks are presented, but things pick up again with "Dreamtime," an odd but very cool mixture of prog-rock melodies and heavy metal riffs.  The title track is another foray into funkier territory that works a little better, but still doesn't seem right for Demon.  "Where You're Coming From?" has more of the vibe from the late-80s Demon records, which is a good thing in this case.  The highly spiritual and cosmic lyrical bent comes to a head on the album's closing cut, the rather somber "Let Me Out of Here."

When a band has been around as long as Demon and undergone as many changes as they have, they can either resign themselves to re-writing their early hits as best they can or they can continue to develop in new directions, heedless of how their hardcore fans will receive it.  Demon has chosen the latter course, with mixed results (that's coming from a hardcore fan, of course).  There are some good tunes here and Dave's voice is as strong and versatile as ever, but there are also a number of middle-of-the-road songs and awkward experiments.  Still, I'm glad to see Demon back on the metal map and I look forward to seeing them further develop their sound in the future.  http://www.recordheaven.net/
[Daniel Hinds]

DESTINY’S END
Transition
(Metal Blade)

The title track opens up the album in a nice heavy way, while “A Passing Phase” has a slightly catchier appeal to it.  “The Suffering” showcases a slightly more progressive side of the band, with a very convoluted arrangement.  “Storm Clouds” is one of the album’s finest, with a vaguely Maiden feel to it, while “First You Dream, Then You Die” shows that the band can crank up the speed when they want, too.

It’s funny because I think of all the bands that have defined power metal over the years – Savatage, Metal Church, Iced Earth – and Destiny’s End really don’t sound like any of them.  They may utilized many of the same elements, but they produce a sound that is all their own, a very classy one at that.  If you want music with integrity, music that has no time for trends or blatant nostalgia, Transition is your album.
[Daniel Hinds]

DESTRUCTION
The Antichrist
(Nuclear Blast)

"Days of Confusion" is a spoken/musical intro that reminds me of the opening to Metal Church's classic "Beyond the Black."  It leads nicely into "Thrash Till Death," a rousing statement of intent if there ever was one.  "Nailed to the Cross" is pure blasphemy with a great shout-along chorus, while "Dictators of Cruelty" has a more driving rhythm ala some of Sodom's finer moments.  "Bullets From Hell" takes a more mid-tempo direction at the start, but it goes several temp shifts before it ends.  This kind of complexity (along with the wicked, jagged riffs they came up with) is what made me like Destruction in the first place.  "Creations of the Underworld" is a speedy one, with some kick-ass drumming and almost painfully angular riffs.  "Godfather of Slander" is the closes they come to a by-the-number effort, with some ill-chosen fx on the verse vocals.  Fortunately, the crunchy "Let Your Mind Rot" and the Motorhead rumble of "The Heretic" set things back on track to close out the album.

Schmier's vocals this time out are perfect - raw and unforgiving, but never overpowering the music.  Mike's guitar playing is nothing to sneeze at either, as he effortlessly unleashes some vicious and rather involved riffs (not to mention some killer leads).  With the playing at 100% and the production and song-writing right behind, I will make the bold statement that is quite probably the best Destruction album yet. 

Destruction has really achieved that elusive goal of playing classic thrash metal without it sounding dated.  While other bands from the eighties have tried to stay current, Destruction seems to be happy sticking to their formula of ripping thrash, German style.  Thankfully, they play it better than ever and The Antichrist should make believers out of those that still doubt the sincerity of this reunion.
[Daniel Hinds]

ENSLAVEMENT OF BEAUTY
Megalomania
(Head Not Found/VOW)

The first song that really struck my fancy was "Malignant Midwinter Murders," where the band take on a slightly more speed metal, Nightwish sort of approach.  "Benign Bohemian Brilliance" features some stellar lead work (as do many of the tracks, actually).  "Tangled in Grand Affection" has a nice medieval folk flavor to it, something the band should investigate further in the future.

By and large, however, this album did not impress.  In most songs, the guitars and synths clashed more than they melded, with the latter sounding overly simplistic and awkward.  The vocals also let me down, as the growly style adopted sounds a bit too forced (and thus comical) to bring the proper mood to the music.  The offbeat arrangements and classical influences may attract some fans, with songs like "Late Night, Red Wine Blight" having a certain Devil Doll appeal to them, but it just didn't work for me personally.

It isn't a total loss, though.  The band has a penchant for coming up with very creative song titles and the album art is more than a little disturbing.  This coupled with a couple good songs doesn't make for a must-have album, but those into the goth metal genre may find something to appreciate here.
[Daniel Hinds]

ENTHRONED
Armoured Bestial Hell
(Blackend)

First off, the sad attempt at following the 'war metal' trend is probably my biggest problems with this album.  Panzer Division Enthroned?  I don't think so.  My other big complaint is the rather mushy production.  The drums sound more soggy than they do brutal, which is a shame because with the right sound, some of the material here could really have come to life.  Songs like the fierce "Wrapped in Fire," the title track and the menacing "When Hell Freezes Over" show what the band is capable of.  I also appreciate the more thrash-oriented riffs that surface on tracks like "Enslavement Revealed."  The mixture of retro thrash and modern black metal (well, 'modern' meaning late 90s I guess) is always cool.

So, Enthroned has made progress, no doubt about that.  And they have certainly retained their underground credibility - no experimental electronics here, no jazz interludes, no wailing females.  But they still haven't pulled all the elements together into one perfect album just yet.  I will keep listening though and hopefully it will happen next time out.
[Daniel Hinds]

FINNTROLL
Jaktens Tid
(Spikefarm/Century Media)

The album opens with an epic intro, leading straight into "Fodosagan."  Katla's vocals are as grim and harsh as a Finnish ice storm, while the guitar work of Skrymer and Somnium captures that fierce edge that classic Frost had.  Lightening the mood somewhat are the bouncy, folky keys of Trollhorn.  This is where the band could have taken a serious wrong turn, but the keyboard melodies work in complete harmony with the more aggressive elements to create a sound that Finntroll can legitimately claim as all their own.

The album continues in fine style, varying the tempo from a slow march to an all-out attack.  "Krigsmjod" takes a more direct metal approach, but the band then turns around and lets loose the chant-driven "VargTimmen" to reaffirm their folk roots.  "Aldhissla" and the outro close the album out in epic style once again.

Fans of Viking metal and other more folk-oriented sub-genres of black metal should fall immediately in love with Finntroll.  The production is strong, the playing is sweet and the songs are very well-crafted throughout.  Score yet another success for Finland!
[Daniel Hinds]

FOG
Through the Eyes of Night
(WWIII)

There are but 7 tracks in all (including a short intro), but each song is pretty lengthy.  Distinguishing the songs from each other becomes more difficult as he album rolls on.  Fog seems content to follow the Darkthrone school of atmosphere over complexity, brutality over technicality.  For what they are aiming for, they do manage to pull it off quite well, but I wish the production was maybe a bit fuller and the songs a bit more involved at times.  At least they do mix things up a little with some cool acoustic bits and some slight keyboard work.  “The Sorrow of a Crimson Sea” is probably my favorite cut, as it captures the band’s utterly grim style at its best and is utterly relentless in its execution.

To my ears, Fog are not the be all and end all of modern black metal, but neither are they just another throwaway rehash.  They’ve got the playing, energy and attitude down and I would just like to see them develop some more complex tunes next time out.
[Daniel Hinds]

GENE LOVES JEZEBEL
Giving Up the Ghost
(Triple X)

The title is an odd-choice. This seems an attempt to capture the old sound more than the first CD Michael put out just a couple of years ago. The highlight for me, is the opening track (title track), a little long, but very much in the vein of classic deathrock tunes from the 80s. The rest feels a bit sloppy...maybe a live CD wouldn't be a better idea. I guess GLJ should be given some credit for some how managing to make a CD sound both sloppy and contrived. Maybe this CD is better on drugs...that's the only thing I can imagine, it feels like a drug album. Once again, it feels like he is trying too hard. 

There is some decent guitar playing here in the album and Michael's voice is still strong. His delivery of certain lyrics is still there; he was never a great singer, but has always been a good vocalist. His delivery sounding almost as if he were reading poetry...it actually really adds something to his lyrics...at times though, it feels like it would almost work better without the music. I have no idea what the future holds in store for Michael...I heard he might be touring with his twin again...I would almost like to see what the two of them could do together again...as for now though, I hope this might be the last of these CDs trying to capture the old GLJ sound...I guess I'm hoping Michael really does give up the ghost...I won't go so far as to say I hope he just gives up...not yet.
[Victor Mejia]

GUN BARREL
Power-Dive
(LMP/SPV)

Gun Barrel do a good job of mixing up the tempo from the song to song, from the frenetic "Only a Passenger" to the mid-tempo "We Will Carry On" to the almost-ballad "Gone With the Wind."  Probably the best moment is "For All Like You," which features some of the best riffs and most involved arrangement on the album.

I miss classic rock/metal in this vein and I just wish Gun Barrel were better at playing it.  Perhaps with time they will come into their own and really deliver what they are capable of, because there is much hinted at here beyond what is actually present.  If a mix of the first two Accept albums and Dirty Deeds sounds like heaven to you, you might just dig Power-Dive.
[Daniel Hinds]

HOLOCHAUST
Valley of Misery (MCD)
(self-released)

"Beyond the Violence" is a decent opening track, with a good mix of heavy riffs, gruff but melodic vocals and some strikingly nimble bass work.  "Valley of Misery" is more of an epic ballad, dropping hints of Metallica and Sentenced.  This song has a nice, methodical arrangement and highly charged solo.  "I Wanna Lie" is completes this twelve-minute demo, in a flurry of driving, powerful metal riffs and deep, clean vocals.

I was going to bitch about the poorly chosen band name, but there is actually a statement in the bio that makes it clear the band is way ahead of me.  Solid production rounds out this demo, making it clear the band has a definite future as soon as they change their name.  More info:  http://go.to/holochaust
[Daniel Hinds]

IRON FIRE
On the Edge
(Noise/Sanctuary)

Opener "The End of it All" is an immediate put-off, as the vocals are at their worst and the music is fairly bland on top of that.  "Prince of Agony" at least has a more memorable riff and a nice solo, but again… the vocals.  "Into the Abyss" is interesting as it features a slightly more modern and American sounding main riff, which the band do a pretty good job of integrating into their melodic style.  Metallica was obviously as much of an influence on these guys as Helloween.  "Wanted Man" is one of the album's highlights, featuring producer Tommy Hansen on harmonica and organ.

Lyrically, Iron Fire does their best to break free form the swords & sorcery pack by choosing more real-life themes.  The lyrics may not be the most eloquent ever, but for a European band they aren't bad at all and I applaud them for touching on some more original topics.

The Andreas Marschall cover art is surprisingly bland and simplistic, doing nothing to enhance the package.  While many albums in this genre take a while to really grow on me properly, this once has not done so.  In fact, each listen only reinforces my loathing of the vocal style employed, distracting me from the otherwise decent metal tunes beneath.
[Daniel Hinds]

KALMAH
Swamplord
(Spikefarm/Century Media)

Kalmah are Finnish and they combine death metal with classical influences and a lotta lotta melody.  Now, this probably sounds like a rather exacting description of Children of Bodom, but Kalmah sound very little like their countrymen, actually.  The vocals for one thing are far more death-oriented, at least in a Swedish DM way, and a bit monotone at times for my tastes, but not bad.  Musically, the band seem to rely far more on the classical melodies to drive the songs home rather than the hell-bent metal riffs that COB like to employ.

Swamplord is a relatively short album (36 minutes), but it seems just about right.  None of the songs really leap out and say, "Look at me!," but they tend to work together more to create one big picture.  It's more like a high-octane speed metal symphony, with very aggressive vocals and some of the slickest playing I've heard in a while.  Not a mandatory purchase, but a very pleasing one nonetheless.
[Daniel Hinds]

KATAKLYSM
Epic (The Poetry of War)
(Nuclear Blast)

First off, major kudos for the production team, as Epic sounds utterly huge, heavy and clean.  The blastbeats on "Il Diavolo in Me" should be used as a benchmark for how snare hits should sound.  "Damnation is Here" showcases some cool mid-tempo riffs, alongside some speedy, jagged rhythms.  "Era of the Mercyless" and particularly "As the Glorious Weep" show s more melodic side to Kataklysm that I don't remember hearing in the past.  Be assured: this is still plenty fucking heavy; it is just infused with some more melodic riffs.  The result works quite well, pushing the band in a new direction.  "Shivers of a New World" is a pure hyperblast, while "Manipulator of Souls" is a more straightforward, American death metal assault.  "When Time Stands Still" is an interesting mix of epic riffs and almost mechanically-precise ones.

The musicianship in Kataklysm is an impressive thing, from the technical guitar work to the whirlwind drumming.  While it has become standard operation procedure these days for death metal acts to have airtight chops, Kataklysm still manage to make an impression.  Canada hasn't been known for its quantity of death metal acts, bur fortunately the quality has always been above average and the work on Epic is some of the best I have heard yet.
[Daniel Hinds]

B.B. KING
Live at San Quentin
(MCA)

This is a live recording done at San Quentin prison back in 1990 and appears here in a digitally remastered version with complete liner notes and pix.  I am by no means an expert on B.B. King’s work, but I gather these are some of his best-known songs and he sounds very comfortable playing them.  “Every Day I Have the Blues,” “Sweet Little Angel” and “The Thrill is Gone” all testify to the man’s skills, not to mention his seven-piece backing band.  His stage raps are also quite inventive and often amusing, further drawing the listener into the live experience.

There is no doubt the influence B.B. King has had on rock ‘n’ roll and subsequently heavy metal, as far removed from many of the modern manifestations as his primitive blues stylings may sound.  This is music that needs to be heard live and this is as good a document as you could hope for of that experience.
[Daniel Hinds]

MAUDLIN OF THE WELL
Leaving Your Body Map
Bath
(Dark Symphonies)

Oh, how to describe Maudlin of the Well?  Words like 'intricate' and 'eclectic' come to mind, as do words like 'fucked' and 'nuts.'  As I think James once said, 'You guys are fucking nuts out there!' and he was no doubt talking about these guys, even though it was well before this band existed.  Pretty sure on that, though he was probably drunk at the time (can't wait to see what kind of puss-rock the 'clean and sober' James comes up with, but I digress…).

Anyway, let's start with Leaving Your Body Map.  "Stones of October's Sobbing" starts off all nice and sweet, with some flute and clean guitar and whatnot, then the riffs descend and the deathy vox quickly follow.  The oddly relaxed rhythm never deserts us, however, and some moody horns make their way into the mix later on.  The distinctly jazzier "Gleam in Ranks" is next, with some slippery percussion, noodling piano and clean vocals.

By this point, it is obvious that Maudlin of the Well is a musician's band and not for the casual listener.  This may limit their audience, but it also guarantees a far more rabid following, which I have no doubt will follow in the wake of these releases.  The rest of the hour-long disc continues to explore the extremes, from feathery and sleepy to dramatic and bruising.  The album closes with a gorgeous instrumental followed by "Monstrously Low Tide," which features some soothing and wholly in-place female vocals.

Bath is another full hour of music very much in the same vein, so if you like one, buy both.  "They Aren't All Beautifull" tackles some thrashier territory that would make Anacrusis go, 'Huh.'  It would also make Salem the Cat go, 'Gah??', but that's a whole different story.  "The Ferryman" is like a condensed version of the band's entire sound, shifting gears from church organ to laid-back jazz to death metal to god knows what, with male and female vocals to boot.  This is good nighttime music, though I can't guarantee you won't have screaming nightmares for the rest of your life.

Maudlin of the Well make Opeth seem conservative by comparison, as they not so much cross genre borders as soar over them, completely oblivious to their existence.  This is soundtrack music for a Quay Brothers nature documentary, a trip far beyond the dark side of the moon.  Fifty fathoms and getting deeper by the second…
[Daniel Hinds]

MAYHEM
U.S. Legions
(Renegade)

As "Fall of Seraphs" takes off rather unceremoniously, the first thing that is evident is the sound quality is worse than most previous live outings I've heard from the Norwegians.  The guitar and bass are smooshed together into a thin line, while the drums sound almost plasticy and insubstantial.  Of course, Hellhammer sounds like a machine in his rapid-fire precision, but with the production quality, it completely loses its impact.

As the CD progresses, it is way too clear that songs are taken from different venues, as the sound changes considerably.  While it never improves markedly, at least the bass is more evident on later songs like "Chainsaw Gutsfuck" and "Pure Fucking Armageddon."  "Necrolust" is the only track specifically noted as being recorded in the US and it features the best sound of all.  Why didn't they just take the whole lot from this show?

The remaining five cuts here are pre-production versions of songs from Grand Declaration of War.  The sound is rawer, perhaps more in line with classic Mayhem than what ended up on that album, but overall the songs don’t gain anything from it and I would just as soon hear the final versions.

Sorry guys, I just don't see the point of this release.  With a live album as raw and relentless as Live in Leipzig already under their belts, I don't think Mayhem needs to worry about recording another one for the rest of their career.  But I'm sure they will anyway.
[Daniel Hinds]

MYSTIC PROPHECY
Vengeance
(Crash Music)

After a short intro, "Sky's Burning" rolls forward to crush all in its path.  Solid, menacing riffs are complemented by clean but powerful vocals and a punchy rhythm section.  "Damnation and Darkness" is even better, showing off some speed metal chops and even some well-placed keyboard lines.  "Dark Side of the Moon" (not a cover thankfully) shows a more restrained band at work, again showing off the band's ability to really write songs instead of just a collection of riffs.  "In the Mirror" is a semi-ballad that never loses its power, while "Fallen Angel" closes the disc in true epic fashion.

The lyrics on Vengeance are odd.  They are a bit awkward at times, yet strangely poetic at other times.  A bit cryptic, too, I get the feeling this might be a conceptual piece, but I haven't had the chance to really study the lyrics enough to say for sure.  Either way, they are delivered with conviction and that is the most important thing.

The term 'power metal' has become an immediate turn-off for some folks these days, which is sad because they are missing out on great bands like Mystic Prophecy.  These guys put the HEAVY back into heavy metal and I hope these guys go places and stick around for some time, as I want to hear more albums like this.  This has to be the best debut album I've heard in a long time and that is no small feat.
[Daniel Hinds]

PAIN
Rebirth
(Renegade)

"Supersonic Bitch" lets you know right away that Peter isn't about to pussyfoot around any subject matter here.  The synths are hard, the programmed drums pound and the guitars are gleaming with power.  This is generally rock-oriented material, though a few dance beats do creep in as well ("Delusions" and "She Whipped").  "On and On" has a rather motivational message to it, while "Dark Fields of Pain" has a dreary, almost gothic atmosphere to it. 

The vocals on Rebirth are worthy of note, as they vary to complement each part of each song.  From gruff and distorted to cleaner and more melodic to sing-along choruses, it all falls right into place.  So often singers in this genre overdo the fx or go for the OTT gothic thing, both of which never work.

This is the kind of album that could have turned out to be a bland rehash of industrial rhythms and tired metal riffs (Rammstein anyone?), but thankfully it sounds quite fresh.  And remarkably heavy, too, especially considering the amount of melody buried under the massive riffs.  While I don't see this having the same kind of impact here as it did in Sweden, it is an intense album that deserves attention from all corners of metal fandom.  As a bonus, this disc contains the rather interesting video for the song "End of the Line," with Peter looking plenty intense.
[Daniel Hinds]

PIG DESTROYER
Prowler in the Yard
(Relapse)

Another reason to like Pig Destroyer is their brevity.  They know when to end a song, with all 22 tracks here clocking in at a total of 36 minutes.  And they make the most of the time they have, too, with most of the songs going through several severe tempo and riff change-ups, often more than once.  With each track segueing into the next, it is almost like listening to one long track, but you can follow along with the lyric sheet (thoughtfully included) and get a better grasp of the individual tracks.

Many bands that tread the line between pornographic violence and sexual deviancy end up with a messy, crass picture that serves only to shock the easily shocked.  Pig Destroyer, on the other (severed) hand, approach their subjects with a certain amount of respect.  It is not unlike a narrator, detailing in a calm, rational tone, the most horrific scenes of human depravity and degradation.  With a lot of razor-sharp riffs and pulverizing blast-beats, of course.
[Daniel Hinds]

PROFESSIONAL MURDER MUSIC
Professional Murder Music
(Geffen)

Bands that come to mind when I listen to this CD is early Tool, Alice in Chains, and the vocals are very Kurt Cobainish, but they actually work...someone who actually didn't take the whining to an extreme. "Fall Again" is the best example of this...at times it really sounds like Kurt Cobain doing the vocals to a Alice in Chains song.

There is a bit of an industrial feel to some of the songs...don't even know who to compare them to when they do this. It doesn't work as well. Actually, the song where the album takes a total turn for the worse for me is "Of Unknown Origin"....again, it is so much better than what is out there for the most part today, but it goes from an industrial sound, to more of the 21st century bullshit I already mentioned, and then back to that whole early 90s thing...a bit too confused and schizophrenic and nothing that particularly grabs my attention either...actually, makes me want to skip to the next song to be completely honest.

Okay...next song then: "Does It Dream..." More of the same actually...overall, this album lacks a little bit of variety. Still, I can't point out how much better it is than what I was expecting. It is more of a traditional alternative rock album, which means, I doubt these guys are going to make it. Maybe for an album or two along the way in their careers, unless they sell out and become something that they are not, and then they will return to being just another band on the boring landscape of rock music since 1990. Still, I must give them credit...they do seem to stick to their guns and for the kind of music they are doing, they pull it off rather well, just a little uninspired...whatever happened to lead guitars in rock music? Don't ask these guys...they probably have never heard of the term....they have moments where there should be solos, but then again who doesn't nowadays....apparently no one knows how to play them is all.
[Victor Mejia]

RABIES CASTE
Let the Soul Out and Cut the Vein
(Earache)

The band churns out ultra-heavy, noisy riffs, usually at slow to slower tempos, while the vocals are shouted over top, bitten by incredibly irritating effects.  The drums have that metallic 'clank' to them that suits the music just fine, but only further distances the results from anything I would be remotely interested in listening to again.

Somehow, Earache seems to be the perfect label for this band.  With past blunders like Godflesh on their record, Rabies Caste should be right at home.  And just like Godflesh, I'm sure these guys will be hailed as utterly brilliant the world over.  More power to them, too, but it ain't my thang.  I should have known what to expect as soon as I saw them list the Melvins as a major influence…
[Daniel Hinds]

ROYAL HUNT
The Mission
(Century Media)

After a short intro, the band rolls into the throbbing synth line that opens "The Mission."  Keyboards are a big part of Royal Hunt's sound, yet they are used in a rather different fashion than most prog-power-metal bands.  Instead of just adding harpsichord or organ sounds, keyboardist Andre Andersen also incorporates techno pulses and atmospheric textures that really add to the band's sound.

The band's sound is massive, with big choruses that manage to avoid the trap of sounding cheesy or forced.  The guitar work is very clean and exacting, yet manages to maintain quite an edge at times.  Vocalist John West is an American who has worked with a number of artists over the years (Badlands, Michael Lee Firkins, Cozy Powell and James Murphy, to name a few) and his powerful, almost operatic voice adds just the right touch of majesty to Royal Hunt's sound. 

The Mission is a concept album, based on the magnificent work that is Ray Bradbury's The Martian Chronicles.  As the songs all flow into each other, it is definitely meant to be heard as a complete picture.  Lyrically, each track follows a different chapter in the book as well.

If you have great love for technical, multi-textured metal/rock that doesn't forget the songs, Royal Hunt is a must.  My patience for melodic metal was beginning to wear out as the Helloween clones just kept coming, but lately there have been some notable exceptions and bold new directions are being taken.  For my money, Royal Hunt is one of the best and most interesting yet.
[Daniel Hinds]

SINTHEMA
The Fourth Discontinuity
(Sanctuary Records)

I could not even imagine what it would be like to see these guys live. The CD itself is exhausting to listen too. At least they do blend some nice little changes here and there. Some leads and the occasional quieter moments, but still it is really hard to sit and listen to this....this is the type of music you really need to be doing something active too...or else you might just end up killing somebody...maybe two somebodies. I'm glad they printed the lyrics in this CD as well. They pretty much get lost in all the insanity....

This is a great disc...go out and buy this, but be ye forewarned...I have to go now...I think I have a particular roommate who is need of a killing.
[Victor Mejia]

SIX FEET UNDER
True Carnage
(Metal Blade)

To be fair, the nu-metal connection has more to do with some of the bands SFU has toured with and the market they seem to be moving toward more than anything they actually do musically.  Thankfully.  Most of the material here is fairly slow or mid-paced, but it is death heavy in every way.  Chris Barnes' sickening gurgle is still fully intact, though he does toss in the occasional zombie shriek to make it more interesting.

The songs themselves still walk that fine line between cleverly simple and boneheadedly simple.  There are moments that remind me of classic Obituary, which is always a plus, and the somewhat offbeat blues influence that came out on their last record, Maximum Violence, still finds its way into some of the riffs and leads.  The album highlight for me is Ice-T's appearance on the track "One Bullet Left," delivering some lyrics that make "Cop Killer" sound unbelievably tame by comparison.

True Carnage has pretty much the same strengths and weaknesses that Maximum Violence had:  strong riffs, lots of conviction, stupid vocals and awful production.  At least the mix is better this time, but the recording still sounds too muted and boxed in.  Praise to Metal Blade at least for breaking their usual code and actually supplying the album with a lavishly designed digipak, full lyrics and a video CD-ROM track.  I'm still not fully convinced, but SFU continue to improve and I must admit, I would just LOVE to see these guys on TRL in place of Linkin Park or whatever shit band is popular this week.
[Daniel Hinds]

SONATA ARCTICA
Silence
(Century Media)

As the intro ends, the hi-octane "Weballergy" speeds out of the starting gate.  Lyrically, it is clear immediately that Sonata isn't about to rehash the fantasy or sci-fi themes that so many of the peers have.  This has more to do with reality, the modern world and how it affects and is affected by the people that create it.  "False News Travel Fast" hints at the kind of complex structures that Metallica used to be responsible for, though the band never loses its melodic edge.  "The End of This Chapter" is even more involved, taking a chilling tale and setting it to a complex piece of music that rivals Dream Theater in their heyday. 

The ballad "Last Drop Falls" and the uptempo rocker "San Sebastian (revisited)" touch on a common theme in Sonata's music, love and the pain and loss that always seems to follow it.  "Tallulah" in particular touched me, paralleling a rather painful episode of my own life a little too closely.  "Revontulet" is an instrumental that features some truly remarkable keyboard and guitar playing.  The band are good about demonstrating their skills without being overbearing about it.  "The Power of One" is an eleven-minute mini-epic that ends the album on a solid but slightly more reserved note.

While the rhythms and soaring vocals are clearly in line with the likes of Stratovarius and Rhapsody, Sonata Arctica inject some complexities and thoughtful lyrics to create their own identity in this crowded genre.  Of course, the playing and production is stellar and the cover art has a sense of simplicity and magic to it that reflects the music well.  A strong follow-up that should cement Sonata as a key player in the power metal scene worldwide.
[Daniel Hinds]

SPIRIT CARAVAN
Elusive Truth
(Tolotta)

“Spirit Caravan” is a good opener, bringing to mind the more upbeat retro bands and even a bit of older Soundgarden.  “Black Flower” has a riff in it that sounds like a sinister version of “Earache My Eye,” while “Find It” has a raw grind that gives Pentagram a run for their money.  “Cloudy Mirror” has a more upbeat, almost pop feel to it, yet never loses the Spirit Caravan vibe.  “Lifer City” shows yet another side to the band, as it races along in a very 80s punk fashion.

The one area where Elusive Truth falls flat is in the production department.  I’m all for bands looking back fondly on the great music of the past, but that shouldn’t extend to dated-sounding recording quality.  The guitars a little too muted and the drums just plain weak, hampering what otherwise would be utterly crushing tunes.

Even still, the band’s talent shines through and I would still recommend this disc to all fans of classic doom, Black Sabbath and good rock music in general.
[Daniel Hinds]

[various artists]
Brazilian Assault
(Relapse)

First up is Abhorrence, who sport the best production of the lot.  Ultra-fast riffage that harks back to Slayer and Sepultura at times yet is generally faster and more brutal than either.  "Triumph in Blasphemy" won me over the most, with its change-ups and more memorable riffs, but all three cuts are good.

Ophiolatry are next, sounding a little thinner but still churning out plenty of speed.  The vocals are just as raw, but sound a little too reverby or something.  The playing doesn't feel quite as tight, especially in the guitar department, but some of the riffs they are blasting out are fairly involved sounding.  All three tracks are about the same quality wise, though "Breaking the Bones of Jesus" wins my vote for best title on the album, hands down.

Nephasth get four songs to show off their brand of hatred-filled death and they make the most of it.  The vocals alternate between a low growl and a blood-curdling shriek, which is thankfully used rather sparingly.  The riffing sounds a little more thrash and classic death metal influenced to my ears, but it is delivered with such ferocity, it sounds in no way dated.  The drumming is particularly impressive, pummeling everything in its path.

Finally we have Mental Horror, who come across as almost pure noise at times, grindcore at others.  The production is so fucking awful here, it is really hard to tell what is even going on half the time.  So, on that count, they get the highest points for sound the most 'cult,' but are also the least listenable.  Somehow, they rate seven tracks, but at least Relapse was kind enough to put them at the end, making it much easier to simply skip them entirely.

Nothing ground-breaking here, nor anything particularly attention grabbing for that matter, but Nephasth and Abhorrence deliver enough quality death metal brutality to make this worth checking into.
[Daniel Hinds]

[various artists]
Funeral Songs
(Crowd Control Activities/Release)

Raison d'Etre are first with a short piece that heralds in the album perfectly, complete with a sadly tolling bell and dim atmosphere.  John Bergin (he of Trust Obey fame) teams up with Brett Smith under the moniker Tertium Non Data, delivering a thicker, more electronic sounding slab of dismay.  The always delightful Amber Asylum lighten the sound, if not the mood, while Agnivolok plunge us headlong into a dank cavern of pure ambience.  Mr. Bergin returns again in his C17H19NO3 guise for a less structured assault, mixing morose strings with noise for a most unsettling effect.  Shinjuku Thief brings back some structure and beauty to the proceedings, while Raison d'Etre returns with another strong, melancholic track.

Alio Die set off on an ethereal flight, all muted chimes and shadowy noises, although Gruntsplatter quickly swoop in for the kill with their brand of electronic noise.  Dreams in Exile provide a nice little acoustic/vocal thing, but it just sounds really out of place for some reason.  The minimalism of Nasopharyngeal makes for a much better follow-up to Gruntsplatter.  The expansive ambience of Chaos as Shelter and House of Low Culture follow suit, though the album closes on a slightly more rock note with the band 27.

All in all, this is a great collection for the somber-hearted out there.  Crowd Control does a good job of utilizing the best of its own roster and picking artists from elsewhere that match them well.  The atmosphere is (generally) maintained well throughout the album, making for a strangely relaxing listen, esp. on those gray autumn days we know so well here in Seattle.
[Daniel Hinds]

VOMITORY
Revelation Nausea
(Metal Blade)

This is no-hold-barred, repeated-punches-to-the-stomach death metal.  The guitars twist and shred without mercy, the vocals are a couple of octaves below human and the lyrics all revolve around death (imagine that!).  Traditionally, I’ve been more into the melodic side of the field, but recent releases from bands like Vader, Immolation, Cryptopsy and even Morbid Angel have me warming to the more brutal stuff.  Vomitory is another impressive band that trade in beauty and melody for bigger weapons and extra ammo.

The one-two punch of “Revelation Nausea” and “The Corpsegrinder Experience” is devastating, but it is “Beneath the Soil” that really shows off the band at their best.  The song runs the gamut of tempos, with some incredibly heavy mid-tempo riffing that offsets the band’s speedy side perfectly.  “Under Clouds of Blood” resumes the frantic pace, but also features a really kick-ass blackened riff at one point.  “When Silence Conquers” is another more mid-tempo affair, with an extended intro that builds up in much the same way as Kreator’s “Some Pain Will Last.”  It’s a good song but at 6+ minutes, it starts to drag by the end.  From here on out, the band rarely slow down, making it a somewhat draining experience to digest the album in one sitting.

Much like the last Dismember album, Revelation Nausea charges forth with little or no space between songs to catch your breath.  The production is dense, with just the right balance between rawness and polish.  The old-school logo and cover art a pretty damn good indication of the kind of mayhem to expect from the music inside.  You’ve heard it all before, no doubt about that, but at lest Vomitory deliver some memorable riffs and true death metal aesthetics in the process.
[Daniel Hinds]

WAR
We Are…Total War!
(Necropolis)

In terms of sheer aggression and energy, it is hard to fault War in any way.  Songs like "Satan" and "The Sons of War" are pure mayhem, while there is an equally bruising brutality to the slower tracks like "Total War" and "Reapers of Satan."  As the album progresses into the 2nd album, the production improves slightly (in the drum department anyway), but the same straight-forward slaughtering riffs are employed.  A ripping take on Sodom's "Bombenhagel" closes out the CD in nice, blackened thrash style.

Much has been made of the 'racist' lyrics present on the first War disc, which I am assuming is in reference to the song "I Am Elite."  Necropolis even prints a disclaimer in the booklet, pointing out the label does not share all of the beliefs expressed in the lyrics, so be forewarned.  The whole 'elite,' nationalistic stance of many BM bands has always been a bit of thorn in my side, but frankly I don't see War as being all that serious about it and certainly aren't on the level of acts like Judas Iscariot or Burzum.  So you make the call for yourself and your own beliefs, but lyrics aside, War pound out some damn fine, old-school black metal.

[Daniel Hinds]

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WAYNE
Metal Church
(Nuclear Blast)

Personally, I think both parties are being rather immature about this, but I also think Dave should have known better.  I can't understand why he thought he needed that obvious of a connection to his past work.  This album is strong enough on its own merits to have brought fans on board and a simple 'Featuring David Wayne of METAL CHURCH' sticker on the front would have been preferable.  Oh well, what is done is done, let's move on to the record.

Wayne plays very solid, well-produced power metal that comes across as a cross between Metal Church and Reverend.  "The Choice" is a good fist-banging opener, while "The Hammer Will Fall" harks back to "Start the Fire," with its mid-tempo catchiness.  "Soos Creek Cemetery" takes a simpler, more modern approach, ala Reverend, though "Hannibal" starts to veer a bit toward filler material.  "Burning at the Stake" sets everything right again though, with a nice double-bass workout.  "DSD" (that's 'Die Satan Die' apparently) is a bit blah, pro-Xian lyrics aside, but "Nightmare pt. II" is yet another stormer.  "Ballad for Marianne" is a ballad in the vein of "Gods of Wrath" but nowhere near as electrifying, though I don’t think that was exactly the vibe they were trying for anyway.  The album closes with a faithful rendition of the classic rock track "Mississippi Queen."

It isn't surprising to read that this album has been garnering far greater reviews than the Metal Church album from last year, simply because this is much more of a classic heavy metal album.  The MC disc, Masterpeace, was enjoyable once you came to the realization that the band had no intention of repeating their old sound, but there is no denying this Wayne CD has a much more visceral and immediate impact.  The lead playing is top-notch, Dave's vocals are in good form and there are several standout songs to be had.
[Daniel Hinds]

WINDIR
1184
(Head Not Found/VOW)

Windir was once a one-man project, but mainman Valfor has taken on a full-on band to help give 1184 a fuller sound.  Recruiting members of the band Ulcus (whom I've never heard of, but will have to rectify that soon), Valfor has come up with a sterling platter of metal that mixes elements of black, folk, Viking and even power metal.  The result is a sound that is raw and brutal, yet extremely tuneful and majestic at the same time.  Keyboards are used, but never take the lead, and the guitars range from grinding heaviness ("Destroy") to black metal extremity ("Black New Age") to more traditionally metal ("The Spiritlord").  The rhythm section is competent bur are given the least amount to work with.

In terms of production, 1184 sounds fuller and generally better than Arntor, Windir's last release (which didn't sound shabby itself).  The playing is excellent, particularly on tracks like "The Spiritlord" and the nine-minute epic "Journey to the End."  Valfor's vocals are just as black and grim as I remember, which really adds the right atmosphere to the proceedings.

A few years back, the whole folk/Viking thing seemed to be really taking off, with some excellent releases from the likes of Falkenbach and Mithotyn.  Sadly, it has all but disappeared recently, so it is extra cool to see Windir slam down such a powerful album as 1184.  Leave it to Norway to unleash a true Viking metal record!
[Daniel Hinds]

WIZARD
Head of the Deceiver
(LMP/SPV)

My fears seemed validated as the corny intro rolled by, but when the song "Magic Potion" kicked in, my dread turned to glee.  Wizard may not have a clue when it comes to their image or lyrics, but they deliver in the music department in a major way.  This is speedy power metal, much like a more kick-ass version of HammerFall.  The double-bass pummeling continues on the title track, which also features a great shout-along chorus.  A more mid-paced number rears its anthemic head in the shape of "Defenders of Metal," while "Revenge" is speed metal mayhem at its best.  "True Metal" makes for a fittingly epic closing to the album, despite the laughable lyrics.  Only a couple of filler tracks find their way onto Head of the Deceiver, namely "Calm of the Storm" and "Demon Witches," but even these aren't that bad, just boring.

Along with the strong song-writing, the band possesses plenty of playing prowess.  The drumming is tight, the guitar leads are immaculate and the vocals are clean and powerful.  The production is also quite good, with a nice warm distortion on the guitars and up-front drum sound, all thanks to Uwe Lulis of Grave Digger fame.

Many will no doubt still find Wizard to be too cheesy to enjoy, but hey, that's their loss.  This is great, melodic power metal with a lot of drive and energy.  Having grown up on bands like Maiden and Helloween, I can never get enough of this stuff when it's done right and Wizard do it quite well.
[Daniel Hinds]

YATTERING
Human's Pain
(Renegade)

The aptly titled "Intro" serves nicely to build tension until the band let loose with "The Feeling."  "Unmorally Zone" (gah?) continues the assault, though in a far more convoluted manner, as it switches gears almost constantly.  The vocals are deep, deep death growls for the most part, with the occasional shriek to balance the tension.  "Demon's Inoculate" displays some utterly amazing drum work, but then so does almost every son on here.  Zabek not only beats the hell out of the skins in a nearly inhuman fashion, but he tosses in some truly inspired drum fills throughout.

The album proceeds at the same high level of quality for most of its duration.  A few bonus tracks are added here as well, including a cover of Brutal Truth's "I'll Neglect" and Slayer's "Dittohead" (you remember, the one good song on Divine Intervention).  Yattering tear through both like they'd written them themselves.

The production on Human's Pain is wonderfully thick and chunky.  The bass growls throughout and the drums just stomp.  If you love Vader, Behemoth, and Dies Irae or any of the Polish bands making an impact lately, you are bound to love Yattering as well.  I know I did.
[Daniel Hinds]