June - October 2003

APOLLON
Aleatorical
(D.O.R.)

Self-described “Sound-Sculptors” Apollon put forth an album of found-sounds, both recorded and electronic.  Little drum machine blips accompany recordings of public dins and cut-up noises.  In short, this is the musical equivalent of the junk-drawer: a whole lot of sounds they couldn’t bear to throw out, but couldn’t find a good use for either, so they all wind up in one place, this record.
[Laird Sheldahl]

ARMSBENDBACK
Waiting Room
(TrustKill records)

Oh no, I should never read these Bio pages that accompany promo CDs.  Too late now.  Apparently, Armsbendback promo CDs were handed out at Hot Topic outlets, and now I can’t focus on the idea that this is anything but mallrat music—carefully constructed using the latest market analysis that brought you Misfits halter-top tees and Thundercats bumper stickers showing up on the cars of teens across the county.  I’m sure this is a great promotional tool, but… it seems so calculated.  http://www.armsbendback.com/
[Laird Sheldahl]

as i lay dyingAS I LAY DYING
Frail Words Collapse
(Metal Blade)

Here is an album that managed to really take me by surprise.  I mean, I was expecting some hard hitting music in the death/black metal genre, and Frail Words Collapse didn’t disappoint on that count.  What surprised me was the originality and diversity that As I Lay Dying has managed to pack into this one.

Instrumentally, As I Lay Dying delivers excellent, complex metal that has the aggression and brutality of death metal.  The vocals are in that vein, though there is variety there as well.  But rather than simply slamming each and every song out at full tilt these guys manage to incorporate a vast array of tempos and moods into their songs.  They range effortlessly from the jagged, all out speed to an ominous, brooding grind – usually within the confines of one song.

Frail Words Collapse is also very well recorded and mixed.  The kick drum sound in particular is awesome – it’s punchy and deep, high in the mix without over-powering the other tracks.  Even the occasional rough/clean vocal approach (which I often find annoying on other records) sounds good here.

All in all, As I Lay Dying proves to be a very pleasant surprise for this metalhead.  http://www.asilaydying.com
[Nels Bruckner]

BEAR VS SHARK
Right Now You’re in the Best of Hands.
(Equal Vision)

OK, so there are actually two more sentences to this album title… I think… since it isn’t printed on the CD or accompanying artwork.  And that’s about 30 words and 5 minutes of research too much for an album title.  If the music wasn’t any good, my review would end right about there, out of (minor) spite.

This album, whatever its called, has more to do with 80s Midwest punk and maybe 90’s post-grunge rock than other albums reviewed here.  Good, melodic, perhaps along the lines of Fugazi (sans Ska influences) and New Model Army, with a bit of Death Cab For Cutie sensitivity thrown in, this is an enjoyable listen, but a bit out of place here.  http://www.bearvsshark.com/
[Laird Sheldahl]

black dahlia murder THE BLACK DAHLIA MURDER
Unhallowed
(Metal Blade)

This is one of those albums that came along, gave it a cursory spin, and then filed it away as yet another run-of-the-mill death metal release.  Then I caught the video for the track "Contagion" and was like, 'Damn!  Who is this?'  With so many 'extreme' metal videos still having difficulty crawling out of the nu-metal shadow, the speed, precision and sheer brutality of The Black Dahlia Murder sounded positively fresh and devastating.  Going back to the album, it does still bear a certain lack of originality but taking it on its own merits, Unhallowed is ten well-played and well-constructed slabs of thrash-influenced death metal.

After the mandatory intro (which doubles as the title track, strangely), the band burst forth into "Funeral Thirst" and rarely let up for the rest of the 36 minute album.  The speedy bass/snare rhythms remind one of the Swedish scene, while the hyperspeed riffs lend a more American death metal feel.  The vocals aren't terribly distinctive but they do alternate nicely between bowel-churning growls and Dark Tranquillity styled shrieks.  Speed is a key factor in almost every song, although the band excels just the same with slower cuts like "Thy Cosmic Horror."  This tune even hints at some serious hook-writing talent that makes me really curious to hear where the band goes in the future.  Another plus is the restrained but effective leads that grace each tune - very stylish.

This is a band that lives for power, speed and riffs, riffs, riffs.  The complexity and smooth execution of some of the riffs here (and the sheer headbanging glee the band rips through them) is what makes Unhallowed really succeed in an overly crowded scene.  http://www.theblackdahliamurder.com
[Daniel Hinds]

black label BLACK LABEL SOCIETY
The Blessed Hellride
(Spitfire Records)

I always find myself being surprised by Black Label Society.  Somewhere in the back of my mind I still half way expect them to be some slick, over-produced vehicle for Ozzy guitarist Zakk Wylde (esp. since Zakk provides all guitars, bass, and vocals here).  I should have learned by now – that has nothing to do with what Black Label Society are all about and The Blessed Hellride is further proof.

The stark, black and white album cover sets the tone for the music within.  The opening track “Stoned and Drunk” wastes little time in setting down the formula to follow – thick, chunky guitars spewing out Southern-fried, Sabbathy riffs with a deliberate, inevitable groove.  That groove persists throughout the album with every song offering up fine-tuned, meaty hooks.

While crushingly heavy pounders like “Doomsday Jesus”, “Suffering Overdue”, and “Funeral Bell” dominate here there is still plenty of variety on display.  The faster tempo of “Destruction Overdue” gives the CD a second wind down the home stretch while remaining thick and heavy.  The acoustic powered title track and some lighter numbers (“Blackened Waters”, to some extent, and closer “Dead Meadow”) provide some nice contrast and give the listener a chance to regroup.

Finally, the backing vocals of Ozzy Osbourne transform the track “Stillborn” from just one more fine song into a real gem.  There is just something magical about that guy’s voice and it really shines here, albeit far too briefly.

While some could fault Black Label Society for not straying too far down untried paths, I view their albums (and The Blessed Hellride especially) as the continual refinement of an unwavering idea and direction.  That direction is heavy, crushing, and dark.  How can that be bad?  http://www.blacklabelsociety.net
[Nels Bruckner]

brazen abbot BRAZEN ABBOT
Guilty as Sin
(SPV)

This is a very cool band in the vein of classic rock/metal like Rainbow, Yngwie and Deep Purple.  Helmed by Bulgarian guitarist Nikolo Kotzev, Guilty as Sin features musical support from various Europe alumni and the vocal talents of Joe Lynn Turner, Göran Edman (Yngwie, etc.), and Jørn Lande (Yngwie, Masterplan).

"One Life to Live" opens and is one of the Turner tunes, sounding like a really good classic Rainbow song.  From the distinctively Blackmore-ish riff to the organ to Turner's dark and textured voice, this song really shows where Kotzev's influences and strengths lie.  "Eyes on the Horizon" is a Lande-led number with a slightly more modern Euro touch, but still tracing back to the classic rock style at its core.  Edman steps up to the mic for the unfortunately sappy ballad "I'll Be Free," which reminds me a little too much of that god-awful theme song on Enterprise.

The remaining songs seem to follow this same pattern - mostly high quality rockers with a couple of strangely bad ballads ("Bring the Colors Home" and the truly terrible "Eve").  The album closes out with "Guilty as Sin," a great bluesy rocker that lets Turner really show off his ability to emote.  I never thought much of his work back in the early 80s, but as time goes on I have come to appreciate his talent more and I think he has actually gotten better with age.

For those that miss the days when Blackmore wanted to rock, Guilty As Sin will be readily welcomed.  Complaints about the lack of originality are quickly swept aside as the power and quality of these tunes become apparent.  Just program out the three ballads and you've got a great 48-minute album.  http://home.aland.net/brazen.abbot
[Daniel Hinds]

bullethole BULLETHOLE
Incarceration
(Black Lotus)

This trio plays a heavy, energetic version of metalcore that balances heaviness, brutality and speed pretty evenly.  The vocals are harsh, wavering between a lower, almost death metal growl and a more typical hardcore shout.  Musically, the band follows fairly straight forward riffs but mixes up the arrangements enough to keep things moving.

Although opener "Twist the Knife" has a rather in-your-face chorus, the first song to really make much of an impression is "Nothing Will Remain."  The track features one of the band's more interesting main riffs, as well as a nice change-up in the middle and a cool solo.  "Moment of Hate" perks up the album as well, again thanks to an interesting riff and unpredictable change-ups.  "Molestias" succeeds with a fast, thrashy pace in the vein of classic Sepultura.  The album closes with a very odd unlisted track, a very subdued instrumental that offers a glimpse of a whole different side to this band.

Production on Incarceration isn't bad, but there is room for improvement.  The drums are a bit thin and the guitar tone seems to vary a bit too much from song to song, but otherwise Incarceration sounds pretty solid.  Not a vital album to own by any means and probably my least favorite on the Black Lotus roster, but at least it's a respectable effort that injects some life into a genre that's been beaten to death.  http://www.black-lotus-recs.com
[Daniel Hinds]

BURNT BY THE SUN
The Perfect is the Enemy of the Good
(Relapse)

Perhaps a bit simple compared to other Relapse artists, Burnt by the Sun nevertheless is an above-average fusion of musicianship and composition.  Never melodic, this album maintains its intensity through changes in rhythm and density.  Good, fast thrash barrages are mixed with, or set next to, more death-metal like drones and growls to provide a non-stop assault on the ears (and perhaps soul).  The production on this album is clean and transparent; each instrument remains crisp and distinct, despite some very frenetic passages and fret gymnastics.  All in all, this is an excellent helping of hardcore music, having been boiled down to its basic elements, and put back together without the fluff and gimmicks other bands use to fill transitions and break the monotony, and relies solely on studied musicianship and intelligent composition to keep the whole wonderful train-wreck moving.  http://www.burntbythesun.com/
[Laird Sheldahl]

BURST
Prey on Life
(Relapse)

Relapse records has been releasing quality metal/hardcore which is a cut above the rest with regards to complexity of songwriting, musicianship and production values.  Burst’s “Prey on Life” is no exception.  Chunks of hardcore lash out with dynamic riffs, growling vocals and tumbling rhythms that all seem to have no end nor beginning, followed by minimal, atmospheric sections which are often just one instrument accompanying some dark computer-enhanced soundscape.

This is an excellent mix of organic metal and studio-wizardry.  Its heavy and dark and leans toward the “constructed” side of music (opposed to “played live”) without losing any sort of edge or bite.  At times rhythmically complex, at times awash with distorted melodies, and at times just plain monotonous and plodding, yet never sounding obvious in their transitions from one to another, Burst has produced a surprising and compelling album.  http://www.burst.nu
[Laird Sheldahl]

charger CHARGER
Confessions of a Man (Mad Enough to Live Amongst Beasts)
(Peaceville)

Now and then I come across an album (or band) that has all the right elements, all the right strengths and yet suffers from one horrifying, fatal flaw.  UK’s Charger is such a band, and the pretentiously titled “Confessions of a Man (Mad Enough to Live Amongst Beasts)” is such an album.

Musically Charger pay unabashed homage to the sludgier, doomier side of classic Black Sabbath (which is, of course, a good thing).  “Confessions…” is filled with slow, ponderous riffs of doom countered by occasional speedy moments that have an almost punk/hardcore feel.  The fairly minimal production does nothing to damage the intensity of the music which comes across as brutal and full of conviction.  It may not be the most original approach, but it is very effective.

The problem with Charger, for me at least, lies in the singing (if you can call it that).  The vocals consist almost entirely of atonal, throat rending screams ala Eye Hate God or the more screechy moments of Super Joint Ritual.  It gets old real (real) quick and pretty effectively ruins what would otherwise be a very promising recording.  http://www.fuzzbastards.com
[Nels Bruckner]

circle ii circle CIRCLE II CIRCLE
Watching in Silence
(AFM)

Though a fine singer and technically more capable than Jon Oliva, I never felt that Zak Stevens had as much personality when he took over the mic in Savatage.  Circle II Circle is his return to the metal field and I must say he sounds much more comfortable here and Waiting in Silence is superb debut.

True power metal is the name of the game here and we are talking power metal in its original sense not 'Helloween worship.'  "Out of Reach" opens the album with a strong riff as Zak quickly demonstrates his range and power, moving from the dark and melodic verses to the catchy chorus that he belts out compellingly.  The title track is an instant classic, building from a beautiful piano melody to big, heavy chorus in classic Savatage fashion.  Guitarist Matt LaPorte has that rare gift of being able to whip out some amazingly fast and fluid leads, but keeps it in the context of the song.  Not wanting to go out with a whimper, the album closes with "The Circle" and "F.O.S.," two of the strongest numbers.

The recording is top-notch and so is the musicianship, which is to be expected.  My only complaint at all with this record is the number of mellower tunes ("Into the Wind," "Forgiven," "Face to Face," "Walls").  The band writes and performs them well, sure, but I think one or two more rockers would have set up a better balance.  At least the song order was well thought out (unlike a certain recent Manowar album…).

The similarities to Savatage that permeate this record aren't too surprising, as either Jon Oliva or Chris Caffery share songwriting credits on every track.  Much like the case where the Metallica split gave us two great bands instead of one (well, until the black album came out and then there was only one until Cryptic Writings came out and then there was zero…), we now have Savatage and Circle II Circle to entertain us.  Even better, this split was amicable and the cooperation between the various members makes Watching in Silence a strong release indeed.  http://www.circle2circle.net
[Daniel Hinds]

conquest CONQUEST
No Boundaries
(self-released)

Conquest plays a dated but decent brand of metal, mixing elements of thrash, power and just straight up heavy metal.  I'm reminded of everything from Omen to Iced Earth to Flotsam & Jetsam here and the riff is the one true god in Conquest's world, which is never a bad thing.

"Just Before the Dawn" opens the album and is one of the best songs.  Starting with a Megadeth-like spoken bit, the song features a great mid-tempo riff, hard but very intelligible vocals and a cool arrangement.  "Ruin My Life" is a bit more ordinary, but features some interesting drum patterns   "Nightmare" is another excellent song, built on a cool riff and featuring some fairly melodic vocal lines throughout.  "What About Me" puts the 'power' in power ballad, harking back to the stuff bands like Sanctuary and Metal Church were doing back in their day.  "Take" is probably the most driving song here, with a good concert-friendly chorus to sing along with.  The CD closes with three live cuts that certainly sound live.

I didn't love every song but there are definitely more good ones than bad and a couple real winners.  This is grimy, no fucking around thrash-influenced metal that is hard as nails and meant as much for today as it is a tribute to the past.  http://www.conquestmetal.com
[Daniel Hinds]

dream into dust DREAM INTO DUST
The Lathe of Heaven
(Chthonic Streams)

Looking for a superb, mind-bending sonic excursion into unexplored territory, filled with fear and wonder?  The Lathe of Heaven is your ticket, establishing a monumental atmosphere with bits of acoustic folk, dramatic orchestration and electronic cruelty sewn together so skillfully the seams only add to the beauty.

First tune blends a feathery flute into a rather ominous atmosphere that builds straight into "Disconnected," a rather straight-forward tune with clean vocals and noisy rhythm elements.  The disjointed breakdown in the middle of samples and noise is particularly effective.  The folky acoustic guitar debuts in "How the Roses Burned" achieves the kind of dark beauty that many goth bands attempt but never attain.  The dynamic "Sleep in Dead Time" is an amalgamation of everything Dream Into Dust does well and a truly compelling song by any measure.  The slightly chaotic and disturbed "Black Ice" shows the more ambient side of the band, working the vocals in fairly naturally.

Dream Into Dust is one of those rare bands that has conjured a style all their own, stuck with it, evolved it and managed to capture it perfectly on this album.  This is soul-baring music that touches on several genres without getting entangled in any particular one.  As much as I have enjoyed Dream Into Dust's work in the past, The Lathe of Heaven is clearly their finest work yet and the kind of work that makes many other releases look utterly mediocre by comparison.  http://www.chthonicstreams.com
[Daniel Hinds]

dust to dust DUST TO DUST
Sick
(Psyclone Records)

Ahhhhh… “radio friendly metal”.  You have to admit, it’s better than it used to be.  I think that’s because it “OK” now to be much heavier than in days past.  Bands like Disturbed, Korn, Saliva, and an endless pantheon of others have capitalized on the new acceptability of heavy music, adapting it to the more hit oriented radio format.

Dust To Dust follow this somewhat unoriginal path in fairly convincing fashion.  The opener “Rot” sets the stage, leaving little doubt as to what will follow – somewhat anthemic, powerful, hit-oriented, mainstream metal.  And the songs rarely deviate from that approach by much.  The heaviness goes back and forth, though there is a define tendency toward the lighter end, with much ‘acoustic metal’ on songs like “High” and “Bluesky Lie” and the requisite self-indulgent, synth-laden number in “Shame”.  There are also plenty of points where Dust To Dusts influences blur the line between influence and imitation.  The opener “Rot”, “Barely Breathing”, “Fix On” and many others could be really have been done by any of the afore mentioned bands.

Obviously, that’s the classic problem with so called “radio friendly” genres.  With very few exceptions the bands in the particular genre feed off each other, swapping influence back and forth until the whole scene becomes faceless and generic.  Eventually the fans stop listening; the videos stop getting made, the stations stop playing each and every new face on the scene, etc.  Dust To Dust, while a fine band, are one more step down that road for radio metal.  It’s not that they aren’t good musicians.  In fact, they play very well on Sick.  They also have some well written material.  It’s just that, for me at least, this genre is already pretty tired and one more entry that doesn’t break any new ground seems kind of pointless.  http://www.dusttodustmusic.com
[Nels Bruckner]

edguy EDGUY
Burning Down the Opera - Live (2CD)
(AFM)

Rarely does someone buy a live disc if they're not already a fan of the band, but this album works well as a taster for what this band is capable of.  Edguy's brand of power metal is well-rooted in the Helloween/Queensrÿche/Maiden tradition, but clearly the band has found its own voice within that niche and they sound completely comfortable and confident on this set.

The thing that often fails a live album is the recording and/or mix, but both are utterly sterling here.  Hell, this sounds better than most studio albums I've heard lately!  The drums are huge, the guitars thick and heavy and the vocals clear and soaring.  While some might find it a bit too polished, I think they really nailed the balance between sound quality and live energy.

The song selection is good and covers all the bases, from ballads to speed metal, from their early albums right up through the current material.  Some real highlights include "Fallen Angels," "Vain Glory Opera," "Save Us Now" and "Babylon."  The only tune I didn't care for was "Land of the Miracle," a ballad that is too fluffy for its own good.  The drum solo on disc two is kept short and pretty impressive, giving the album that much more of a special touch that a greatest hits collection wouldn't be able to provide.  "How Many Miles" has a big stage rap in the middle, with Tobias sounding a lot like Bruce Dickinson when he's talking (though his oddball sense of humor is most uniquely his own).

Along with the great tunes, you get a video on disc 2 of "The Headless Game" taped in Atlanta where Tobias leads the audiences in an extended back-and-forth with the audience that sounds like it was written by Jay and Silent Bob - pretty funny.  All in all, Burning Down the Opera is a thoroughly enjoyable live set from one of power metal's best bands.  http://www.edguy.nu
[Daniel Hinds]

ephel duath EPHEL DUATH
The Painter’s Palette
(Earache)

Ephel Duath are probably best described as “experimental progressive”, as vague as that sounds.  They are not a band which is easy to categorize or pigeonhole.  Within the first 30 seconds or so of the first song on The Painter’s Palette the listener is blasted with the Ephel Duath’s full range of musical extremes, ripping back and forth between light and breezy jazzy rhythms, heavy deathy outbursts of speed and pretty much everything in-between.  Bizarre, over the top horn riffs provide occasional punctuation.  “What is that, a trumpet…?”

The musicianship on display here is truly phenomenal and the music itself is clearly quite demanding and challenging from a sheer technical standpoint.  Rhythmically, The Painter’s Palette is rarely straightforward or easy to anticipate.  Comparisons to progressive bands like Dream Theater or Spiral Architect definitely spring to mind, though Ephel Duath plunge off a much heavier end of the spectrum than the usual progressive metal band.  They also mix in a really intense jazz fusion feel that at times reminds me of Flexible era Vai, for lack of a better comparison.

Sound unusual?  It really is.  Impressive?  Yep.  Chaotic and unpredictable?  Oh yes.  Really fun to listen to?  Well… three outta four ain’t bad, right?  Or maybe it is.  You see, as with many “experimental” bands it’s really hard to figure out who the audience for The Painter’s Palette is.  Ephel Duath are so chaotic, racing with such speed back and forth between their various genres that it’s really hard to imagine them achieving a very broad base of interested listeners.  Much like the jazz that Ephel Duath draw one of their many influences from, I feel that most people will find this music simply too challenging to listen to for very long.  http://www.ephelduath.net
[Nels Bruckner]

evolotto EVOLOTTO
6ixers
(Sin Klub Entertainment)

You know those bands who don’t want anyone to hear their stuff unless it’s just right?  The guys who agonize for hours on end about how the kick drums sound, who spend days mic’ing the guitar cabinet?  The guys who cringe at the thought of letting anyone hear ‘the rough mix’?  You know, “perfectionists”.  Well, I don’t know the guys in Evolotto, but I’m gonna guess that they aren’t one of those bands.

At least, not if their new CD entitled “6ixers” is any indication.  In fact, after looking at the packaging and listening to the music I’d almost guess that they spent more money on the cover photo (a devilish image of Michonne Bourriague… who I had never heard of either) than they did on the recording and mix down.  As a result, it’s really hard to tell if anything special is going on here.  I mean, it sounds like they can play their instruments, but everything sounds very flat, muddy, and indistinct.  Also, most of the 13 tracks are about the same tempo, so it’s really hard to pick out any points of interest.

The only thing that does stand out from the din are the vocals… and in this case that’s not a good thing.  They use a Jello-Biafra-meets-Danny-Elfman punk approach (alternated with just plain screaming) which sounds really tired and dated.  The effect is kind of late 80s punk meets generic basement metal.

I’m probably being too hard on these guys.  They probably sound better than this recording would lead you to believe.  Man… I sure hope so.  http://www.evolotto.com
[Nels Bruckner]

flamethrower FLAMETHROWER
Flamethrower
(Dead Teenager)

This label is quickly becoming my favorite new home for kick-ass rock bands and Flamethrower are yet another success story.  Imagine, if you will, a cross between early Motörhead, Gang Green, Mudhoney and the first Suicidal Tendencies album and that's the crude beauty of Flamethrower.

"Super Bee" rocks out in a punked-up hard rock fashion, while "Coked Up" sounds like nothing short of a, well, coked up version of "Suicide's An Alternative."  Taking another turn, "Drowning and Empty" reminds me of the raw early work by bands like Tad and Nirvana - in your face and heavy as fuck without being metal at all.  The guitar solo is almost painful.  The speed abates here ant here, but remains firmly in place on most cuts, with "I Want it All" and "27" among the most memorable (with the latter sporting one of the best choruses I've heard in a while).  It's entertaining that vocalist Brian High can evoke Lemmy, Mike Muir and Kurt Cobain without losing his own distinctive style.

Flamethrower combines the best elements of 80s hardcore, hard rock, early grunge, and their own twisted sense of humor to create a pretty unique style.  Fans who dig any of the other bands on Dead Teenager (or any of the bands referenced in this review) are well advised to search out Flamethrower - a fiery, energetic platter that just plain rocks.  http://www.flamethrower666.com
[Daniel Hinds]

freya FREYA
As the Last Light Drains
(Victory)

The bleak industrial artwork marks out the territory that Freya attempts to explore musically and, fortunately, they do it very well and with enough of a human touch to make you feel it.

Opening track "Negative Infinity" is a showcase of Freya at their best: a great main riff, hardcore vocals that are coarse but don't screech and a short, intelligent arrangement.  There are some more mainstream 'clean' vocals that are mixed into many of the songs that I could do without, but at least they are the exception rather than the norm.  "As the Last Light Drains" features another great riff, same with "Resuscitate" - great, choppy riffs that make you move your body.  "Dead in Her Eyes" shows the band capable of speeding things up and features some really unusual sliding change-ups.  Wisely, the band keep both the songs and the album short, knowing when to get out before their ideas repeat themselves.

Here is an overly simplified comparison for you: Helmet meets Stigmata.  Yeah, there's more going on here than that and no doubt other bands have influenced them more, but that gives you a basic idea of where Freya is coming from.  It's angry and energetic, but tempered just enough to keep it from being senseless violence.  http://www.victoryrecords.com
[Daniel Hinds]

fu manchu FU MANCHU
Go For It…Live! (2CD)
(Steamhammer/SPV)

High-energy rock 'n' roll is what Fu Manchu has always been all about and the live environment is the best place for just such racket.  Since I seem to keep missing these guys when they tour, I was psyched to at least get to hear them on this double-live release and I was not disappointed.

"Hell on Wheels" gets things rolling with that oh-so-simple yet utterly wonderful riff.  Past tunes like "Asphalt Risin'," "Tilt" and "Ojo Rojo" all slot in perfectly with cuts from the last two records.  Other highlights include "Hang On," "California Crossing" and the ultra-heavy "Over the Edge."  The seven and a half minute version of "Anodizer" complete with drum/guitar battle for sonic supremacy was probably cooler to watch than hear but it is still pretty damn cool.  Similarly disc two ends with an 8+ minute "Saturn III" that dissolves into a nice freak-out jam at the end.

The tales of cars, skating and the California lifestyle (as viewed through a heavily filtered 1970's lens) never lose their vitality, with the older cuts sounding particularly powerful compared to the originals.  Not every track fares as well in the live setting though.  "Boogie Van" sounds strangely slow and a bit wobbly, while "Weird Beard" seems a bit muted.  Perhaps these complaints have more to do with King of the Road being my fave Fu album so I'm particularly sensitive to these tunes.

Scott Hill's vocals aren't note perfect at all times, but it only adds to the authenticity of the recording.  Overall, Go For It…Live! Is a great-sounding and lively collection of live songs that span the entire history of Fu Manchu and you really couldn't ask for more than that.  http://www.fu-manchu.com
[Daniel Hinds]

funeral age FUNERAL AGE
Fistful of Christ
(Thousand Funerals)

I remember being rather impressed by a local thrash outfit a few years back by the name of Suicide Culture.  Instead of disappearing like so many promising acts do, this trio dropped the clunky moniker and has resurfaced as Funeral Age and armed with an even more lethal collection of songs.

As the rolling drums herald in "…Bloodshed Begin," it is clear that Funeral Age has incorporated some more extreme elements into their style.  There are still plenty of thrash-oriented riffs and the vocals still have that gruff edge to them, but some well-placed blastbeats and nimble-fingered riffs hint at some definite death and even black metal influences.  Pretty much all of the songs are long and boast complex change-ups, but well-crafted ones, not just random tempo shifts.  I detect an echo of the mighty Dissection in the menacingly melodic "Upon the Grave of Angel's Wing," while "Halo of Suffering" starts off with a fast, melodic blackened riff before diving head first into a truly killer thrash riff.  Speed - yes!

Funeral Age is still a bit rough around the edges production-wise, but damn this is one impressive slab of metal!  My exposure to the current crop of Seattle metal bands is admittedly rather minimal, but I've been reading lots of good things and this album certainly piqued my curiosity as to what else is out there.  I just need to ignore the fact that I'm old and lazy and get out to some goddamn shows…  http://funeralage.4t.com
[Daniel Hinds]

gaia epicus GAIA EPICUS
Satrap
(Sound Riot)

Not knowing what to expect from this Norwegian outfit, I was pleasantly surprised by the intense brand of power metal that they play.  Imagine a mixture of Iron Savior, Bal-Sagoth, and hell I don't know, Manilla Road?  Whatever the formula is, Gaia Epicus have really nailed it here.

First song "Keepers of Time" starts off with a nice big intro and then a dead-heavy (and fast) riff comes in and you can't help but be swept along for the ride.  Helloween in their heyday certainly comes to mind during the slower, more melodic breakdown near the end and the band even throws in some cool drum fills.  "Heavens Gate" features a slightly more Maiden feel with some bizarre, retro keyboards thrown in.  "Star Wars" slows things down a bit but again that killer hook is right there as soon as the main riff kicks in.  The song is actually about the Lucasfilm saga, too - that takes some balls.  "Innovation" is an instrumental that shows off the slightly more progressive side of the band as well as their fine chops, reminding me a bit of something off the first (and still best) Dream Theater record.  "Freedom Calls" also stands out for starting with a slower, heavy riff and then transforming into a near-thrash section before crashing into the band's more typical power metal style.  The epic "Watch The Sky" closes an album free of sappy ballads (thank god).

The production is clean and the performances are strong all around, esp. the lead work.  The vocals are in the same general range as most power metal vocals but with a more nasal quality that, if anything, gives the band a little more of their own personality.  For me, the fast, infectious riffs that populate just about every song make this album a great debut and one of the best power metal releases I've heard all year.  http://www.gaia-epicus.com
[Daniel Hinds]

HALO
Body of Light
(Relapse) 

Metal meets old-school industrial/noise experimentalism.  Lo-lo-lo-fi production means over-zealous low-end EQing leads to bass frequencies which swallow the rest of the music.  Scratch that.  Anti-music.  Loud, slow drones and drums and guitar chords meet plenty of noise—nothing would say “I’m depressed, leave me alone” better than this album.  Well, maybe playing your Pain Teens albums at the wrong speed, with the tweeters of your speakers gouged out.  Rrrrrrrrrrrrrrrrrrr.  Highly recommended for the hard-of-hearing.  http://halo.antisound.net
[Laird Sheldahl]

hate pulse HATEPULSE
In Extenso Letalis (MCD)
(Rage of Achilles)

A few things struck me about this band, apart from their music.  First off, the bio says they formed in early 2003 and managed to record a five-song demo, get signed to Rage of Achilles, and release said demo as an MCD by the end of July.  That's pretty impressive, even if both members are somewhat established within other bands (World Destroyer, Carpathian Forest).  Also, despite the rash of bands with the word 'Hate' in their names, these guys seem obsessed by the concept, with every other word on their web site being 'hate' or an insult of some sort (just head there and click on Vrangsinn's email link for an amusing example).

So the music I guess.  Well, it's got that evil, early Frost and Bathory vibe, injected with all the loathing and black hared of bands like Darkthrone and Hades Almighty.  The vocals in particular really deserve the term grim, with the occasional soul-rending shriek to drive the point home.  All five cuts are excellent, with "The Avenger" probably being the fasted one, while the others tend more towards mid-tempo territory.  The final track, "Dødsferd" breaks the mold a bit with a heavily processed guitar sound that bears some industrial traces.  Fear not though, it's very subtle - Mayhem this is not.

The album cover is suitably ugly to match the mood of the music, just as the production has a full but very dirty feel to it.  Whether or not this is 'pure' black metal is a moot point - this is just straight-up, fucking killer, hate-fueled, bestial music infused with power and dealt out with conviction.  http://www.hatepulse.com
[Daniel Hinds]

hatesphere HATESPHERE
Bloodred Hatred
(Century Media)

What a great time to be into thrash/speed/agro metal!  It seems like every time I turn over a rock some new band emerges that just fucking shreds.  Well emerge, HateSphere, emerge!  (Actually, from the sound of things HateSphere have been working at this emergence for quite some time, having suffered through many lineup changes, name changes, and putting out a self-titled CD a few years back in Europe).

Hailing from Denmark, HateSphere fall right into step with the music being produced by so many fine bands from that region of the world.  Those cold northerly reaches seem to be a veritable breeding ground for fast, aggressive metal.  And thankfully (again like so many of their compatriots) HateSphere manage to put their own unique stamp on things.  Still, comparisons to bands like The Haunted, The Crown, and Arch Enemy will reach out and grab you by the throat on first listening.  Witness the fierce onslaught of “Believer”, “Hell is Here”, and “Insanity Arise” to name but a few.

Even so, there is plenty of variety woven in here.  Finely crafted tempo shifts (reinforced by some impressive, intricate drumming) and slower interludes on songs like “Deeper and Deeper” and “Kicking Ahead” keep things from ever sounding monotonous or repetitive.  There are also plenty of accomplished guitar solos (including some sweet harmonized twin guitar interludes that remind me strongly of Testament and other old-school Bay Area thrashers – check out the first solo interlude on “Disbeliever”) that really tie everything together.

Two “hidden” tracks are also included, recorded for a 1998 demo (presumably when the band was still called “Necrosis”).  While they sound a bit dated (they are 5 years old, after all) they give an interesting glimpse into HateSphere’s (deathy) origins.

With Bloodred Hatred HateSphere provide a very welcome continuation / addition to the evolving “Swedish” sound.  I for one am very impressed… now, to hunt down a copy of their first CD (which I managed to miss, unfortunately).  http://www.hatesphere.com
[Nels Bruckner]

havochate HAVOCHATE
This Violent Earth
(Root of All Evil)

I managed to miss this band on their tour with Manowar last year and, after hearing this album, am kind of bummed that I did.  This isn't the greatest album ever made or anything, but the band's brand of thrash-meets-power metal is pretty enjoyable and would have probably been even better live.

From the get-go, it is clear HavocHate means business.  The guitar tone is heavy and the riffs are unforgiving, while the vocals are fairly clean but delivered with a lot of power.  The resulting combination brings to mind some of the bands from the late 80s like Meliah Rage - thick and heavy but not totally without melody.  Some of Pantera's early Phil work is a good comparison, too, esp. on more mid-tempo cuts like "Years of Abhorrence."  The closest the band get to a catchy chorus is on "Pull the Plug" (not a Death cover), where a sense a shadow of classic Savatage at work.

This Violent Earth is a good, solid metal record - nothing more, nothing less.  The production is meaty and there are some cool riffs to be had here and there.  The singing is maybe the one element that overstays its welcome, but all in all, this is a strong debut that will appeal to power metal and thrash fans alike.  http://www.havochate.com
[Daniel Hinds]

helloween HELLOWEEN
Rabbit Don't Come Easy
(Nuclear Blast)

My first encounter with these German power metallers was when my bro bought their debut EP way back when.  It was good but I was far more impressed by the follow-ups The Walls of Jericho and especially the Judas EP. Though I was initially taken aback by the more commercial direction they took when vocalist Michael Kiske joined, the Keeper discs won me over in the end and are probably my favorite Helloween moments to date.  Even after Kai Hansen left to form Gamma Ray, the band managed to put together a couple more good (although rather experimental) albums, but when Kiske took off, I really lost interest.  New singer Andi Deris had a far rougher and less charismatic voice and the music seemed to be stuck in a loop.

So here we are nearly a decade further along, with wave after wave of Helloween wannabes crashing against my mailbox each month.  Though other bands factor into the equation (Iron Maiden, Queensrÿche, Dream Theater), Helloween is largely the prototype for the entire melodic power metal movement that has swept through Europe and the world.  Can the original compete with the swarms of imitators?

Based on Rabbit Don't Come Easy, the answer is yes, but it's going to be tough.  The album is by no means bad, but it's a little too formulaic at times to fully explode.  The double-bass drumming, the huge sing-a-long choruses, the happy melodies and the technical solos are all in their proper places and executed with precision on songs like "Just a Little Sign" and "The Tune."  Guitarist Michael Weikath (one of only two original members at this point) only contributes to four of the songs, with Deris and new guitarist Sascha Gerstner getting to show off their writing skills more.  The diversity in writing (bassist Markus Grosskopf even gets in on a couple tracks) helps break things up a little.  So while some songs are a little too similar to past compositions, others have a fairly fresh feel to them.  Songs like "Back Against the Wall," "Never Be a Star" and "Liar" are fine tunes that manage to retain the essence of Helloween without sounding like something they've done a million times already.  The mini-epic "Nothing to Say" is perhaps the album highlight, covering a lot of ground and doing it well throughout.  It's funny that Jens from Stratovarius was joking about doing a reggae album in my last interview with him, as that is one of the elements that Helloween has incorporated on this one (along with some classic bluesy hard rock ala Zep).

Either Deris has improved since Master of the Rings or I've just learned to tolerate his gruff style better, and he doesn't sound half bad here.  I still miss Kiske and Hansen, but at least the band sounds integrated and unified in their vision on Rabbit Don't Come Easy.  People change and personalities clash in the real world, so I have always been a supporter of bands continuing with or without the original line-up (hell, I'm even excited about the new Schenker-less UFO album on the horizon!) and it's good to see Helloween still out there slugging it out.  http://www.helloween.org
[Daniel Hinds]

hortus animae HORTUS ANIMAE
Waltzing Mephisto
(Black Lotus)

Black metal evolved quite a bit during the 90s but it seems to have hit a sticking point and very few bands are doing anything new with it anymore.  Hortus Animae may not be completely original, but there does seem to be certain amount of innovation here and it is fortunately coupled with an equal amount of quality.

"Enter" is generally raging, keyboard-laden black metal in the tradition of Dimmu Borgir and Satyricon, but the band throws in some classic metal riffs here and there as well.  The tempo varies widely as the song progresses through many twists and turns, but it is nothing compared to the sprawling epic "A Lifetime Obscurity."  Lasting over twelve minutes, it moves from intense, pounding black metal to very folky material (with a distinctly Italian quality) to thrash-inflected darkness ala Cradle of Filth.  "Springtime Deaths" features similar contrasts, though replacing the folk element with a romantic, classical vibe, enhanced by strong violin and piano work.  The most bizarre track is actually a medley of Mayhem's "Freezing Moon," the song "Terzo Incontro" by someone I've never heard of, and "Tubular Bells" (aka the theme from The Exorcist).  Bizarre but it makes as much sense as anything on here.

Waltzing Mephisto isn't one hundred percent original, nor is every single track completely captivating, but it is a well-written and played slice of powerful black metal that incorporates some new and interesting ideas.  http://www.hortusanimae.com
[Daniel Hinds]

in flames IN FLAMES
Trigger (EP)
(Nuclear Blast)

I was one of the folks that felt let down a bit by Reroute to Remain (and find myself listening to Clayman and The Jester Race way more often), but it wasn't without merit.  One of the highlights is the song "Trigger" which the band has wisely chosen as the new single/video.  The video is amusing simply for its Soilwork mirror, but it also represents the band better than most of the other album cuts.

The single edit of "Trigger" is up first, jumping right into a classic In Flames riff that breaks down into a big, melodic chorus.  The death metal and Iron Maiden influences still show through clearly, though the production gives it a bit more sheen than perhaps it needs.  "Watch Them Feed" is next and strips away the luster, offering one of the fastest, hardest In Flames songs in years, featuring a much punchier drum sound.  The chorus suffers a bit as Anders strays into his whiny voice a bit, but he spits out the verses with such venom, I can't complain much.

Next is a cover of Genesis' "Land of Confusion."  Now, I absolutely HATED this song when it came out in 1986, due mainly to the fact that it was accompanied by a god-awful video that MTV insisted on playing all the goddamn time.  In Flames manage to dress it up some though and certainly metalize it, complete with screamed vocals and double-bass pounding.  Not as good as their cover of "Everything Counts" a few years back, but decent.  "Cloud Connected (club connected remix)" is next, giving the song a much groovier, more electronic base, but still managing to retain some of the heaviness of the original.  Far more interesting is the 'C64 Karaoke Version' of the song "Moonshield."  I'm guessing this was programmed and run through a SID Station, as it has that very retro, very low-bit synth sound, but it's just too cool.  Metal purists will hate it, which just makes it that much better.

Don't know how much they are charging for this, but if you can get it cheap, I'd say go for it.  The new tracks are worth it, plus you get to see the video for "Cloud Connected" (not that impressive, but hey).  http://www.inflames.com
[Daniel Hinds]

in the woods in the woods IN THE WOODS…
HEart of the Ages
Omnio
(Candlelight)

While I could do without any more Christian Death re-issues, seeing In The Woods… get their albums re-issued here in the States finally was a very pleasant surprise.  This truly unique Norwegian outfit came along in the mid-90s, threw away the rules, and proceeded to record several epic albums that mixed everything from extreme black metal to gloomy alt-rock to psychedelic spacework.  Candlelight has given us their first three albums, HEart of the Ages, Omnio, and Strange in Stereo (which I previously reviewed here).

HEart of the Ages shows just how bold (and/or crazy) this lot was, kicking off with an extremely varied twelve-minute monster called "Yearning the Seeds of a New Dimension."  Opening with some trippy keyboard work, the song slowly evolves into a mournful dirge with Spartan drums and watery guitars, finally plowing headlong into a sea of raging black metal.  But, unlike a certain overly popular Swedish outfit, In the Woods… know how to arrange their songs, as the song builds and builds before finally returning to earth at the end.  The title track continues in a more melancholy, early Katatonia mood, while "…In the Woods" actually breaks out some chunky, heavy riffs before spinning out of control.  The vocals, particularly on this latter track, are screechy and piercing, like a bird of prey being eviscerated alive.  There are also more standard, droopy clean vocals to be had, but it's the extreme style that really marks this album.  "Mourning the Death of Aase" is a shorter number that features some cool female chanting at its core, leading nicely into the multi-faceted behemoth "Wotan's Return."  A sweet piano/synth instrumental and the chillingly atmospheric "The Divinity of Wisdom" close this beautiful hour-long set.

Omnio was actually the first In the Woods… record that I heard, having picked up a copy of it at Rasputin's down in the Bay Area back in '98.  This album sounds just as fresh, emotional and cosmically weird now as it did then.  Omnio sees the band casting off some of the more extreme elements (especially in the vocal department) and moving in an even more transcendent and exploratory direction.  Clean male and female vocals interweave throughout songs like "299 796 km/s" - definitely an epic song, even by In The Woods… standards.  "I Am Your Flesh" takes a more straight-forward approach, incorporating some rather classic metal bits into the band's formula.  "Weeping Willow" continues the melancholy mood with a slightly progressive flair, while "Omnio?" sets sail for Out There, disappearing over the horizon with the two tracks that follow.

If you have a taste for more esoteric and intricate music and can't get enough of bands like Emperor, Opeth or Pink Floyd, you really need to check out In The Woods…  Any of their albums is worth getting, though I think I would suggest HEart of the Ages for those into the more extreme stuff and Strange in Stereo to everyone else.  Chances are you'll end up getting them all eventually anyway.  http://www.candlelightrecords.co.uk
[Daniel Hinds]

jack starr JACK STARR'S GUARDIANS OF THE FLAME
Under a Savage Sky
(Crash)

After contributing some great fretwork to Virgin Steele and releasing several albums on his own back in the 80s, guitar whiz Jack Starr has finally regrouped and returned with possibly his best and certainly his heaviest album to date.  Recruiting former co-conspirators Ned Meloni (b) and Joe Hasselvander (d), along with ex-Picture singer Shmoulik Avigal (v), this is one rock-solid band and fortunately the songs themselves live up to the quality of the musicians.

"The Flame That Never Dies" is a great metal anthem with an addictive chorus and nicely sets the tone for the album.  This is 80s-era Sabbath crossed with Rainbow and MSG, but all taken up several notches in the power metal stakes.  "Conspiratos Sanctos" is slower but no less powerful number, while "Cry For Dawn" has the double-bass thundering along nicely.  The aptly titled instrumental "Anthem for the Nations" has that larger-than-life feel to it that some of Michael Schenker's instrumental did.  Though it is perhaps a bit bloated at 6+ minutes in length, as a guitar showcase you couldn't ask for more.

The first less than stellar track is "Sharon of the Woods," which is still not half-bad and is quickly followed by the lively, Celtic-flavored title track.  "I Stand Alone" bizarrely breaks into the chorus riff from Blue Oyster Cult's "She's as Beautiful as a Foot" for the closing solo spot - hey, any BOC references are fine by me!  "Personal Demons Dethroned" has a slightly familiar feel to it as well, but is also another great classic metal tune with a darker riff.  "Masters of Fate" is a nice epic-length number that for some reason sounds like it was recorded in a closet compared to the rest of the album - weird.  The disc closes with "Return From the Ashes," another solo-driven instrumental that showcases Starr's unique blend of classical, rock and blues influences.

Jack Starr certainly falls into that 'massively underrated' category (also inhabited by UFO guitarist Paul Chapman, who makes a guest spot on this very record) and I'm psyched to see hi back on the scene and making such great music.  Hopefully the rather dodgy cover art won't deter anyone who loves classic metal in all its forms from going out and picking up a copy as soon as possible.  http://www.crashmusicinc.com
[Daniel Hinds]

jag panzer JAG PANZER
Decade of the Nail-Spiked Bat
(Century Media)

As a label, Century Media really surprises me sometimes.  While I'm sure Jag Panzer do well enough, they can't be the label's biggest seller, yet they have released this beautifully-packaged two-disc set of re-recordings of their early tunes - pretty damn cool, if you ask me.

I remember getting Ample Destruction on vinyl back when it was still new and being slightly put off by the rough around the edges production and songwriting, but also captivated by the power of songs like the classic "Symphony of Terror," "The Watching" and "Warfare."  Hearing the current line-up tear through these rough gems, it finally makes the connection between the band's early days and their polished late-90s work make sense (although seeing them live last year also did well to bridge this gap, too).  Also interesting to hear are tracks from the Dissident Alliance album, such as "Spirit Suicide" and "The Church," both of which have a fuller, more melodic touch here.

The production is kind of sparse and the mix dry, which saps a bit of the energy from otherwise great songs and performances.  This is really the only fault with this release though and it is nice to hear the band embracing their past.  They even used the artwork that was supposedly going to adorn the follow-up to Ample Destruction - some very unusual artwork indeed.  http://www.jagpanzer.com
[Daniel Hinds]

KALMAH
Swampsong
(Century Media)

Well, I won’t get far without making a reference to In Flames, so let me get it out of the way.  Kalmah puts a fair amount of focus on melody to help drive their thrash/metal sound.  And, like In Flames, they do a good job of layering melodic guitar-work with speedcore riffs and thrash-metal snaredrum abuse.

While I could personally do without the cheesy 70s synth riffing, a little added feedback on the guitars now and then almost makes up for it.  The bottom line is, though, that the melodies are really strong and the fast and furious musicianship tight, to complete a very professional hardcore album.  http://www.kalmah.com
[Laird Sheldahl]

katatonia KATAONIA
Viva Emptinessalbum of the month!
(Peaceville)

From the moment Katatonia introduced clean vocals on the Brave Murder Day MCD, every thing they've recorded has been steadily building to this.  This is it, the masterpiece that has been circled and approached but never completely captured until now.

The songs… that's what it is all about and there are some real classics here.  "Ghost of the Sun" starts off with a modern-rock sounding guitar bit but once the main riff lands and the gorgeous vocal melodies take hold, it can be nobody but Katatonia.  As good as the verses are, the chorus here is just huge - emotional, catchy, memorable from the first spin.  "Sleeper" starts off with some very airy guitar jangling before diving deep into the mammoth pre-chorus that is guaranteed to get some part of your body moving.  "Criminals" completes the initial trilogy of brilliant tunes that starts the album, taking a more atmospheric, moody tone that I could easily see making a great single.

Moving on, the plaintive "A Premonition" reaches a Cure-like haunted feeling in the chorus, while "Will I Arrive" is a noisy jazz machine anchored by some killer harmonics and offbeat drumming.  "Burn the Remembrance" starts off with the kind of light guitar melody that Amorphis specializes in these days, but quickly moves into one of the album's best riffs - pure Katatonia.  "Wealth" jerks around between heavy, progressive and mellow passages with a little too much abandon, marking it as one of the only tracks that didn't fully succeed.  The band strikes up a waltz in the form of "One Year From Now," the most delicate and just plain beautiful song here, reminding me a bit of Amoeba at times.  "Walking By a Wire" alternates between ghostly melodies and a tight, slamming riff, with some of the most cinematic lyrics yet.  "Complicity" is another somewhat under-achieving song, but it leads into "Evidence," my favorite song of the lot.  This song has it all - a memorable verse, a gripping chorus, and lyrics that intrigue and demand attention.

If the album ended here, I'd have been more than happy.  As it is, we also get "Omerta," which has a hint of Celtic folk underlying it and ends so abruptly I thought my CD player had shut off unexpectedly.  "Inside the City of Glass" is a loping instrumental that slowly fades the album to black.

The lyrics on Viva Emptiness are, as always, very intriguing.  Most don't make much literal sense on first read, but they are very evocative nonetheless and are delivered with such feeling, you can't help but make your own mental movies to follow along.  These are abstracts that you can easily find your own detailed scenes in.

More than ever, I can't understand how this band hasn't become huge.  They still incorporate enough metal elements to keep their long-term fans content, while including lots of new, modern-sounding bits that are done better than anyone else out there.  I have no idea whether Katatonia can follow this album with anything quite this good, but even if ultimate commercial success never comes into the picture, I feel certain that Viva Emptiness will only grow in time to become considered a true classic the likes of which we've seen precious few in this millennium thus far.  http://www.katatonia.com
[Daniel Hinds]

kreator KREATOR
Live Kreation (2CD)
(Steamhammer/SPV)

Having witnessed the full impact of Kreator's live show four times, it was always surprising to me that they didn't have a proper live album.  Mille and co. finally gave us the goods this year, almost overdoing it with a double-CD release and a full-on DVD concert video.

Two factors seem to separate the good live albums from the shit ones - sound quality and band performance.  Every time I have seen Kreator, they have sounded brilliant so it is no surprise that the audio quality of Live Kreation is top-notch.  It almost could be too slick for its own good, but Mille's angst-ridden hollering insures plenty of edge.  The drums sound crisp and the guitars are heavy and well-defined.  Also, the band wisely mixed the audience down during the songs, something not all live album mixers have the sense to do.  The tracks were recorded in several different countries (including at least Korea, Germany and Greece, based on Mille's stage raps), so the consistent sound is quite impressive.

After running through a couple of decent cuts off the latest album, the band breaks into "Extreme Aggression" and it just sounds so much more alive.  This was my favorite era of Kreator, from Pleasure to Kill through Extreme Aggression, and the songs sound just as damaging and in-your-face as they ever did.  "People of the Lie" works nearly as well and the newie "All of the Same Blood" is one of the few Violent Revolution tracks that I think really fits in with the classics.  "Phobia" (and later "Black Sunrise") do a good representing the highly underrated Outcast album, while "Renewal" actually sounds better produced than the original album version (taken from the excellent but totally underproduced album of the same name).  A killer one-two of "Terrible Certainty" and the aptly-named "Riot of Violence" close out disc one perfectly.

Disc number two starts off a bit slow, with the rather tepid tunes "Lost," "Coma of Souls" and ""Second Awakening," but things ignite as "Terrorzone" builds and builds and the main riff kicks in.  "Betrayer" sounds killer but the vocals sound a bit out of breath (the tune ends with a "See you next time!" shout out, so this isn't too surprising).  "Leave This World Behind" kills and "Under the Guillotine" is quite possibly the most energetic tune on this whole set.  The final four are nearly as intense, as the band thrashes out killer versions of "Awakening of the Gods," "Golden Age," "Flag of Hate" and the utterly metal "Tormentor."

As live albums go, Live Kreation is a damn fine one.  It might not be in the same league as No Sleep til Hammersmith or Unleashed in the East, but damn what is?  You get plenty of music here that spans the entire history of Kreator.  I would have liked to have heard fewer cuts from Violent Revolution, but it was the album in support so I can't blame the band for wanting to play it.  Overall, it was worth the wait, so grab a copy of this and then get down to see them when they come through town.  http://www.kreator-terrorzone.de
[Daniel Hinds]

kuru KURU
In Between Worlds (MCD)
(Buriedinhell Records)

This lot of death/grind merchants hails from Sacramento and are clearly not content to play anything trendy or even remotely friendly.  The five tracks offered here are sheer brutality, without so much as an acoustic guitar interlude to soften the blow.  So be it.

First up is the title track which rages through several tempos as the vocals are growled out in classic subterranean death metal fashion.  The lack of recording quality becomes a bit more obvious on the high-speed "Dreams of Filth," where the guitars tend to get lost a bit behind the drums and general chaos.  "Beast Hammer" (great title) sounds better and features more interesting riffs, while "Kuru" takes some more convoluted twists and tempo shifts.  "End of Days" is the longest song here (clocking in at a staggering 4:28) and takes a rather odd turn at the 3 minute mark into some industrial/sample territory that maintains the level of hostility right up til the end.

Kuru isn't my favorite new band and lean a bit more towards grind than my tastes approve of, but there is no denying the skills at work here.  With further development of their own style and a better recording, I could see these guys making major waves in the scene.  http://www.kurumusic.com
[Daniel Hinds]

leviathan LEVIATHAN
The Tenth Sub Level of Suicide
(Moribund)

This is black metal at its deepest, darkest cult level.  Well maybe not that extreme, as you can tell what's going on and it is enjoyable, but it's pretty fucking dark just the same.  Finding out much about Leviathan beyond the short bio is proving difficult, but I can tell you that this is a one-man band (Wrest) and appears to be American made.  The lack of easy access into the world of Leviathan only adds to the mysterious tone set by the utterly grim, gloomy music contained on this disc.

There is a strange dichotomy at work here, as the music has a very unpolished, underground recording quality to it, yet it also bears the trademarks of being severely tended to in terms of getting just the right arrangements and performances.  It has that compelling, midnight-in-the-woods atmosphere to it that makes you shiver yet draws you into it, deeper and deeper.  Raging blastbeats and icy, wind-swept riffs converge on most tracks, but they give way to mid-tempo riffs or slower, doomy passages at just the right moments to keep the songs burning bright.  The vocals are also some of the most spine-tinglingly grim I've heard in a while, never sounding forced (or even human, for the most part).  All the songs work though I might single out the plodding death march called "The Idiot Sun" as my fave.

The use of keyboards is also very effective on this album.  Avoiding the clichéd symphonic or industrial styles, Leviathan incorporates them as gritty atmosphere that only serve to emphasis the coldness of the songs.  "Submersed" is a prime example of how keys are used, making for a splendidly haunting instrumental that nicely bridges "Ye Whom Shadows Move Towards" with "Mine Molten Armor."

What more can I say?  Add in the cool cover art and band logo and you've got the whole package here - grim, bleak black metal that perfectly balances rawness with acumen.  http://www.moribundcult.com
[Daniel Hinds]

luciferion LUCIFERION
The Apostate
(Listenable)

Apparently waiting seven years to follow-up their debut album caused the pentagram to fall off their logo, but it also meant an incredibly tight, meticulously written and recorded album of grand black/death metal.

After a lengthy intro, Luciferion get down to business with the nine-minute title track.  High-speed drum excursions are coupled with incredibly rigid (and heavy) guitars, harsh but palatable vocals, and lots of cosmic keys.  In fact, the song breaks down in the middle into an ambient journey for a minute or so before the metal explodes again.  Another point later the song stops altogether before launching in a totally new direction, faster than ever.  "Become or Be Gone" features some extremely fast but more thrash-oriented riffs and is followed by "Destroying by Will," home of some pretty wild soloing.  "New World to See" has some cool bits but seems a bit more disjointed than the other tracks with the keyboards sounding just a tad cheesy.

The second half of this album consists of a cover and the five songs from their 1994 demo.  First off - and I know I've complained about this before and would have complained again on the Pro-Pain review this month if I had done it - but for fuck's sake people - STOP COVERING "CIRCLE OF THE TYRANTS!"  Celtic Frost was a great band and that was a decent song, but it has been done to death already.  Pick something else.  Moving on to the demo material, well, it's not half bad.  The production is a bit soft but pretty good, esp. for 1994, with the bass coming through particularly well.  The songs themselves are maybe not as distinctive as the new stuff, but still good and more in a death/thrash vein overall.

Luciferion has done well here, bringing the right intensity and creativity to the black/death genre without losing their edge or going off the deep end into self-indulgent wankland.  Heavy, fast, complex and brutal - you get it all.  http://www.luciferion.com
[Daniel Hinds]

metallica METALLICA
St. Anger
(Elektra)

Any album Metallica released in 2003 would have had people buzzing, but St. Anger has turned out to be probably the most provocative metal record since I don't know when (Risk perhaps?  Cold Lake??).  Critics have generally warmed to the radical departure James and Co. have taken, but the overwhelming fan reaction seems to be bitterly negative, from Load-era fans to Kill 'em All die-hards.  My curiosity piqued, I plunked down my $10 the first week it was out and have been wrestling with the album ever since.

My first encounter with Metallica was when I was 13 and my brother had purchased the brand new Kill 'em All and insisted on playing it on our way to school.  From the start, I was floored by the speed, complexity, heaviness and sheer power of this record.  It was truly like nothing else out there at the time and that is a fact that I think is lost on a lot of people who only heard it later on.  And it was a fucking LONG record with LONG songs that you never wanted to end.  The riffs, my god, the riffs!  Then Ride the Lightning dropped and Metallica were solidly one of my favorite bands, period.  Master, Justice and Garage Days were all brilliant, too, but RTL still holds a special place for me for that perfect synergy of technical genius and raw energy.

Then the black album hit.  I knew when they premiered "Enter Sandman" on the radio and my roommate came in and immediately asked, "Is this Warrant?" - something was definitely wrong.  Despite a few bright spots ("The God That Failed," "The Unforgiven" and "Through the Never"), it was too slick, too simple and just too bland to stand up against the band's previous powerhouse LPs.  With Load and Reload, the band churned out increasingly less metal versions of the black album and it was clear a change was urgently needed.

The problem was what direction to take and Metallica has proven in the past that unpredictable moves usually ended in disaster (S&M, for example, was a piece of shit).  Deciding to overhaul everything - production, arrangements, guitar tones, solos (or lack thereof), song lengths - Metallica managed to succeed in some areas while falling flat on their face in others.

THE PRODUCTION:  The first thing that I noticed when I heard the song "St. Anger" was the truly god-awful production.  Bob Rock may have been cloying in his tendency to overproduce in the past, but his idea of 'bare bones' production is so far off from anything good, it's unbelievable to me that Metallica still work with him.  Metallica achieved the perfect garage production on songs like "Helpless" back in 1987 and no doubt spent a ton less money, but sadly they didn't take that route here.  The snare drum rings out like an oil drum, clashing with the rest of the percussion and killing the power the faster sections would have had if someone like Rick Rubin or Fredrick Nordstrom had handled the recording.  The guitars vary in tone throughout, seemingly at random, yet still never really achieve anything better than 'muddy.'  Which is a shame because there are some really cool riffs but you have to struggle to hear them.  James' vocals are much harsher than they have been in ages, which is great, but the decision to use first takes and leave in all the bits where his voice cracks or goes off-key - no.  That's just stupid.  James is not a good singer - he's a good vocalist, but not a good singer, and a good producer is what he needs to really get the best out of him and onto tape.  O, Fleming Rasmussen, where art thou?

THE MIX:  Similarly bad.  Snare drums leap out way in front on parts of "St. Anger" only to nearly disappear elsewhere.  Extraneous studio noises are left in throughout.  No care seems to be given to whether the instruments and vocals are actually meshing and everything ends up sounding very muffled.  Ugly.

THE LYRICS:  Now this is one area that I've seen almost universal criticism so far and I must disagree.  Are the words on a par with "Master of Puppets" or "Eye of the Beholder"?  Not really, but then again they are markedly better than the likes of "Fuel."  Songs like "St. Anger" (which, with the negative response to the album, reads with an interesting double meaning), "Invisible Kid" and "Sweet Amber" all had some respectable lines.  Taken in context, I think a lot of the lines people find lacking make perfect sense.

THE NU-METAL INFLUENCE:  Yes, there are some definite nu-metal elements on St. Anger.  Downtuned guitars, the 'raw' drum sound, some of the more groove-oriented riffs and repetitious vocal chants (see the otherwise good "Dirty Window" and the completely awful "Shoot Me Again" for good examples).  Calling this a nu-metal record, however, is selling it far short.  The forays into speed alone separate it from that crowd, as do the occasional honest-to-god thrash riffs and bluesy touches ("Sweet Amber").  It has more in common with nu-metal than it does classic Metallica, true, but it really is in its own world more than anything else.

THE PERFORMANCES:  James' vocal rantings are by far the most impressive thing going on here.  He really manages to get a lot of the venom back into his voice, which I really didn't think he was capable of anymore.  The guitar work is fine, what you can hear of it, but the decision to exclude any leads was a huge mistake.  Metallica is, first off, Metallica and, secondly, a metal band, and both of those things demand some fucking solos, goddamit!  What were they thinking?  Kirk says they recorded some leads but they just didn't fit in.  That's because you let Bob Rock 'help' with the arrangements (see next section).  Lars' drumming is pretty good and his bass drum sounds pretty good.  Sadly the snare and everything else sounds like crap, so his good performance ends up being mostly wasted.  The bass playing isn't worth comment.

THE ARRANGEMENTS:  My first time through St. Anger, I was put off by the haphazard song structures.  Further spins didn't improve my opinion of the arrangements, but I did start to see some really cool song elements at play on almost every song.  Apparently, Bob Rock went with a 'cut and paste' way of putting the songs together and it shows - there's no logic, no order, just these different, mostly cool, bits that smack tactlessly into each other.  Again, this is part of the producer's job and I can't understand why Metallica followed this path.  Songs from the classic years like "Creeping Death" or "Four Horsemen" had just as many change-ups, but they were natural progressions that segued smoothly into each other, making for a complete song rather than a jumbled collection of riffs.  St. Anger is mostly a jumble.

THE DVD:  There is also a DVD of the band performing all of the songs in their rehearsal room, in the same order as on the album.  This is one of the album's saving graces, as the songs sound ten times better here than they do on the actual CD - the guitars are loud, the drums sound like drums, and the band rips through each track with plenty of gusto.  If they had taken this recording of the songs and just dumped it onto the CD and released that as the album, I think they would have had a much better fan reaction.  But at least these good versions of the tunes are available and show that the songs themselves are quite worthwhile and probably sound killer on stage.

The final verdict?  I would advise that everyone listen to this album before buying because it really is a love/hate thing and if you can't deal with the new sound, you are gonna hate it.  Personally, I like most of the songs and having the DVD versions available more than makes this worth buying.  Christ, just having Metallica playing fast again makes me happy.  Now if they can just take the good elements from St. Anger and fix the bad ones, the next album should be seriously killer.  http://www.metallica.com
[Daniel Hinds]

ministry MINISTRY
Animositisomina
(Sanctuary)

It initially took a long time for Ministry to grow on me.  It wasn’t until The Mind Is A Terrible Thing To Taste and In Case You Didn’t Feel Like Showing Up that I started thinking “Hey, these guys really have something here”.  And, of course, they then pretty much started turning out… well, crap.  Whole albums worth of it, in fact.

Thankfully, Animositisomina goes a long way toward redemption for Ministries recent past.  Sure, it largely follows the same basic formula that we expect, even hope for – thick, compressed layers of guitar and gargling, distorted vocals spewed over relentless, pounding drum beats.  The difference this time around though is that they seem to mean it.  Rather than just going through the motions one more time Jourgensen and crew deliver some genuine emotion and sincerity here.  Sure, it’s predictably angst-ridden and dark, but it’s real.

Straight ahead, heavy, mid-to-up tempo assaults are the order of the day here.  Most of the tracks on this album (including the title track, “Unsung”, “Piss”, “Lockbox”, and “Impossible”) are dealt directly from Ministries strong suit, not straying far from what has worked for the band in the past.  But, again, this is a welcome regression and the songs sound strangely fresh for it.  The occasional diversions into somewhat more varied territory (esp. the synth tinged “The Light Pours Out Of Me” and the less straight forward, herky-jerky “Stolen”) serve as excellent counterpoint to the more familiar sounding material.

Animositisomina should put Ministry back onto many people’s list of serious bands, somewhere that they haven’t really been for a long, long time.  I for one am glad to see it happen and I hope it’s a sign of things to come.  And, even if it doesn’t prove to be more than a brief flashback, this album stands on it’s own.  http://www.animositisomina.com
[Nels Bruckner]

misery index MISERY INDEX
Retaliate
(Nuclear Blast)

Misery Index are a three piece out of Baltimore who dish out some pretty intense death metal.  This is apparently their second album and while I’m not familiar with their first effort, after listening to this one, I’m anxious to track it down.

When I listened to this CD for the first time I kept jotting down notes like “non-stop”, and “brutal.”  It sounds clichéd, but those words describe Misery Index almost perfectly.  It’s been a while since I heard a death metal album that fired on all cylinders the way Retaliate does.  Jason Netherton’s vocals strike the perfect balance between the two death metal extremes of sub-sonic grunting and shrill screams.  Sparky Voyles provides the requisite tight, chunky guitar parts and, last but not least, Matt Byers turns in a drumming performance that no death metal fan should miss.  It’s a truly impressive package.

My only real complaint with Retaliate is that it’s only 31 minutes and 22 seconds long.  Other than that, Misery Index have really lived up to the hype and have put out a very impressive album.  http://www.misery-index.com
[Nels Bruckner]

monstrosity MONSTROSITY
Rise to Power
(Conquest)

Florida-based death metal band from the early 90s still kicking it, you've got to admire that.  I kind of lost track of Monstrosity after 99's excellent slab of death, In Dark Purity, but I'm glad to see they've kept the flame burning and haven't lost their touch.

The MO for this act is fast, technical, brutal and that pretty much describes every track here.  The riffs come flying at light-speed, twisting and changing in the blink of an eye, making it hard to predict (or even follow sometimes) each song.  "Awaiting Armageddon" is a great example, as it winds through several different tempos and riffs.  The solo spots are also quite exemplary, with some fast-fingered fret action that still carries a great deal of thought and feeling - no mindless wanking for these guys.  Check out "The Fall of Eden," a great and surprisingly melodic guitar instrumental that comes along to break up the album midway through.  The twelve minute, er, monstrosity that is "Shadow of Obliteration" is perhaps a bit overbearing, but it certainly brings an end to the proceedings.

So what's the catch?  Well, the vocals are rather pedestrian death growls - not bad but not great either - and the band hasn't really evolved its sound much over the years.  Of course, this can also be seen as a good thing, as they have found a sound that fits and are content to keep exploring it.  Since they keep doing it so well, who am I to complain?  http://www.conquestmusic.com
[Daniel Hinds]

motochrist MOTOCHRIST
Greetings From the Bonneville Salt Flats
(Heat Slick)

This is some pretty ballsy rock 'n' roll that has hints of everything from Sex Pistols to L.A. Guns to Motörhead.  Not every song won me over, but I like many of them and the spirit the band plays with is refreshing and ties the album together.

The album starts with the heavier, grittier side of the band's sound.  Song like "Hang 'em High" and "El Diablo" show the band know how to lay down some heavy grooves, but they also lighten things up a bit on the catchier "Someday" and the Ramones cover "Something to Do."  This side of the band could almost slot in with some of the current MTV bands out there, though the songs would stick out as being way too well written and enjoyable.

Mention must be made of the lyrics on this album, too, as they are very simple but some of the sharpest I've heard in a while.  There is some serious bite in lines like "Everyday is a holiday/Except when I'm with you" and "There's nothin' right/That I can't make wrong."  The band also have a love for the automobile (if you couldn't tell by the band name, album name and cover art), as evidenced by songs like "Real Fast Car" and the killer "Super Sonic Speed Machine."  This latter tune is a great mix of 80s hard rock and Fu Manchu - top notch stuff.  http://www.motochrist.net
[Daniel Hinds]

naer matron NAER MATARON
River at Dash Scalding
(Black Lotus)

Let's see what we have here…  Cryptic band name, check…evil corpse paint, check…bald heads, check…big scary knife, check…spikes, pentagram, Emperor shirt…yep, it all checks out: this is indeed a black metal album.

Okay, I shouldn’t be smarmy with this lot as I actually liked this album, one of the best black metal albums I've heard in a while.  The band hails from Greece and finds that rare and magical balance between ferocity and atmosphere.  Wintry riffs and blastbeats rule the day, with grim vocals sailing overhead like a storm cloud enshrouding the stars.  An epic atmosphere creeps into tracks like "The Great Meridian Tide," which includes a great spoken word breakdown in its midst, and "The Triumph of Will," a militant, doom monster. 

The rather obvious trappings might steer away some potential fans that have simply been swamped by a bevy of half-assed contenders utilizing the same elements, but Naer Mataron really do deserve further investigation.  Traditional and somewhat predictable, sure, but the execution is spot-on and the dark, menacing atmosphere seeps from each track like slowly freezing blood - a must for die-hard black metallers everywhere.  http://www.naermataron.cjb.net
[Daniel Hinds]

NEUROSIS & JARBOE
Neurosis & Jarboe
(Neurot Recordings)

Someone needs to break into Jarboe’s house and steal all of her Diamanda Galas CDs.  Well, if you are under the age of 40 you might not recognize Jarboe nor Neurosis, and the rest of you I’d guess are excited at the pairing, expecting something uber-dark, arty and heavy.

The album starts off tense—rolling toms accompany a creepy two-note synth (?) loop.  It can be hard at times to tell what is guitar and what is computer-generated noise here.  At times lo-fi, bass-heavy drones we’ve come to expect from Neurosis over the years, at times cut up and distorted with the help of digital editing, its unpredictable and spooky.  But Jarboe kills it for me with her beatnik spoken-word “Look at Me, I’, an Artist!” vocals.  Luckily, by the middle of the album, she starts singing and therefore takes up less space, and I was able to sit back and enjoy this bizarre soundscape.  Ultra-bass-rumbly drones share space  with only upper-range frequencies coming from painful cymbal washes and digital-aliasing from over-zealous computer editing, mixed in with female vocals that are a bit pretentious for my tastes, but when it all comes together, it sure is evil.  http://www.neurotrecordings.com
[Laird Sheldahl]

nevermore NEVERMORE
Enemies of Reality
(Century Media)

Nevermore’s latest album Enemies of Reality has the daunting task of following the amazing Dead Heart in a Dead World, which many people view as their crowing achievement.  It’s a tough act to follow, to be sure, but Nevermore rise admirably to the task.

The production on Enemies of Reality is the only thing that I can take any serious exception with.  The razor sharp sound from the aforementioned Dead Heart (courtesy of the brilliant Andy Sneap) is missing this time around.  It’s a minor point, but it definitely detracts a bit from the impact and cohesiveness of the album.  It also means it takes a few listens to fully appreciate the material.

In all other aspects I’m very impressed with what Nevermore have achieved here.   The songs are pretty universally fierce and brutal, blending all out thrash, speed, and brooding power metal.  The arrangements are complex and interesting, with plenty of musical prowess on display throughout.  In particular, the drumming of Van Williams is exceptional, delivering stunning complexity and variety at every turn.  The guitar playing of Jeff Loomis is also quite outstanding, from his tight rhythm work to his emotive, articulate solos.  And, of course, the vocals of Warrel Dane are as distinctive and exceptional as ever.

In all, Enemies of Reality is a really good album.  Stronger production could have made it better, to be sure, but I still enjoyed it.  I also have to give Nevermore a lot of credit for having their own sound, for sticking with it, and for remaining true to their vision over the years.  http://www.nevermore.tv
[Nels Bruckner]

nightfall NIGHTFALL
I Am Jesus
(Black Lotus)

Somehow I lost track of this great Greek band after the release of '97's underrated Lesbian Show album.  So I was doubly pleased to not only hear them again but also to hear that they have, if anything, gotten better with time.

The first song, "Death of Neira," has a brooding, chunky riff that just stomps straight through to its end.  "The Senior Lover of Diamanda" keeps the vocals in the same deathly tone while the guitars take a more melodic approach.  The title track takes a more straight-forward but no less powerful approach, featuring a solo spot that careens about wildly even after the vocals return.  "A Pale Crescendo of Diamond Suns" ebbs and flows with a mix of heavy riffs, piano, and spoken vocals.  Very epic and neo-gothic in nature, the track is oddly one of the shortest on the album.  Some classic metal creeps into the future hit "The Poor Us," along with a cool little keyboard journey in the middle.  Strangely, the band chose the next song, "I've Never Dreamt the Life We Share," as the first video despite it being just about the least commercial song on the album (and sadly one of the worst, in my opinion).  The final track is "Nightfall," which starts with a somber synth and piano ambience before raging forth in a very heavy but somber style that bends towards the icy realm of black metal.

Mixing elements from modern gothic metal with those of classic death metal and spicing it all up with those elements unique to Nightfall, I Am Jesus is strong, strong record.  I believe this is their first record away from Holy Records and I must say Black Lotus couldn't have signed them at a better time - great stuff!  http://www.nightfallstar.com
[Daniel Hinds]

nightra.jpg NIGHTRAGE
Sweet Vengeance
(Century Media)

Hailing from Sweden, by way of Greece (uh…. of course), Nightrage are a virtual death metal “super group”.  Featuring members from At The Gates, The Crown, Evergrey, and The Haunted the stage is definitely set for some impressive mayhem!

Musically, Nightrage stick to their roots, delivering an album of blistering yet melodic and intricately structured death metal.  Fierce, thick drum assaults underscore chugging, ripping, razor sharp twin guitar riffs.  Vocally Nightrage have taken a somewhat unusual approach.  Primary vocalist Tomas Lindberg delivers the deathy goods (of course, ala The Crown / At The Gates) in convincing fashion while “melodic vocalist” Tom S. Englund plays counterpoint, offering contrasting vocal lines in a more traditional singing style.  It’s an interesting idea and comes off quite well here, with the occasional melodic vocal phrase complimenting the arrangements nicely.  The song "Circle of Pain," in particular, espouses this technique to excellent effect.

One area where Nightrage really fire on all cylinders is variety.  There are plenty of tempo variations and interesting change ups throughout.  Tempos range from blistering speed to slower, more thoughtful velocities.  It really makes for an interesting listen and keeps things from sounding repetitive.

With “Sweet Vengeance,” Nightrage have captured the current state of the art for melodic death metal.  Fans of the more musical end of the Swedish thrash revolution should definitely check this one out.  http://www.nightrage.com
[Nels Bruckner]

norther NORTHER
Mirror of Madness
(Century Media)

Norther is, as the name implies, another thrash/speed/death metal band from the northern reaches of Europe, in this case Finland.  It’s a genre that is rapidly becoming packed with talented bands with less and less to differentiate between them.

Mirror of Madness contains lots of energetic, well preformed and recorded melodic thrash.  There is plenty of crisp drumming, accurate riffing, and broad, “epic” washes of keyboard (including some piano parts that don’t really work for me).  The requisite scratchy, screaming vocals flow over the top to round out the picture.

Sound familiar?  It does to me as well.  A little too familiar at this point.  It’s sad, because Norther are obviously very good musicians and they’ve put a lot of work into this album.  And, don’t get me wrong, it is by no means a bad album.  In fact, fans of this genre will probably enjoy listening to it.  It’s just that there isn’t anything here that makes me go “ah, that’s Norther”.  There isn’t a spark of originality to carry it above the background noise.  http://www.norther.com
[Nels Bruckner]

omen OMEN
Eternal Black Dawn
(Crash)

Omen was never a great metal band, but they were a good one.  I remember picking up a copy of The Curse when it came out and being fairly impressed by the unique mixture of speed and power metal, with tons of melody coursing through the riffs.

When guitarist Kenny Powell put the band back together a few years ago, he unwisely chose to update the sound into a Metallica/Pantera groove.  The results weren't bad necessarily but they weren't what people expected from Omen and, more importantly, it wasn't what Omen did best.

Eternal Black Dawn marks a clear return to where the band left off after the Nightmares EP.  New vocalist Kevin Goocher isn't the most tuneful singer ever but he does the job and sounds remarkably like original vocalist J.D. Kimball at times.  Kimball had a really odd hoarse quality to his voice that I didn't think anyone would ever really replicate, but Kevin somehow manages it once or twice.

Song-wise, I don't think the material on Eternal Black Dawn is quite as strong as their heyday.  None of it is terrible mind you, but there seems to be a lack of real energy on songs like "Home on Rue Royale" or the rather bumpy "King of the Seven Seas."  Also, closing the album with a medley of their best songs from the past kind of emphasizes the lacking quality of some of the newer material.

But the flame still burns and there are some really good moments to be found here, too.  After a rough start, "Burning Times" settles into a mini-epic of classic heavy metal, with some of the vocal lines reminiscent of the Sabbath classic "Falling Off the Edge of the World."  Modern-day Riot is summoned for "Blood Feud" and the band shows off their speedier side with the driving "Chaos in the Cathedral," possibly the highlight of the album.

It's interesting to speculate exactly how Omen would have progressed had they not broken up when they did (after releasing the more commercial Escape to Nowhere disc).  Whatever the case, Eternal Black Dawn is a good start at rebuilding the band's fanbase and it's very cool to have bands like Omen, Agent Steel and Obsession back on the scene, keeping 80s metal alive in the new millennium.  http://www.omenlegion.com
[Daniel Hinds]

otep OTEP
Sevas Tra
(Capitol)

Whatever else you might say about Otep you must admit one thing – they are FUCKING HEAVY.  And their CD Sevas Tra (“Art Saves”, backwards… clever, eh?) is no exception.  They are also no one trick pony, providing more variety on this CD than many of their compatriots can even dream of (for better or for worse).

Sevas Tra starts out with the aptly named “Tortured”, a sort of spoken word interlude where lead singer Otep bares her troubled soul – a space often returned to in the next hour or so.  The songs “My Confession”, “Emtee”, “Thots”, and “Jonestown Tea” all retread this theme, to some extent at least.  Depending upon one’s mood, these interludes can play as either deeply emotional, personal windows into Otep's dark interior or somewhat pretentious filler.  For the most part however, these passages flow well with the music.  And what music it is…

From the initial onslaught of “Blood Pigs” Otep establishes a deep, thick grind -- something like a mix between Machine Head and Coal Chamber… only on growth hormones.  Terry Date’s masterful production pulls all the various grinding, pounding, growling into a tight, intricate wall of sound.  And it is brutal.  The afore mentioned “Blood Pigs”, “Emtee” (once it gets rolling), and “Possession” are just unrelenting, grinding aggression.  Otep’s grinder-on-asphalt, deathy growls play well here (and throughout the CD actually), complimenting the music to a tee.

But, like I said, there’s no one trick pony being slaughtered here.  Even the slower grinding numbers offer up quite a bit of variety, often erupting into furious bursts of speed.  The intense double-bass drumming of Moke is pretty amazing at times, demanding a lot of attention.  Also, some really surprising influences surface, breaking things up without detracting from the overall feel of the album.  Witness the rap inspired vocals of “Battle Ready”, “Possession”, and “Menocide”.  There’s also plenty of old school hardcore feel and serious groove mixed in.

There are a lot of things about this CD which, if taken separately or at face value, would put me off.  The poetry / spoken word leanings and Otep’s occasionally whiny vocal stylings, to name two.  However, it’s all blended to perfection on Sevas Tra – rendered, refined, stripped and reassembled until… well, it just works.  I’m impressed.  http://www.otep.com
[Nels Bruckner]

pissing razors PISSING RAZORS
Evolution
(Spitfire Records)

Pissing Razors have been one of my favorite bands ever since I first heard them in ’99 (on the excellent Metalo compilation).  They play extremely heavy, up tempo, aggressive metal with a style that is uniquely their own, perhaps most closely resembling the faster moments of Machine Head.  This latest offering, doesn’t diverge much from their established path.

As with their past albums, Evolution is pretty much fast and aggressive from start to finish, with gritty shouting vocals and plenty of tempo shifts and complex riffs.  The only time that there is any reprieve from the onslaught are the occasional softer vocal passages (i.e. “singing”, what a concept) that are featured on several songs, including the opener "No Way Out," "Replace the Day," and "Fall Away" to name a few.  While these moments provide some contrast and counterpoint to the all out visceral shouting style of the rest of the vocals, for me they are a bit too smooth and tend to detract a bit from the ferocity of the songs… but only a bit.

Otherwise, I have few complaints with this album.  As I said before, Evolution is mostly aggressive, thick, and in-your-face from the word go.  The musicianship is outstanding and the songs are intricate, as we have all come to expect from Pissing Razors.  If you are a PR fan, definitely add this latest CD to your collection.  If you aren’t… buy it anyway and give it a listen.  http://www.pissingrazors.com
[Nels Bruckner]

place of skulls PLACE OF SKULLS
With Vision
(Southern Lord)

From the little label that could comes another slab of bass-heavy doom from our good friends Place of Skulls.  The quality of the material is easily on a par with their Nailed album from last year and possibly a bit more consistently good, if anything.  The addition of Wino (St. Vitus, The Obsessed, Spirit Caravan) has helped expand the style a bit without sacrificing any of the charm that is distinctly Place of Skulls.

The thick sound that defines this band kicks in right away on "Last Hit," a great rocker in the tradition of classic St. Vitus and Pentagram (big surprise, eh?).  "With Vision" has the kind of grand entrance that used to be a metal staple, while "Long Lost Grave" displays some nice extended soloing.  "In Rest" is a great, moody little instrumental that serves as a lead-in to the gritty power of "Silver Cord Breaks."  And for the real slow, monolithic sound, you can't beat "The Monster."  The album closes with a nice thudding, chunky riff on "Lost."

With Vision is really all you could ask for from a great doom band - heavy, compelling riffs coupled with strong vocals and some killer leads.  The spiritual themes on Nailed have been toned down considerably, with the lyrics here taking on more introspective and varied subjects.  All in all, a damn fine record.  http://www.placeofskulls.com
[Daniel Hinds]

pro-pain PRO-PAIN
Run For Cover
(Spitfire)

I always have to wonder why bands do full albums of cover tunes.  I mean, one cover song on an album is usually cool, kind of breaks up the other material, etc.  And a few covers as B-sides or extra tracks are usually fun.  But a whole album?  It rarely works.  And, while Pro-Pain are one of my favorite bands, I’m afraid this CD is no exception.

One problem is that most of the choices are (at least to me) pretty obscure.  Some of the charm of a cover is being able to recognize the differences and similarities between the new and the familiar.  So, most of these songs lack that for me.  I also don’t usually dig the whole punk thing much and most of these songs are picked from that genre.

That being said, there are some high points.  The cover of Celtic Frost’s "Circle of the Tyrants" in particular is pretty refreshing and a great cover choice.  The Sepultura cover and the Slayer’s "South of Heaven" are also very good and definitely brought a smile to my face.

Pro-Pain's playing is also quite good throughout… of course.  I just kept thinking how much better this would have been if there were 13-14 originals on here instead of a bunch of covers.  Oh well, next time.  http://www.pro-pain.com
[Nels Bruckner]

RADIATION 4
Wonderland
(Century Media)

Tongue-in-cheek humor meets hardcore.   No matter what style of music accompanies a heavily-ironic vocalist, I can’t help but wonder how much he or she is making fun of the listeners.  Is this supposed to be fun music, or is it being made fun-of?  The circus-like trappings, I must admit, confuse me, and I have a hard trouble getting beyond them to enjoy the music.  http://radiation4.com/wonderland
[Laird Sheldahl]

sea of green SEA OF GREEN
Chemical Vacation
(The Music Cartel)

Sea of Green pump out what many (apparently) refer to as “Stoner Rock”.  If you guessed that means they sound like a mix of ‘70s hard rock, grunge, and mainstream metal then… well, it was rather obvious.  And, coincidentally, so are Sea of Green.

Chemical Vacation offers up 12 tracks that, for the most part, trudge through the advertised genre with reasonable musical skill, but rarely with any sense of passion or inspiration.  Songs like “Out of My Head”, “Cut Up Inside”, “Life”, and pretty much all the rest of them come off as half baked (no pun intended) and unfinished, with very little to distinguish each song from the last.  One problem is certainly the somewhat muddy mix, with all the sharp edges escaping capture and leaving the whole thing sounding sludgy and a little blurry.  What hooks or grooves there may be are never brought to the forefront, never allowed to mature and really grab the listener’s attention.  The primary vocals (all three band members get credit for vocals) are fairly non-descript and a little whiney as well.

When Sea of Green swing in a slightly heavier direction (“Overwhelmed” and “Darkness”, for example) they begin to show some promise, reminding me a little of Sabbath (or, more precisely, Sabbath imitators like Pentagram).  But the impression is fairly fleeting and seems more accidental than meaningful.  Such moments of promise are further diluted by the really mundane (though well intended) ballad “Unite”, which is so saccharine and smooth while being lyrically obvious that it’s really hard to listen to.

Overall, Sea of Green come off as just not very complete, not very finely tuned, and fairly forgettable.  They need some spark to lift their songs above the ‘filler’ level… and unfortunately that’s one spark they don’t seem to have access to.  At least not on the Chemical Vacation CD.  http://www.seaofgreenrocks.com
[Nels Bruckner]

setherial SETHERIAL
Endtime Divine
(Regain)

Swedish black metal seems to have always put the emphasis on brutality rather than the atmosphere of their Norwegian neighbors and Setherial is a perfect example.  From start to end, this disc is a furious assault of raging riffs, venom-dripping vocals and blasting rhythms - no keys, no choirs, nothing to impair the descent to hell.

Falling straight into "Crimson Manifestation," the album sounds as grim and evil as a black metal album ought.  Some galloping thrash rhythms jockey for position on the song "…of Suicide," while     the title cut varies the tempo and offers some truly triumphant riffs.  The rest of the tracks are less memorable, but there are not losers in the lot either.  As with many black metal albums, the most interesting elements are buried in the guitar riffs, giving the album some replay value.

The production on Endtime Divine isn't pristine but it's solid and fits the dark, pulverizing music well.  Having held it together for ten years now, I think it is a safe bet that Setherial are serious about what they're doing here and not likely to change anytime soon.  Though somewhat lacking in originality and surprises, Endtime Divine is as good a slab of pure Scandinavian black metal as you could hope for in 2003 (well, other than Naglfar or Marduk, of course).  http://www.setherial.com
[Daniel Hinds]

shadow season SHADOW SEASON
The Frozen (MCD)
(Sound Riot)

This duo cranks out some pretty intense but also somewhat non-descript black metal.  Hailing from Ireland (though one member has relocated to Norway apparently), you might expect something a bit more unique-sounding but this is pretty straight-forward Nordic black metal along the lines of older Satyricon or Gorgoroth.

The intriguingly titled "Phantoms in the Glass" hits the ground running, with the guest drumming by Trym setting a frantic pace that is actually increased on "Cataclysmic Ancient Illusion."  Winter handles bass (barely audible, as required by tradition) and vocals, which are pretty deep and hoarse, leaning more towards death rather than typical black metal vocals at times.  "Frozen" alternates between blasting speed and more restrained metallic riffs, making it a bit more interesting than the other tunes.  "To Scorn the Suicide Earth" has some change-ups, too, but fails to really capitalize on them.

What the band lacks in originality or interesting songs they make up for in technical skills and aggressive conviction.  They've only been together a couple years, so I am guessing the future will show Shadow Season developing their own style a bit more.  For now, this EP is really only for die-hard black metallers as it doesn't really offer a whole lot.  http://www.soundriot.net
[Daniel Hinds]

shrine of scars SHRINE OF SCARS
Violence is the Answer
(Disfigured Records)

Shrine of Scars play an energetic brand of straight-to-the-point thrash metal.  Violence is the Answer (which I’m guessing is their first album) has a very underground, demo like sound, though this doesn’t detract from the music as much as you might expect.  The mostly up-temp thrash/death metal manages to rise above the poor production (for the most part) and is at times very good.  Vocally Shrine of Scars are a little on the disappointing side, featuring some really strained sounding screaming.  When it works I’m almost reminded of Sodom or even Kreator.

If this were a demo I’d be more impressed.  As an album it manages to squeak by and shows that Shrine of Scars have a lot of potential.  I’d like to hear an album from them with a little more production (i.e. money) behind it.  http://www.shrineofscars.com
[Nels Bruckner]

solefald SOLEFALD
In Harmonia Universali
(Century Media)

Solefald are purveyors of the continually evolving Black Metal sound, combining the heavy, aggressive feel of Black Metal from days gone past with the more melodic, more progressive sound that has crept into that genre over the years.  The music they offer here is complex, consisting of heavily layered themes and melodies, twisting and turning tempo changes, and stark contrasts.

Musically Solefald remind me of a toned down Children of Bodom, Dimmu Borgir, or even Emperor, though they don’t come anywhere near the consistent focus on speed and intensity of such bands.  Rather, In Harmonia Universali combines the intricate rhythms, changing tempos, and keyboard themes found in the Black Metal genre with more progressive leanings.  There are fast parts, complete with manic drumming and growling vocals, but more often the focus is on a cleaner vocal approach, smoother “epic” musical passages, and very medieval tonal progressions and harmonies.  Also, there is a heavy emphasis on layered compositions throughout, which unfortunately tends to come off as a bit over wrought and heavy handed.  Also, the occasionally sing-song vocals detract from some of the more original aspects of Solefald’s music, adding a generic quality to some of the songs.

Fans of the smoother, grandiose moments of many other Black Metal bands should find plenty of interesting material on In Harmonia Universali.  It’s well recorded and has complexity to spare.  However, those seeking the pure, brutal intensity and speed characterized by the other bands mentioned above may be a bit disappointed, as Solefald definitely emphasize a much smoother, slower, and overall more progressive approach to the style.  It’s unfortunate, as they are at their best when they dispense with the more complex arrangements and layering and focus on a more straightforward and intense approach.  http://www.solefald.org
[Nels Bruckner]

svartsyn SVARTSYN
Destruction of Man
(Sound Riot)

This is a two-man black metal juggernaut from Sweden that plays very much in the classic style of the genre - grim, cold and fast.  The emphasis is on evoking an atmosphere, using very distinct chords, repetitious arrangements and vocals that just drip with unseen menace.

The album begins with "Archdemon of Binah," an ailing whine that builds quickly into the band's trademark raging style.  "Children of Plague" starts off more moderate but the drums kick in full force and it is off on a Darkthrone-like rampage.  For me, "Towards Chaos" best exemplifies what Svartsyn does so well.  The song is built on a relentless blastbeat, with the guitars cycling through several icy yet melodic riffs, only to empty out at the end into a dark synth ambience evocative of Mortiis' early work.

This album is not for everyone - it's not for the people who only got into black metal because it was the latest trend, nor is it for the people who think the genre must evolve and incorporate new elements to be vital.  This is pure black metal, raw yet strangely beautiful in its own way, and totally captivating.  http://www.soundriot.net
[Daniel Hinds]

TRANSPORT LEAGUE
Grand Amputation
(Crash)

This is a loud EP.  In a nutshell, there’s your review.  It only works on volume setting 11-- played any lower and this music just becomes an average mix of shouting, big guitars and drum bashing.  My problem with all-loud-all-the-time is my ears quickly become desensitized and start ignoring the music.  Without dynamics, loud-and-heavy soon becomes just background sound and loses all intensity.  http://www.transportleague.com/
[Laird Sheldahl]

ulver ULVER
A Quick Fix of Melancholy (EP)
(Jester/The End)

After the soundtrack work that Trickster G. (uh, Garm) has done under the name Ulver, we get this fine four-song EP.  It treads similar territory as the Lyckantropen Themes soundtrack with vocals added.  What that means if you haven't head that excellent record is some very moody, cycling keyboard-driven tunes that nicely balance the digital with the organic.

"Little Blue Bird" circles in exactly the manner described above, while "Doom Sticks" follows a more disjointed, instrumental IDM path.  Pretty yet distressing.  "Vowels" starts with a Goblin-esque melody before the deep, resonant vocals come in to take command.  The last cut is supposedly a remix of the song "Nattleite" from the Kveldssanger album, but even without having heard that song in ages, I think it is fair to say this is a pretty radical re-construction.  It works in its own martial, choppy fashion.

As good as Ulver were in their black metal and folk guises, I am quite pleased with the more electronic work they have been doing the past few years and look forward to more successful experiments such as this in the future.  http://www.jester-records.com/ulver
[Daniel Hinds]

celtic frost tribute [various artists]
Celtic Frost Tribute: Order of the Tyrants
(Black Lotus)

It's been a while since the original Frost tribute came out (the rather disappointing one on Dwell way back when), so I was all hoping for something exciting and killer to completely bury that one once and for all.  Thankfully, it starts shoveling the dirt in from the very start.

First up is a ripping "Visual Aggression" provided by Grief of Emerald.  The guitars aren't nearly as heavy but the vocals and speed make up for it, making this sound better than most of the rather stock material on their last record.  Next, Marduk assaults "Into the Crypts of Rays," going so far as to sample the intro from the original (an odd move methinks).  They give the track a bit more clarity than it needs but they certainly stay true to the original.  Naer Mataron are the first band t approach the death-heavy guitar tone that only Frost was capable of, as they grind their way through a faithful version of "Return to the Eve."

Necrophagia starts off on the wrong foot by covering a song that isn't even a Frost song - "Triumph of Death" by Hellhammer.  Christ, Tom G. has stated often enough of his desire to distinguish CF from HH, this almost seems like an insult, but whatever.  The tortured vocals that start the song are more laughable than anything, not coming anywhere close to the original.  At least the musical end of things manages to match the dirge-like heaviness so it's not a total loss.  Britain's Akercocke dare to tackle the more gothic-sounding "Mesmerized," complete with mournful vocals, and pull it off pretty well.  Dimmu Borgir bludgeon away at "Nocturnal Fear" with evil abandon, while Bewitched lay down a competent version of the most over-covered songs in metal history, "Circle of the Tyrants."

The first unknown band (to me anyway) is Order of the Ebon Hand, who take a reasonably good stab at "Rex Irae," keeping the operatic vocals and substituting grim black metal vox for the mournful ones.  All-female black metallers Astarte shroud "Sorrow of the Moon" in plenty of gloom, while Melechesh bang out "Babylon Fell" rather uneventfully.  Acheron manages the most claustrophobic guitar tone of the lot, stomping through "Dawn of Megiddo" convincingly.  Ragnarok take a far more thrash direction on "Fainted Eyes."  Closing the album are two more unknowns, Hypocrite's deathy "The Usurper" and Carrier Flux's electronic "Beyond the Northwinds."  This latter track is obviously the most unique one on the album and most prone to being a disaster, but this one-man outfit manages to pull off a good noisy electro/metal hybrid.

Tribute albums are as haphazard and unpredictable as they are passé, so it is nice to come across one that actually succeeds almost uniformly and flows from the start to finish.  The inclusion of plenty of 'name' bands helps, too, but the important thing is that they actually deliver good versions of great songs.  http://www.black-lotus-recs.com
[Daniel Hinds]

slayer tribute [various artists]
Hell at Last: A Tribute to Slayer
(DMG)

Has there ever been a good tribute to Slayer?  I know I've heard some good covers, but damn if all the tributes I've come across so far haven't totally sucked ass.  Well, the death-metal oriented Hell at Last is probably one of the best yet, but it still has its problems.

Kicking off with one of the only bands I had heard of here, Nephasth cranks out a nice, compressed death metal stab at "War Ensemble."  The band makes the song their own and give it a really sick guitar sound, too, so thumbs up for Nephasth.  Diabolic churn out a diseased-sounding rendition of "Gemini" (christ, why would anyone pick a song from that dismal album anyway?) and Oni deliver a rousing "Altar of Sacrifice" that is marred by some rather second-rate death gurgles.  Deteriorot gives a rather bizarre twist to "Read Between the Lies" as Serberus lash out with a pretty wicked (and misspelled) "Ghosts of War."  Evil Incarnate's "Piece by Piece" is rather tired-sounding for some reason, which is sad because this is one of my all-time fave Slayer cuts.

In the originality dept., Universe Eye clearly gets the medal for their choppy, industrial version of "South of Heaven," complete with overdriven samples and mostly spoken vocals.  Can't say I really enjoyed it though; it just comes across as too awkward and forced, but points for trying something new and the flamenco-styled guitar solo near the end is cool.  Mictlantechtli rip through "Crionics," really bringing out the Maiden-esque flair that I didn't realize was even there (guess I should listen to Show No Mercy again sometime).  Engrave do a good job of capturing that classic thrash vibe on "Evil Has No Boundaries," while Nokturne L.A. seem to stumble through "Raining Blood," hampered by bad production and annoying vocals.  Acerbus manage to sound the most underground, with a sub-sub-human vocal range and murky production where the bass is actually the most audible instrument - imagine that, bass in a Slayer song?  It's crazy!  Enraged close out the album with an uneventful but satisfying rendition of the classic "Black Magic."

The verdict - another flawed tribute.  There are some definite winners here, though, namely Nephasth, Serebus, Mictlantechtli and Enraged, and the songs chosen are (generally) good choices.  Those looking for some lesser (or un-)known death metal bands paying homage to the mighty Slayer and don't mind the mixed results, well, Hell at Last is certainly not the worst tribute I've heard.  http://www.directmusicgroup.net
[Daniel Hinds]

void VOID
Posthuman
(Candlelight Records)

Void’s bio alludes to them as “avant-garde noise merchants”.  It’s a pretty good fit.  In most other ways it’s hard to classify Void.  Starting with their purposefully vague lineup, consisting of only two members (the mysteriously named “OCD” and “Ionman”), who we only get to see in one blurry photograph, the band seem intent on producing a sort of vague enigma with their image as much as with their music.

Musically, Void certainly prove that they have something to offer with Posthuman.  There are similarities to death metal at times (especially in the vocal department) and there is a very prevalent metal guitar track throughout but it isn’t easy to categorize Void’s music.  There is plenty of electronic noise mixed in (from the techno-feel drums to all sorts of industrial sound effects) as well, with many chaotic tempo changes and rhythm shifts.  The fact that “band leader” OCD has been involved in remixes of other band’s music provides a slight hint – a lot of the material here has a very re-mixed feel to it.  It’s as if a series of musical ideas were produced and refined but then presented here out of their original context.  (Hmmm… I guess that’s pretty much the definition of “remix”, isn’t it?)

For the most part Void succeed in their endeavor.  The music is interesting and well recorded.  It maintains enough heaviness to achieve a sort of “techno-resemblance” to death metallers like Emperor.  However, at times the CD suffers a bit from it’s own dense, chaotic nature.  Often there is simply so much variety being presented, so many different ideas sharing the space of each song that it becomes a bit hard to follow.  If Void could work in more identifiable grooves and hooks they could produce something transcendent.  http://www.neovoid.org
[Nels Bruckner]

watch them die WATCH THEM DIE
Watch Them Die
(Century Media)

Watch Them Die have styled themselves as the present day saviors of Bay Area Thrash (if not the entire metal scene) and are hoping to establish themselves with this, their self titled debut.

The music of Watch Them Die certainly shows their Bay Area thrash roots, but mixes plenty of more modern influences in as well.  There are plenty of speedy riffs and tempo changes, as you would expect from any self respecting thrash album.  Their best moments are characterized by fast and furious guitar rhythms that threaten to dissolve into complete chaos, but never quite do.  It makes for some good high-energy thrash, to be sure, but at times seems to lack that razor sharp precision that really good thrash thrives on.  As a result it’s sometimes difficult to distinguish differences between the songs, which tend to sound more like collections of riffs than complete songs.  Vocally, I’m reminded of Phil Anselmo when he’s in a shouting / screaming mood, which works well with the material.

The CD breaks down a bit in the production department.  With the non-stop assault of speed that Watch Them Die churn out the production needs to be much sharper to avoid having it all become a blur at times.  Another area where WTD could stand some improvement is in the guitar solo department – most of their solos sound a bit off key and stick out oddly from the songs.

So, I think Watch Them Die have a ways to go before they can really impress at the highest levels.  Still, this is a good first effort.  With a little work where it is needed I expect big things to come from WTD.  http://www.watchthemdie.com
[Nels Bruckner]

zyklon ZYKLON
Aeon
(Candlelight)

If you are familiar with Zyklon’s brand of extreme death metal, as evidenced on their previous CD World ov Worms, then you should have some idea of what is in store for you on Aeon.  In short, Zyklon deliver this time around, offering up everything you would expect (and nothing that you wouldn’t) and they manage to take the next step.

With Aeon, the band continues the process of boiling down the genre of death metal (ala. Immortal, Emperor, etc.), stripping it of all hindrances, grinding away all distractions, distilling out the impurities, and exposing the pure, brutal, churning core at it’s heart.  They race through nearly every track with a blistering, distorting speed and ferocity that at times sounds almost machinelike in its precision and purity.  The album’s frantic pace offers few chances to catch ones breath, yet never dissolves into an incoherent blur, as one might expect.

In a genre which is quickly becoming crowded Zyklon manage to stand apart.  Aeon represents one more refinement to their scalpel-sharp brand of mayhem.  All fans of black/death/speed metal should snap this one up.  http://www.zyklontribe.com
[Nels Bruckner]
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