APOTHEOSIS
Farthest From the Sun
(Nocturnal Art Productions)
Certain debut albums come out of nowhere and just blow you away. The
past few years have brought us gems like Hammerfall's Glory to the Brave,
Children of Bodom's Something Wild, Nightwish's Angels Fall First, and Naglfar's
Vittra to name a few. The latest to join this elite club is Malta-based
symphonic black metal outfit Apotheosis. Farthest From the Sun is without
a doubt one of the best metal albums this year, both from a composition and
performance standpoint.
"Victory" is the short song of the lot (clocking at 6:33) and makes for suitably
elegant and grandiose entrance. Symphonic keyboards are deftly layered,
the horns, cymbals, harps and strings sounding as alive and dynamic as an
actual orchestra. "The Maimed God" is almost startling as it blasts
forth pure black metal hatred, in the vein of bands like Limbonic Art and
Summoning. The guitars rage at an unholy speed, yet maintain a cruel
edge that often gets lost by black metal bands, and the drums keep right
up. Again, the keyboard work is stunning and blends in so seamlessly
with the rest of the mayhem; you can't imagine one without the other.
Around the seven-minute mark, the song takes a left-turn into an almost light-hearted
folk melody. It is this ability to bridge such diverse moods and styles
and make the transition seem natural that elevates Apotheosis above the mundane.
Twelve-minute "Raise the Dragon Banner" follows a similar path, starting
off all hard and heavy before heading off into more refined and subtle avenues
midway through. The final cut is another sixteen-minute monster, "Kingdom,"
though here Apotheosis really explores the boundaries. Starting off
with a happy little melody that halfway between 70s prog-rock and Henry Mancini,
the song eventually introduces guitars, but even there the riffs are more
restrained than previous numbers. And the metallic pounding is quickly
silenced in favor of some truly gorgeous acoustic guitar and keyboard work.
Tempo and time signatures are as fluid as the band's style on this one, which
turns out to be instrumental throughout. One thing to keep an ear out
for: around the five-minute mark, the song breaks into a riff that is pure
Celtic Frost for a few measures. As much as I love the album as a whole
(and it does work best in that context), "Kingdom" is the real gem for me.
The sole creator behind Apotheosis has aptly chosen the name Sauron, as his
music manages to inspire the feeling and magic of Middle Earth. From
radiant Elvish melodies to the dark, hate-filled Orcish battle anthems, one
can easily imagine such fantastic worlds while listening to Apotheosis.
But there is much more to the four songs presented here, and new stories
and uncharted vistas unfold each time I sit down with the album. That
kind of depth and replayability is what separates great albums from merely
good.
[Daniel Hinds]
AURORA BOREALIS
Time, Unveiled
(Nightsky Productions)
This is the follow-up to the excellent Northern Lights disc and the band's
third full-length album overall. The impact of Time, Unveiled is a
bit less than that of Northern Lights, only because it follows a similar
style and I was already prepared for the band's sound when I popped in the
CD. Still, this is a damn fine collection of blackened death metal
tunes.
The band's love for thrash-influenced death metal is still as clear as ever,
with some kick-ass riffs on just about every song. "Sky Burial" is
something of a showcase for the band's many sides. It features some
high-speed, black-metal style riffing, some heavy, death metal riffs, blastbeats,
and even some tricky, almost progressive sounding bits. "Reign" shows
that the band can deal in subtlety, too, with a short but quite atmospheric
intro that features clean guitar and effective solo that builds as the powerhouse
drums and speedy riffs fade up. The album closes with two cuts from the band's
original MCD release, Mansions of Eternity, namely "Sixteenth Chamber" and
"Slave to the Grave." Both are decent songs, but perhaps lack a bit
of the vision the newer compositions have.
The only thing that hampered my enjoyment of Time, Unveiled a bit was the
mix on Ron Vento's vocals. He has a good, black metal cackle, but it
seems to be mixed too dry or something and feels a bit removed from the rest
of the music. Overall, though, this is a strong album and another success
for Aurora Borealis. http://www.auroraborealis.org
[Daniel Hinds]
CATTLE DECAPITATION
To Serve Man
(Metal Blade)
Once again, my mind boggles at the reaction some people have to gore-oriented
death metal such as this. Apparently, the cover has already caused
the album to be banned in Germany (and I'm sure it's none too popular with
the mainstream CD chains here in the States either). Whatever!
Is anyone going to have their fragile little minds corrupted irrevocably
by merely looking at this? Well, okay there probably are people like
that, but their little world will come crashing down eventually anyway, whether
it is due to Cattle Decapitation, inadvertently tuning in to a John Carpenter
movie, or actually looking at what they just purchased from the meat department.
Anyway, on to the music. This is 100% death/grind mayhem with pretty
much no let-up throughout its 35 minute length. The playing is tight,
even if the songs aren't all that terribly complicated, and the vocals are
the kind of demonic gurgling fans of Cannibal Corpse, Monstrosity and the
like know and love. Discerning one song from another is really a task
for the die-hard death metaller, someone who will sit down and listen to
this album intently over and over. With blast-beats all over the place
and high-speed, anti-melodic riffs careening around like crazy on every song,
it is no mean task. It is all reasonably good, in a limited way, but
it won't set the world on fire for its originality.
The solid playing is one thing, but for me the real highlight of this album
is the song titles. If you can't amuse yourself with song titles like
"Testicular Manslaughter," "Land of the Severed Meatus" or "Chunk Blower,"
then you will either hate this album or love it far too much for your own
good.
[Daniel Hinds]
CEPHALIC CARNAGE
Lucid Interval
(Relapse)
Let me start by saying: grindcore = not my favorite musical style.
And Cephalic Carnage certainly plays grindcore, albeit a rather twisted,
almost jazzlike interpretation of the style. The songs are faster than
light (mostly), stop on a dime, and barrel off in a new direction without
batting an eyelash. Lucid Interval falls into that category of albums
that I can appreciate from afar for what it is, but it does nothing to move
me emotionally or make me want to play it more than once.
Opening instrumental "Scolopendra Cingulata" is slow and mildly weird, but
that all becomes a distant memory as soon as "Fortuitous Oddity" kicks in.
Spastic rhythms, chaotic riffs, and vocals that flip-flop between shrieks
and growls are the order of the day. Clocking in at over six minutes,
the song has more twists and turns than a very twisty turny thing.
Kudos to the band for the eight-second blast "Friend of Mine" and minute-long
scorcher "Misguided" - short and to the point, the way all good hardcore
and grindcore should be. Too bad they spend most of the album on longer,
unfocused compositions (must be a result of their obsession with a certain
green-leafed plant…).
Sound-wise, Cephalic has a nice, beefy guitar sound, but the drums sound
like crap, esp. the snares. It must be a scene thing because I hear
a lot of grindcore bands (and nu-metal bands) with this same sort of awful
drum production, but it's really a shame as these songs would have so much
more power with a better sound. And the weird electronic bits that
spew forth from time to time further nullify the band's power, sounding more
silly than trippy.
So, to sum up, we have some rather amazing playing, lots of fast, disjointed
blasts of jazzy grindcore, indecipherable vocals and shitty-sounding (but
well-played) drums. Not a recipe for my album of the month, but if
it is yours, you could do far worse than Lucid Interval.
[Daniel Hinds]
CESIUM:137
Regrets (CDS)
(Tonedeaf)
Here we have another single from this talented EBM duo, taken from their
Advanced/decay release. What you get here is 5 mixes of "Regrets" and
the b-side track, "Bloodletter."
Up first is the album version of "Regrets," which layers some nice future-pop
melodies over a hard-hitting EBM rhythm. The vocals vary between dark
and clean and slightly more distressed and distorted. The combination
works and the old-school industrial samples that make their way into the
song are just icing on the cake. The remix by Yendri is softer and
happier sounding, which puts it rather at odds with the vocal line.
"Bloodletter" demonstrates that the vocoder isn't limited to making dance
divas sound hip, though the underlying song is perhaps a little less involving
than "Regrets" (though still pretty good).
Stalwarts Haujobb tackle "Regrets" next with considerably more success than
Yendri. This mix builds rather nicely and has a very big, clean sound
that reminds me of some of the excellent Nitzer Ebb remixes from the Belief
era (with some Clock DVA-esque electronics thrown in for good measure).
The KBN mix on the other hand is a little too minimal and just kind of meanders
along without really getting going. The final mix by Quiet Eye (?)
kicks off with a funky, garagey beat that reminds me of something from KMFDM's
first couple of albums.
Anyone that knows me knows just how disillusioned I am with the industrial/EBM/goth
scene right now. There have been so few good releases the past year
and so many just crap ones, it's depressing. But I'm pleased to say
there are still decent bands out there fighting the good fight and cesium:137
is most certainly one of them. More info: http://www.cesium137.com
[Daniel Hinds]
CRADLE OF FILTH
Lovecraft & Witch Hearts (2CD)
(Koch)
While it seems like there has been a rash of CoF material on the market this
past year or two, this is one of the more interesting items. It is
ostensibly a 'best of' that covers the Music For Nations era of the band
(Dusk through Midian), but it also includes a second CD filled with all sorts
of rare tracks.
The track listing of the first CD will no doubt disappoint some (as do all
'best of' sets), but it is a pretty good representation overall. The
effectively gothic instrumental "Creatures That Kissed in Cold Mirrors" starts
things off before diving into the classic "Dusk and Her Embrace." Other
highlights include "Her Ghost in the Fog," the brutally heavy "From the Cradle
to Enslave" and the chilling "Malice Through the Looking Glass." The
almost death-metal intensity of "Lord Abortion" finishes off the disc nicely.
Of the tracks on disc two, the most interesting are the covers. There
is a truly vicious version of Sabbat's "For Those Who Died," followed closely
by an almost too faithful rendition of Sodom's "Sodomy & Lust."
Slayer's "Hell Awaits" and Maiden's "Hallowed Be Thy Name" aren't quite as
cool, but still great songs that are done well. "Of Dark Blood and
Fucking" is another gem, pure heavy metal sickness.
This is probably not very vital for the die-hard CoF fans, as they will no
doubt have most of this material already elsewhere. As a starter disc
for new fans, though, this might be worthwhile. It gives a good overview
of the band's more recent songs and also a look into their more adventurous
side, as well as some of the influences that inspired them in the first place
(Sodom, Sabbat, Slayer, etc.).
[Daniel Hinds]
DIPNOI
Torn (CDS)
(self-released)
Brazilian metal has always come in many shapes and styles, though the penchant
for the extreme is almost always there. Dipnoi do their best to defy
categorization, integrating bits from thrash, hardcore, death (or more to
the point Death), and even progressive metal. The result may not be
too commercially viable, but it is definitely intriguing and worth investigation.
"Torn" kicks in with slab-like chords that just smash you in the face, before
journeying off into stranger territory for the verse music. Here the
gruff vocals come in and the bass takes off on a bruising (and almost jazzy)
direction of its own. "Greed" heralds a faster, more thrash approach, breaking
down into an almost punk-like riff for the blazing solo spot. Bizarre,
but cool. "Melting" follows suit in a more mid-temp fashion, with equally
unpredictable change-ups all along the way.
The performances are sterling all around, with the acrobatic basslines in
particular standing out. The vocals and lyrics remind me of some of
the classic Japanese thrash outfits from the late 80s (Outrage, United, etc.),
with hints of Sacred Reich at times. And damn if the production isn't
kick-ass - this 'demo' sounds better than half of the label-released albums
I get these days! As much as I enjoyed the old-school charm of the
band's FKDDD release a while back, it is obvious they have progressed a lot
as both musicians and songwriters and I highly recommend checking them out.
MP3s are available at: http://www.dipnoi.com/
[Daniel Hinds]
DREAM EVIL
Dragonslayer
(Century Media)
There has been a slew of so-called 'classic metal' bands making the rounds
these past few years, but few ever rise above sounding like a copy of a copy
of Helloween. Fortunately, Dream Evil is one of the few. This
is the heavy metal dreamband of producer extraordinaire Fredrik Nordström
and also features guitarist Gus G. (Mystic Prophecy) and Snowy Shaw (King
Diamond, Memento Mori), so you know the musicianship is there in spades.
But how are the songs? Well, I'm glad to say they are generally pretty
strong. "Chasing the Dragon" is a mid-paced, highly melodic track that
sounds like a heavier version of early Europe or Dokken. "In Flames
You Burn" is speedier, with a more HammerFall feel to it and "Save Us" has
that big, bombastic sound that power metal is all about. "The Prophecy"
has a good upbeat, triumphant riff anchoring it, while "The Chosen Ones"
is truly an epic ballad, complete with a grand choir and the Gothenburg's
Philharmonic string section. Vocalist Niklas Isfeldt really gets to
shine here, too, showing a voice that is smooth as glass but still possessing
an underlying power. "The 7th Day" features some exquisite soling and
"Heavy Metal in the Night" has the anthemic quality you would expect from
such an obvious title. And "H.M.J. (Heavy Metal Jesus)" is fun, if
a bit silly sounding.
The production on Dragonslayer is top-notch, as you would expect from a band
Fredrik is involved in. It has the big, roomy sound that HammerFall's
Renegade did, but with perhaps a bit more bite. The bottom-end is particularly
satisfying, giving the drums and bass plenty of 'boom' without smothering
the keyboards, guitars and vocals at all.
Sure a few less than spectacular songs made it onto the record, like the
rather mundane "Kingdom of the Damned" and the frankly boring ballad "Losing
You." But overall, I would rate this a strong album that should please
fans of the more melodic side of classic heavy metal.
[Daniel Hinds]
HALFORD
Crucible
(Metal Is/Sanctuary)
After a massive comeback album and an equally strong double-live offering,
Rob Halford had a lot riding on the ever-difficult sophomore release.
Crucible is a good album, but I'm afraid it falls a bit short of being the
truly great album that it could/should have been.
After a thruway intro track, the title cut kicks in. It's a rather
restrained modern metal track that just doesn't seem like a particularly
great choice to lead off the album. "One Will" on the other hand is
classic Halford. This is a great, straight-forward metal track with
a big, anthemic chorus that makes it the most memorable (and probably the
best) tune of the lot. "Betrayal" is one of the faster songs, where
Halford gets to do his best screaming, but suffers just a little from a weak
chorus. "Handing Out Bullets" features a hard-charging riff and a much
stronger chorus, while "Crystal" is a bit moodier, with a great performance
from Rob. Following this, however, the album turns unusually generic.
Only "Sun" and "She," two of the more melodic and subdued tracks, stand out
of the later tracks. The more upbeat cuts like "Heretic" and "Wrath
of God" just make no real impression.
I kept thinking of Fight when I listened to this record. Not so much
because the music sounded like Fight (some of it does), but it has the same
feel that the second Fight album did in relation to the first - good but
just not as good as the first. The production feels a little bit too
dry, too, at least in regards to the guitars and drums.
Of course, everything must be put in perspective. If this were some
new, unknown band, I'd probably be raving about it, as it is a good album.
It's just when you are The Metal God and have put out some of the absolute
best heavy metal records in the past 30 years, it is a little harder to judge
anything new objectively.
[Daniel Hinds]
HATE
Cain's Way
(WWIII)
Pounding, blistering death metal with no concessions to trends or melody,
Poland's Hate continues their uncompromising onslaught. I remember
thinking Hate (despite their too-obvious name) were one of the best on WWIII's
roster when I heard their debut last year, Holy Dead Trinity. Everything
that was good about that album is repeated here with better production, so
Hate is doing their job.
Musically, Hate mix in some thrash-like start/stops with their brand of potent
death metal, giving it enough spice to make it interesting. The vocals
lag a bit behind, falling into the rather generic growling category, but
they mix well with the riffs and match the intensity of the music.
The drumming is insane throughout, with some nifty hi-hat work alongside
the required double-bass barrage.
"Apocalypse" is a fitting title for the opening salvo, a thundering slab
of death metal that still finds time to slow down for a great mosh section
in the middle. I like the little extra touches Hate throw into their
songs, such as the classic rock ending on "…And the Sin Becomes" or the German
thrash riffs that pop up in "Sectarian Murder." The band also knows
that varying the tempo only accentuates how heavy the music is, so it isn't
heads-down blast-beat from start to finish. Songs are given a chance
to breathe, such as "Through Hate to Eternity," which is constantly in motion,
changing gears with each new riff. The album ends with the morose acoustic
instrumental "From Cain to Cadmon," a nice way to diffuse the tension and
close up shop.
Hate also know how make their point and get out. Most songs are under
four minutes and the entire disc falls just shy of the 36-minute mark.
The thrash element of early death metal is alive on Cain's Way, yet it never
sounds dated in any way. The punchy production serves the violent music
perfectly and Hate has done well to distinguish themselves in a scene that
is extremely competitive.
[Daniel Hinds]
HATE ETERNAL
King of All Kings
(Earache)
Guitarist Erik Rutan recently announced he was leaving Morbid Angel to concentrate
his efforts on Hate Eternal. Huge mistake. King of All Kings
has to be one of the least interesting death metal records I've heard all
year, and that is really saying something with the glut this genre has spewed
forth lately. Yes, the playing is fine and impressive and the production
is solid, but where are the songs? High-speed riffs strung together
with the same monotonous blastbeasts does not make a good album, at least
not in my estimation.
Trying to dissect this album song by song is an exercise in futility, as
every song has just about the same exact lack of identity. I'm sure
I'll get burned by some die-hards for harshing on this album (I mean, yeah,
it's definitely brutal and all), but it was a massive disappointment.
His work with Morbid Angel and particularly Alas was so much better, I just
can't fathom how this album is so damn boring. Credit where it's due,
though - the cover art is pretty fucking cool.
[Daniel Hinds]
HIDDEN
Spectral Magnitude
(Red Stream)
The cosmic themes a lot of black metal bands are taking lately is interesting
(exploring a realm even colder and vaster than the mountains of Norway I
suppose…) and this one offers a bit of mystery, withholding any info on who
is behind the music of Hidden. Ghastly vocals ride over top a fairly
standard mixture of doom, black and death metal that frankly fails to live
up to the epic nature of the album art and lyrics.
There aren't that many standout tracks on Spectral Magnitude, but there are
a couple. "Ice Crust of Yek" is very short, but features some of the
most energized riffing and even a clean vocal chorus. The similarly
frenetic "Time as Energy in the Cosmos" stands out, making some interesting
contrasts as the band slows down to doom levels in the midst of the chaos.
Less successful are tracks like "A Bounded Span of Time" that just plod along,
with the vocals reaching a rather comical screech by the end. "Macronucleus
Chromosome" is the other cut that made an impression on me, mixing in some
very interesting melodies and even some old-school Sabbath styled riffs.
Sound-wise, there is certainly room for improvement. The guitars and
bass are submerged in murky mess most of the time and the drums, while being
far more out front, have a very hollow tone (especially the awful and inconsistent
'bonk' of the snare). At least the playing is pretty decent, otherwise
this would be unlistenable
Spectral Magnitude is not the tripped-out space rock album I was hoping for.
Despite a few rewarding tracks, Hidden have failed to really put together
a compelling album here.
[Daniel Hinds].
IN FLAMES
Reroute to Remain
(Nuclear Blast)
Here it is - the big breakthrough album for Sweden's hottest property.
Will it break them into the MTV league and land them a spot on the next Ozzfest?
Hard to say, but I'm kind of doubting it for some reason. For one thing,
it's still too much like In Flames. They have changed producers and
introduced some new elements to their sound, but the core is still very much
in line with previous work. On top of that, there really aren't as
many immediately catchy songs here as there were on Clayman, the album that
started all the buzz in the first place.
"Reroute to Remain" is an odd choice to open the disc, as it is one of the
least characteristic songs and it suffers from something of a lack of energy.
"System" is better, mixing hard-hitting sections with more melodic bits and
an almost Queensryche sounding chorus (I know that sounds ludicrous, but
listen to it!). "Drifter" is the first purely classic In Flames song,
with that Metallica-meets-Maiden riff and some plenty pissed vocals.
"Trigger" is one of the few tracks to offer a really memorable chorus, while
"Cloud Connected" features some nifty keyboard work. The acoustic work
that marked some of my favorite In Flames cuts in the past doesn't come in
until track 7, the good but somewhat flat "Dawn of a New Day." Another
highlight is "Free Fall," which has that "Only For the Weak" sort of plodding
melodic power. The clean guitars return on "Metaphor," probably the
strangest track on Reroute to Remain. The melodic vocals are almost
a little too emotive and the strings give it an almost country(!) flavor.
Bizarre.
In Flames is a great live band and there is no doubt their various US tours
played a big part in their success. As far as their albums go, though,
there have only been two that I felt were strong from start to finish, namely
The Jester Race and Clayman. Not that the other albums are bad by any
means, they just don't measure up to the standards set by these two great
records. As much as I'd like to add Reroute to Remain to that list,
I'm afraid it falls more in line with albums like Whoracle and Colony.
Still, 'average' by In Flames standards means a pretty damn listenable record.
[Daniel Hinds]
IRON GIANT
No Longer Sleeping
(12th Planet)
More muscle-bound riffs and retro song stylings from the growing 12th Planet
label. Iron Giant are much less obvious about who their influences
are and I get the feeling it isn't just the usual suspects from the 70s that
fueled the making of No Longer Sleeping.
While the material isn't terribly complex, the band do impress with their
abilities. Vocalist Chris Lewis can belt out the 'oh yeah!'s as good
as anyone and doesn't sound like anyone else. Derek Robichaud handles
the rhythm and lead parts with equal skill, while the rhythm section (that's
John Flanagan on drums and P.J. Dunphy on bass) are plenty tight.
The songs themselves don't vary too much from the mid-temp hard rock formula,
but they do make a few detours. "Mississippi" has that upbeat grunge
feel to it, while "Road to Nowhere" has a much bluesier running through it.
"On and On" has a darker vibe, somewhat psychedelic (in a 90s way more than
a 60s way). "Buzzkiller" sounds like the main riff from Sabbath's "Behind
the Wall of Sleep" jumbled up into a Danzig song.
This isn't a bad album at all, but with so many great albums coming out (including
some better ones even on this same label), I'm thinking Iron Giant might
get a little lost in the shuffle. They're going to have to really come
through with the killer songs next time to make a real impact, but No Longer
Sleeping is still a fine record that should be good news to all stoner, retro
or general hard rock fans out there.
[Daniel Hinds]
IRON SAVIOR
Condition Red
(Noise/Sanctuary)
This is the fourth album by these German power metal masters and the best
since the debut back in '97. All of the hallmarks that made me love
Iron Savior in the first place are still intact - the speedy riffs, the determined
vocals, the sing-a-long choruses, and the fantastic musicianship. Condition
Red may vary in tempo from song to song, but the heaviness never lets up
for a moment.
"Titans of Our Time" storms forth sans any fancy intro or build-up, harking
back to the catchy speed metal approach of "Brave New World" from the debut.
Classic Helloween is brought to mind by the melodic chorus, but Piet Sielck
still has that unique voice that will always distinguish Iron Savior from
any other power metal act. "Predator" opens with a riff straight out
of Killers-era Maiden, before settling into a classic heavy metal groove
that is pure Iron Savior. "Ironbound" has a jaunty feel that harks
back to the NWOBHM style, while "Warrior" has 80s written all over it (in
a good way).
Remember when Accept used to break out those raw, muscular riffs that inspired
involuntary headbanging as soon as you heard them? "Mindfeeder" is
just that type of song, executed to perfection. "Walls of Fire," "Tales
of the Bold" and the title cut are perhaps a bit more in line with the typical
power metal making the rounds these days, but they are still solid, enjoyable
songs. "I Will Be There" belies its ballad-esque title and is instead
an offbeat rocker, with some unusual tempo changes and a moody pre-chorus
and chorus. The only real 'epic' track is "Thunderbird," which builds
from a portentous keyboard bit into a nicely galloping riff that carries
it through much of its seven-plus minute length. And to show the band
has more than a bit of versatility, they close the album with a surprising
and killer rendition of Seal's first big hit, "Crazy." Much like Gamma
Ray succeeded in metalizing Pet Shop Boys' "It's a Sin," Iron Savior heavy
the track up without losing its innate vibe. The breakdown in the middle
is particularly effective with the heavier guitars and requisite killer lead.
While some may criticize Iron Savior for not being in tune with the times,
that is precisely what makes this such a great album. Piet grew up
with and experienced all of the classic metal of the 70s and 80s (he was
a founding member of Helloween after all) and it is clear that the music
was more to him than just a passing trend. Along with Primal Fear,
HammerFall, Dream Evil and several others, Iron Savior has brought the glory
of heavy metal back to the masses and Condition Red is the latest victory
in that ongoing battle.
[Daniel Hinds]
KATAKLYSM
Shadows & Dust
(Nuclear Blast)
Shadows & Dust opens like a bulldozer - relentless and unforgiving.
"In Shadows & Dust" a death metal mission statement if I ever heard one
and the following "Beyond Salvation" provides ample reinforcement.
The snare assaults that dominate "Illuminati" and several other tracks help
give Kataklysm a unique identity, as do the precise yet brutal riffs.
The brutal stop-start riff in "Bound in Chains" is tempered with slight hint
of melody on the chorus, a very nice touch that paves the way for the more
melodic structure of "Where the Enemy Sleeps." The album continues
on in fine style, with the final track winding down in an almost mournful,
doomy tone.
Kataklysm somehow seem to improve just a tad with each release, evolving
from a competent but faceless death metal act into one of the scene's finest.
The band's sound is thick and metallic without getting bogged down in the
slow sections or turning to mush in the fast ones. It's a testament
to the fine production (courtesy of lead guitarist Jean-François Dagenais),
but also the fine performances all around.
It seems like I have been just inundated with death metal albums lately,
each sounding less and less inspired. I'm hoping we don't fall back
into the rut that caused the scene to atrophy in the mid-90s, but with albums
like Shadows & Dust coming along to smash the monotony, I'm keeping an
optimistic view.
[Daniel Hinds]
THE KOVENANT
In Times Before the Light
(Hammerheart)
A few years back, certain well-known folks in the black metal community got
together and formed Covenant and released In Times Before the Light.
Time went on, they released another disc and were then forced to change their
name by the real Covenant. So what did they do instead of picking a
cooler, different name? They just spelled it with a 'K' and put 'The'
in front of it. Brilliant.
Semantics aside, this album has the same kind of melodic charm that Dimmu's
Enthrone Darkness Triumphant did, overlaid with some more modern loops and
samples that only serve to clutter the music. Fans coming into this
disc only familiar with The Kovenant's Animatronic will probably wonder what
the hell is going on, as this album is much more in the traditional cold,
symphonic black metal tradition. Songs like "From the Storm of Shadows"
would be pure, dark mayhem if it weren't for the carnival-like keyboards
that are draped over top of it. Lex Icon (aka Nagash, ex-Dimmu) has
a nasty sort of distortion on his voice that is actually pretty cool.
Having not heard the original version of this album, I'm not sure if it was
that way there or if that is another feature they added, but it is one of
the few things that really worked for me on this disc.
Of course, the cool grim artwork from the original is also gone, I favor
of a color explosion that is more in tune with the band's current image.
Can't really fault them for that, since they might as well go all the way
and make this a consistent package, but whole thing just feels like tampering
with the past. It's like Ozzy replacing the drum and bass tracks on
his first two solo albums when they remastered them - it robs people in the
future of the true history of the band.
[Daniel Hinds]
LIMBONIC ART
The Ultimate Death Worship
(Candlelight/NAP)
After the crushing onslaught that was the Ad Noctum, I was all prepared for
Limbonic Art to take that next step and deliver the perfect modern black
metal album. While it didn't exactly meet those lofty expectations,
The Ultimate Death Worship is a challenging and rewarding album that (like
all of its predecessors) requires several listens and close attention to
properly comprehend and enjoy.
The title track is up first, opening with some cosmic ambience before diving
head first into the maelstrom of typical Limbonic Art - a flurry of high
speed programmed drums, raging guitar riffs, grim as hell vocals and lots
of keyboards. "Suicide Commando" follows in similar form, though "Purgatorial
Agony" offers a change of pace. This three-minute cut is a well-orchestrated
ambient piece with spoken vocals over top. This track leads nicely
into the ten-minute sprawling monster called "Towards the Oblivion of Dreams."
A more potent example of Limbonic Art's capabilities I could no imagine.
Here you get the creepy keyboard work, a slow and utterly evil doom riff,
One sticking point for me was the way the keyboards were used this time around.
While they usually blend in quite well and add the right celestial atmosphere,
there are times (such as on the title cut) where they use lo-fi, simple waveforms
that sound a bit silly and tend to move at right-angles to the rest of the
music. The rest of the production has that very compressed, high-end
sound that black metal traditionally has, so don't expect this to sound as
good as Immortal (or even Emperor).
By and large, however, this album pleased me a great deal. There is
a savage rawness to Limbonic Art's work that belies the more 'modern' aspects
(the keys, the sequenced drums). Plus, they wisely chose to diversify
their sound more this time around. Instead of the almost constant barrage
of speed, there are a lot of different tempos on The Ultimate Death Worship.
The more I listen to this record, the more I like it and it may very well
be the band's best work to date - which is saying quite a bit.
[Daniel Hinds]
MANOWAR
Warriors of the World
(Metal Blade)
Having just seen Manowar on their recent US tour, I can back up their claim
as the Kings of Metal with the most devoted fans in the world - truly a great
performance. Which makes it all the harder to understand how this album
is the best they could muster after six years.
Let me start with the positive stuff, because there is definitely some excellent
material on offer here. The actual metal songs are great - bold, confident,
heavy as hell. "Call to Arms" and "Warriors of the World United" are
among the band's very best anthems, while "House of Death," "Fight Until
We Die" and "Hand of Doom" are right up there, too. These songs all
remind me of the best cuts on Louder Than Hell, but with perhaps a bit more edge
and fuller production.
So what is wrong with Warriors of the World? The main problem is the
flow of the album, which starts with the triumphant "Call to Arms" but then
settles into six songs straight that are either mellow or instrumentals.
It just makes no sense and kills the momentum this album could have had.
The rest of the rocking cuts are all grouped together at the end of the album.
Also, among the mellow tunes are a couple of cringe-worthy numbers.
"The Fight For Freedom" is a big flag-waving sing-along that makes me want
to retch and "An American Trilogy" is a medley that Elvis apparently used
to do, but it sounds so out of place on a Manowar album, it's like a bad
joke. I give props to Elvis, but why couldn't they have picked a song
that at least could have fit in with Manowar's style? He has plenty
to choose from! It just seems like a poor choice that further hurts
the flow of the album.
Now, there are a couple of the mellow tunes, such as the cover of Puccini's
aria "Nessum Dorma" and the Viking epic "Swords in the Wind" that are good
songs and well executed. They only suffer from their placement on the
record and the latter should have been put just prior to the closing tune
to make for a glorious album ending.
So, this is easily Manowar's mellowest record and, all in all, probably my
least favorite (with the possible exception of the overblown Triumph of Steel).
Still, there seven full-on good or great tunes here, making this still well
worth getting. My advice is to buy a copy and then burn a copy with
the songs in a more logical order (and minus the bad songs) and listen to
that instead - it will make for a much more enjoyable experience.
[Daniel Hinds]
MESHUGGAH
Nothing
(Nuclear Blast)
Seems like there is a direct correlation historically between bands toning
down their speed and diversity and their rise in commercial success.
Witness Metallica, Megadeth, Pantera, etc. So it wasn't too surprising,
after seeing that Meshuggah was on tour with Tool and Ozzfest, to hear their new album
and find them taking the same route to mediocrity.
To be fair, the band has retained their brutal edge as well as their love
for unusual riffs and time signatures. The problem is they tend to
just concentrate on one or two per song rather than the mind-boggling array
that used to saturate their works. On top of that, the tempo is fairly
steady from song to song and the vocals are at the exact same monotone level,
so it gets tiring after a while. A short while.
Having said all that, there are still some bright moments to be found.
I liked the choppy riffage and staccato vocals of "Perpetual Black Second."
Granted, that's kind of par for the course with this album, but the formula
works best on this cut. "Spasm" shows a slightly different vocal approach
and a slight coldwave feel, like Samael without all the keys or something.
I'm not sure if that's good or not, but it comes as a welcome change of pace
either way. And "Obsidian" is just a pointless instrumental that never
even gets going.
While I wouldn't say Meshuggah have jumped on the nu-metal bandwagon musically,
I think they have spiritually. The reductionist philosophy behind nu-metal
is omnipresent on the aptly titled Nothing and it is really too bad because
Meshuggah are (were) capable of so much more.
[Daniel Hinds]
MYRKSKOG
Superior Massacre
(Candlelight)
While Deathmachine saw Myrkskog making the transition from black to death
metal, Superior Massacre leaves no question whatsoever where their heart
lies. This is pure, hyperspeed death metal at its most brutal.
Not necessarily at its best, though, as Myrkskog still seem to have a problem
penning truly memorable songs. But in terms of sheer power, there is
no denying Myrkskog.
After a post-apocalyptic intro, "Domain of the Superior" breaks loose - it's
fast, it's technical, it's pummeling in the extreme, but it ultimately feels
more like an exercise than anything else. Songs like "Detain the Skin"
and "Trapped in Torment" continue the onslaught, with "Indisposable Deaths"
coming in to offer a glimpse of something different. The speed and
technicality is still there, but there is an alien, modern feel to the main
riff that lends it an almost (don't laugh) polka feel at times. A very
distorted, evil, pulverizing polka, but still it has that rhythm. I
like it. This song alone redeemed the band for me and I really hope
to hear more experiments like this in the future (or do I have to be content
with Destructhor's other band, Zyklon, for these types of daredevil songs?).
Mention must be made of drummer Secthdamon (Myrkskog obviously showed up
late when they were handing out fake names) - the man beats the living shit
out of his kit throughout the whole album. It's almost worth getting
just to hear his playing on songs like "Blood Ejaculation" and "Bleeding
Wrists." Very impressive.
The realm of ultra-fierce, brutal death metal has never really been my scene,
so it probably isn't too surprising that I can't get into Myrkskog.
There is certainly a great deal of talent here, as the band pulls off some
amazingly complex riffs and stop on a dime change-ups. Production is
bone-crushingly heavy and tight, even better than on the Zyklon disc.
For the death metallers who sneer at melody or anything even resembling a
hook, Myrkskog should fit in very nicely next to the Morbid Angel, Cryptopsy,
Angelcorpse, Hate Eternal and Krisiun discs.
[Daniel Hinds]
OCCULT
Rage to Revenge
(Painkiller)
This Dutch outfit lays a very grimy, aggressive brand of death/thrash that
is something of a revelation in the current era of ultra-clean and melodic
bands. If you combine the intensity and darkness of modern death and
black metal with the riffs and arrangements of classic German thrash metal,
you've got a pretty good idea of what Occult are all about.
The vocals are one department that really separates Occult from other bands.
There are two vocalists (at least on this album), with Maurice Swinkels spitting
out a very bitter, thrash styled screech, while Rachel Heyzer (now in Sinister)
belts out the bowel-churning death grunts. The playing is never overly
spectacular in a technical sense, but the band plays with a great deal of
feeling and it really makes the music come alive.
Songs of interest include "The Madness Within," which runs through at high
speeds until a very Destruction-sounding riff breaks it down in the middle.
Another great riff adorns the more mid-tempo "Killing For Recreation" and
"Thy Creation" follows with a slower, even sicker riff. "The Desolate
One" is great example of the band's ability to retain this same level of
heaviness and force when moving at full speed.
While some bands are stuck repeating the past and others are too busy trying
to 'progress,' Occult has found a happy medium that plants them firmly in
2002 with a very kick-ass album that fuses the best elements of death metal
and thrash. The nicely laid-out digipack is just a bonus. More
info: http://www.occult.nu
[Daniel Hinds]
PLACE OF SKULLS
Nailed
(Southern Lord)
Place of Skulls is doom, pure and simple. Guitarist Victor Griffin
set a new standard for the genre with his incredible work with Pentagram
and it is clear he is far from out of ideas. While the Sabbath influence
is still felt, it isn't omnipresent like it was in Pentagram, giving Place
of Skulls a more distinctive flavor.
Part of that distinctiveness is Victor's vocals, which are strong and clear
without sounding like Ozzy at all (part of Pentagram's problem, the other
problem being that the vocals were mixed too loud). His lyrics are
very spiritual in nature with a definite Christian angle, much like early
Trouble. By that I mean they are more explanatory than preachy, so
I can deal with them, but be forewarned (sic). Victor's guitar-work
is better than ever, from the bulldozer power chords to the surprisingly
emotional leads.
You can't go far on this album without running into a mammoth, heavy riff,
which is fine by me. Songs like "The Fall," "Love She Gave" and the
Pentagram-like "Feeling of Dread" pound along with those dark, downtuned
riffs that elicit headbanging in anyone who still has a pulse. Place
of Skulls isn't without its surprises, though, as the somewhat melodic "Don't
Let Me Be Misunderstood" (an Animals cover) aptly demonstrates.
All in all, Nailed is a strong debut, one of the best retro/doom albums I've
heard in a while and the welcome return of one of the scene's greats.
Make that two, as it appears Wino (ex-Spirit Caravan, ex-St. Vitus, ex-The
Obsessed) has also joined Place of Skulls. Can't wait to see what kind
of madness this union will unleash in the future!
[Daniel Hinds]
PRIMAL FEAR
Black Sun
(Nuclear Blast)
Classic heavy metal in the vein of Judas Priest does not get any better than
Primal Fear. Even Halford has had trouble delivering as consistently
as this German powerhouse. Ralf Scheepers (ex-Gamma Ray) commands a
great range and can belt out the lyrics like few others in the metal world.
Equally vital is Sinner bassist (Matt Sinner), who handles most of the songwriting
tasks and knows how to keep things heavy and traditional, yet fresh and melodic
at the same time.
After a moody intro that mixes chimes with heavy riffs, the title track rocks
forth. As an opening cut, "Black Sun" is a bit restrained and it kind
of sets the tempo for the album as a whole. "Revolution" has a slower,
ultra-heavy riff that demands headbanging in response. It also features
some great harmony guitar work and one of the album's best choruses.
"Magic Eye" touches on ballad territory (the only song that does), with Ralf
getting the chance to really show off his keen singing voice. "We Go
Down" has that creepy atmospheric guitar work that made Priest's "Nightcrawler"
so damn cool before kicking into one of the heaviest tracks, right along
with the more modern sounding "Mind Machine." Just when I was expecting
the album to take a more mellow or epic turn, the band finish off with the
one-two punch of "Cold Day in Hell" and the frantically-paced "Controlled."
This is not my favorite Primal Fear disc. It doesn't have the instantly
memorable songs of the debut or the pure energy of Nuclear Fire, but it is
still a damn solid album and kicks the shit out of most metal albums I've
heard this year. If anything, this album gets better with each listen,
as it is a little more layered than some of the previous albums, and it is
well worth the effort.
[Daniel Hinds]
PULSE ULTRA
Headspace
(Atlantic)
The inexplicable impact that Tool has had on the music world is beginning
to make itself felt in some of the bands I'm hearing these days. My
first reaction to Pulse Ultra was, 'Oh great, another Tool wannabe..'
And there is a certain element of that here, no doubt about it, but there
are plenty of other things going on that elevate Pulse Ultra from the level
of mere clones (did someone say Earshot?).
They keyword on Headspace is 'progressive' and right from opener "Acceptance
(Phase I)" you can hear the unusual chording, the atypical time signatures
and the plethora of change-ups that are trademarks of prog-rockers from King
Crimson to Voivod. It's a bit surprising to hear music of this sort
being pushed on a major label in 2002, but the band also slaps a nice big,
melodic chorus on each song to give it a bit more commercial appeal.
The Tool comparisons come via some of the (slightly whiny) vocal intonations
and riffs (see "Put it Off," "Slip in Sin" or especially "Build Your Cages"),
but aren't nearly as rampant as I at first thought they would be. Just
enough to get them a major label deal, perhaps? Sorry, just being cynical
again…
The production is big and clean and works well for Pulse Ultra's style.
While I was never fully drawn into any of the songs on Headspace, I will
give the band credit for their obvious chops and for choosing to operate
at least a little way off the beaten path.
[Daniel Hinds]
RHAPSODY
Power of the Dragonflame
(SPV/LMP)
I recently saw someone refer to Rhapsody as a "lightweight version of Stratovarius,"
which really does not do the band justice. Rhapsody really has their
own thing going on and have obviously put a lot more effort into making their
music a true hybrid between metal and opera, in terms of spirit as well as
stylistically, than any other band out there.
Keeping the tempo high on most cuts, Rhapsody can be exhausting to listen
to after a while, but fortunately they do plant some more temperate cuts
here and there. "The March of the Swordmaster" kicks off with a medieval
folk melody that harks back to the stuff I liked best on their debut, eventually
turning into a mid-tempo, marching sort of tune. "Lamento Eroico" is
a piano-driven ballad that builds a very bold, dramatic atmosphere.
And no Rhapsody album would be complete without a truly epic-length track
and this time we are presented with their best yet, the 19-minute "Gargoyles,
Angels of Darkness." This beautiful, intricate piece of work alone
makes the album their finest to date.
As with all Rhapsody albums, the quality of the musicianship and singing
is impeccable. The vast choirs provide the sense of majesty the band's
fantasy-themed music needs and the keyboard, guitar and drum work is just
stellar. The lack of any substantial progression over the band's career
can be ascribed to the fact that all of their works thus far have been part
of the same story, the "Emerald Sword Saga." As this disc closes the
final chapter on that tale, it will be intriguing to see how the band moves
forward with the next album (due out in Fall of 2003).
[Daniel Hinds]
SEVERE TORTURE / BLOOD RED THRONE
A Taste For Butchery
(Hammerheart)
This is a compilation of two recent death metal EPs, namely Severe Torture's
Butchery of the Soul and Blood Red Throne's A Taste For Blood. Both
bands lean toward the extreme end of the death spectrum and have been making
waves, thus the idea to release this split CD here in the States.
First up is Severe Torture. This band dishes out the brutal riffs in
a relentless, no-nonsense manner, never allowing the tempo to dip below light
speed. The vocals are of the barely audible gurgle variety - not my
favorite style, but the music manages to rise to the occasion and keep me
entertained. Nothing original, but the band does do some cool (and
very sudden) breaks, particularly the guitar riff that comes in early on
during "Pray For Nothing." Each song ends so abruptly, it almost seems
like the band were in a hurry to dive into the next song. The only
mar aside from the vocals is a somewhat inconsistent production, with a couple
of the tracks sounding a bit thin compared to the rest. I'm not sure
the source of the material for this EP, but it seems to be from various recording
sessions by the sounds of it.
After reading a flurry of negative and mediocre reviews of Blood Red Throne's
last full-length, I wasn't sure what to expect from them. Featuring
the fairly legendary Tchort, it was interesting to hear how his work with
Blood Red Throne compared to his previous efforts with Emperor, Green Carnation,
etc. The style set down on these six cuts is very much mid-era death
metal, mixing elements of thrash with more technical guitarwork. The
result is some really interesting riffs that occasionally follow through
into great songs. The vocals are raw and forceful, but ultimately pretty
non-descript. Shadows of Slayer can be heard on "Ravenous War Machine,"
while there is a distinct Bay Area feel to "The Children Shall Endure," which
is probably my fave cut here along with the crunchy "Mary Whispers of Death."
Again, production values shift gears for "Monument of Death," "Cryptic Realms"
and "Malignant Nothingness," with only "Cryptic Realms" offering anything
worthwhile.
As a gateway to get into either of these bands, it is difficult for me to
judge this CD since I am unfamiliar with their other material. As a
collection of fast and brutal detah metal tunes, however, it does make a
respectable impact. Just don't expect anything too revolutionary.
[Daniel Hinds]
SOULDIVIDER
Supersound City
(12th Planet)
Here is yet another band that sounds like it just fell through a time-warp
from 1974. Happily, Souldivider is one of the best yet from 13th Planet,
and this album easily lives up to the promise set by their excellent MCD,
The Big Relax.
"Time to Reflect" takes off like a muscle car, with a noisy and up-front
bassline and propulsive drumming. The guitars are fuzzy and pretty
heavy, but the vocals have a clean, bluesy strength that really helps Souldivider
define their sound. "Supersound City" is a bit more restrained and
it is pretty clear by this point that the band is not a metal band, but more
a true rock band with the amps cranked up to 10. "Suburban Sin Club"
could almost be a Nebula song. The band get down with a classic boogie
tune called "Things Undone" that calls to mind The Doors in its unruly swagger.
"Tension & Relief" is worth noting as well, as it is features a really
unexpected (and smoothly executed) change-up midway through. It's the
kind of left-field maneuver that bands used to be a lot more open to trying
in the 70s than these days.
Usually with these types of records, there is one or two good songs and the
rest just sound incredibly tired, but Souldivider obviously put some time
into each track here. Fans of everything from Jerry Cantrell to Fu
Manchu to Blue Cheer will find something to latch onto here and the amped
up energy Souldivider squeezes into each song makes sure it will be in your
CD player many, many times. Score one more for the Swedish rock scene.
[Daniel Hinds]
SUPERJOINT RITUAL
Use Once and Destroy
(Sanctuary Records)
Okay, having never liked Pantera, it might seem strange that I am reviewing
Phil Anselmo's other project's latest CD. This is far more extreme
and varied than Pantera and I must admit that I find it a far more enjoyable
listen. Anselmo has backed himself with various musicians from such
bands as Eyehategod,, Down, and Hank Williams III, this is a bit of a "supergroup"
of sorts. It seems somewhat odd that chemistry would be the strength
of Superjoint Ritual, but it is.
The songs are all incredibly heavy and really thick with noise, but producer
Dave Fortman (12 Stones & Soilent Green) and the band harness the chaos
and make it work. The music is all over, at times sounding like Danzig
at other times more death metal or hardcore-like, the element tying them
together is how fucking heavy they all are. I gave Phil credit for
really varying his vocals styles on the songs. There are times I was
convinced there were two different people doing the vocals on the same song.
The lyrics seem to be collected over a decade and are also extreme in content.
Probably the weakest link in the music. Not that it really matters,
I don't really care what he is saying. His vocals just work well with
the varying riffs and rhythms used on this CD. This has got to be amazing
if played well live, but I can't imagine this in very large doses.
The only other weakness in this CD is that none of the songs particularly
stand out for any real reason. They all have a tendency to blend into
one another. The multiple change-ups in each song might just add to
the difficulty of telling the songs apart. In all, the flow of the
CD is still incredibly strong, but I would be hard pressed to point out which
songs I really love and why. I could say, I really love this change
up, or this is a kickass riff as I'm listening. Something heavy to
groove on and wait for the shit to hit the fan.
[Victor Mejia]
TZEFA
Feed Me (MCD)
(self-released)
If the name isn't odd enough for you, the music will be. Trust me.
This is no easy to categorize death metal or nu-metal hack band, this is
a wonderful combination of styles that transcends the jumbled input and becomes
something new and coherent. Modern rock, classic thrash metal, Eastern
European folk, punk, and opera all come together to create Tzefa's sound.
"Time Bomb" is a strong metallic number, with a nice chunky riff reminiscent
at times of Metallica's "No Remorse." The chorus is bizarre mix of
rubbery bass, operatic vocals and the band's metallic core. "Season
of the Rain" kicks off with a nice heavy riff and even a death grunt and
features violinist Slava Popova delivering a very memorable chorus.
Actually, she does that on just about every song, but this one in particular
stuck in my head. "Angel Dust" features a more melodic start, but turns
heavy by the time it hits the chorus and middle section. "Fistful of
Bullshit" stumbles forward on a very jerky riff and feels just a little too
disjointed for my tastes, making it the only cut on here that didn't win
me over.
The unique style of Tzefa may hinder them from landing a big record deal,
but I think their obvious talent and enthusiasm for what they are doing will
win out in the end. Word of mouth on this band has been very positive
and if they hooked up with the right producer, they could unleash one truly
monumental debut album. Let's hope that is just what is in the cards.
More info: http://www.tzefa.com
[Daniel Hinds]
U.D.O.
Man and Machine
(SPV/Breaker)
Former Accept vocalist Udo Dirkschneider is seemingly unstoppable.
Since the final break-up of Accept in ’96, he has pumped out 3 slabs of pure
trad metal along with a double-live disc recorded in Russia. 2002 brings
us Man and Machine, a good album that falls just a bit short of the spectacular
Holy from a couple years back.
The album opens on a strong note, as the marching throb of the title track
lays down a rock solid groove that is classic U.D.O. “Private Eye”
is a bit more of a straight-forward rocker, trading in a great main riff
for a slightly weak chorus. “Dawn of the Gods” is pure mid-80s Accept,
complete with a menacing riff and chant-along chorus. “Network Nightmare”
is the requisite double-bass drum assault and features one of the album’s
most thought-out arrangements, not to mention some top-notch fretwork.
“Hard to Be Honest” veers toward the 90s-era Accept, that weird mix of rock
‘n’ roll and heavy stomping metal, but it works pretty well here. More
classic riffs pour forth on the headbanging “Black Heart” and “Unknown Traveler”
is a healthy mix of melodic verses and a very metallic chorus.
The quality factor on Man and Machine isn’t quite 100%, however. “Animal
Instinct” feels rather hollow throughout, while “Dancing With an Angel” can’t
rise above the status of a mediocre ballad even with Doro Pesch’s added lead
vocals. “Like a Lion” fares slightly better as a semi-ballad, but the
lyrics will leave you scratching your head.
Man and Machine is one of those albums that just feels a bit rushed in some
respects. The cover art looks cheap and dreadfully plain and some of
the songs have that last-minute, thrown-together feel to them. Still,
there are plenty of excellent songs to be had as well and Udo’s voice sounds
surprisingly clean and powerful all the way through. Not U.D.O.’s ultimate
moment, Man and Machine is still one of the band’s stronger albums and a
testament to the undying power of classic heavy metal.
[Daniel Hinds]
[various artists]
A Tribute to Mayhem: Originators of the Northern Darkness
(Dwell/Avantgarde)
Finally! This truly excellent tribute album sees the light of day here
in the US. While most tribute albums are a haphazard collection of
sound-alike, no-name bands that are more interested in getting their name
seen than actually paying tribute to anyone, this is the real deal.
The bands included herein are among the best of the black (and death) metal
scene, many contemporaries or directly influenced by the legendary Mayhem.
My favorite band of the lot, Immortal, kicks things off with a crushing rendition
of "From the Dark Past." This is the definition of how a cover should
sound: it stays true to the spirit of the original, yet is imbued with that
distinctive Immortal sound. The highly anti-christian Dark Funeral
is next, adding just the right sneer to the icy "Pagan Fears." Poland's
finest death merchants Vader crank out a brutal version of the already plenty
brutal "Freezing Moon," one of Mayhem's finest moments. The vocals
here are not the typical death growls, but a more ominous low toned singing
- very bizarre, but it works. Emperor deliver a blinding "Funeral Fog"
that must have been recorded a while ago (not the greatest production).
Behemoth do a decent job with "Carnage," adding a wicked guitar tone and
some charmingly aimless solos. Limbonic Art race through "De Mysteriis
Dom Sathanas," featuring some very Hades-like epic vocals. Keep of
Kalessin, who I like on their own, offer a somewhat uninspired take on "Buried
by Time and Dust," suffering further by one of the murkiest mixes of the
lot. Gorgoroth steps up with a flurry of blastbeats called "Life Eternal."
Again, the production suffers, but the band manages to suffuse the track
with that cold sense of evil that Mayhem created so effortlessly.
The one band here that I thought would truly deliver an authentic Mayhem
cut is Carpathian Forest and they did not disappoint. That utterly
sick and vile guitar tone of theirs makes the perfect match for "Ghoul."
Seth is less spectacular with "Into the Labyrinth," as is (surprisingly)
Gehenna's "Cursed in Eternity." Absu finish the album on a good note
though, smashing out the one and only "Deathcrush" like a band possessed.
Regardless of what you might think of what Mayhem has become in recent years,
there is no denying their contributions to the black metal scene. This
is a fine set of covers that really do pay homage to this utterly black and
influential band.
[Daniel Hinds]
[various artists]
Armageddon: The Tribute to Destruction
(Dwell)
German thrash legends Destruction self-destructed just when thrash was breaking
big, but they still managed to cement their place in the history. Part
of the triumvirate of German thrash innovators (alongside Kreator and Sodom),
albums like Infernal Overkill and Eternal Devastation will doubtless remain
in print for many years to come. Never ones to miss a chance to capitalize
on any band's achievement, Dwell has churned forth this tribute, another
frustratingly mediocre offering.
Here's the run-down, blow by infernal blow… Kauldron score points by
picking my favorite Destruction ditty, the classic "Bestial Invasion."
The even manage to capture the gritty, bass-barren production of the original,
though that is a mixed blessing at best. Draconis at least get a better
sound and do a decent job with the less memorable "United By Hatred."
Evil Incarnate sound rather flat on "Tormentor," with the vocals in particular
coming across rather flat. Nokturne yawn forth a ho-hum "Devil's Soldiers,"
while Abominant sound a little more ferocious with "Curse the Gods."
The first real winner shows up midway, as The Chasm make "Deathtrap" almost
sound like a Slayer song (with far deathier vocals, of course). Sanctorum
immediately lower the bar again with an uninspired "Mad Butcher" - not Destruction's
best work to begin with and this offering adds nothing to it. Soulless
rouse the blood on "Confound Games," featuring one of the best recordings
of the lot and an inspired vocal delivery that is more of a true tribute
than the bland death growls most bands here spew out. Er, case in point,
the demo-quality Infamy doing their best to ruin "Total Disaster."
Diabolic have the chance to save the day by closing the album, but even a
band of their stature sound sub-par on "The Ritual."
The tally: a very good cover, a few decent ones, and a bunch of rather
drab ones. By Dwell tributes that still ranks this on the higher side
of mediocre (as there are no truly awful cuts, save maybe for Infamy), but
well short of a worthy purchase.
[Daniel Hinds]
W.A.S.P.
Dying For the World
(Sanctuary/Metal-Is)
Just a few years back in this very 'zine, I pretty much ripped apart Helldorado,
W.A.S.P.'s latest opus at that time. While I still stand by that review,
I am quite pleased to say that these legendary rockers have pulled a complete
180 with their new one. Dying For the World has the depth, the heaviness,
the diversity and the memorable songs that were all but lacking on Helldorado,
making it easily their best record since The Headless Children (a true classic).
The infectious riff that powers "Shadow Man" creeps forth, building steadily
to a frenzy that is pure W.A.S.P. "My Wicked Heart" is closer to the
band's early work, right down to its descending pre-chorus and electrifying
solo. "Black Bone Torso," an abstract take on the current crisis the
Catholic church has gotten itself into, is the first of several moodier,
more mellow pieces. Blackie's voice I still completely distinctive
and he manages to reign it in just enough to deliver the proper emotional
charge to songs like this.
Several of the heavier and faster cuts ("Hell For Eternity," "Shadow Man,"
"Stone Cold Killers" and "Revengeance") are directly inspired by the events
of 9/11 and you can feel the bitter anger in every line and riff. Conversely,
"Hallowed Ground" is power ballad that mourns the victims and is just as
weighty, emotionally-speaking. As good as all of these cuts are, the
real highlight of Dying For the World is "Trail of Tears," a mournful yet
touching piece that details a truly sick piece of American history that too
often goes overlooked (namely, the enslavement and dislocation of the Cherokee
Nation). I was glad to see Mr. Lawless not falling into the blind
patriotism that swept the nation following 9/11. While he justly expresses
his anger and rage for those responsible for the attacks, he's not afraid
to then turn around and criticize the US government for its past actions,
too.
One thing I thought was particularly cool about this release is the liner
notes, where Blackie actually takes the time to explain his state of mind
while making this album and the inspiration behind many of the lyrics.
It's fine for artists to leave all interpretation to the listener, but I
appreciate it when one takes the time to also give their perspective.
Blackie Lawless is pretty much synonymous with W.A.S.P. these days, being
the only member pictured in the booklet, as well as handling the production
and all songwriting. Fortunately, he is as creative as ever and makes
it work. The production is slick and full and the songs are as memorable
as any in the W.A.S.P. catalog (which is saying a lot). Guitarist Darrel
Roberts handles himself quite well, too, laying down some excellent leads
throughout. Mention must also be made of Frankie Banali, one of rock's
truly underrated drummers. His playing on The Headless Children was
just superb and he sounds just as good in 2002 on Dying For the World.
While a couple tracks might be a little less enthralling than the rest ("Revengeance"
and "Hell For Eternity," which features a rather annoying chorus), Dying
For the World is still one hell of a solid album. The band may not
have the shock tactics to terrify Tipper Gore anymore, but in its place is
a sense of emotional maturity that only makes the band stronger and makes
this one of their finest albums ever.
[Daniel Hinds]
WITHOUT FACE
Astronomicon
(Earache)
This is the follow-up to Deep Inside, the debut by this promising Hungarian
goth/metal act. Larger than life compositions are adorned with both
male and female vocals and built around progressive riffs and vast, ethereal
keyboards. Only six songs are offered, but the total playing time is
over 44 minutes, making this easily a full-length album.
The first chapter in Astronomicon is "Weird Places," a solid example of Without
Face's blend of progressive metal and gothic elegance. The way some
of the vocal lines run reminds me a bit of Nightwish circa Angels Fall First.
"Pit and Pendulum" swings back and forth from gentle to heavy, trading piano
melodies for hard and heavy guitar riffs in a very methodical manner.
By the time "…In the Garden" rolls around, it is pretty clear that Without
Face is more interested in creating a mood than laying out a set of catchy
riffs or melodies. "The Violin of Erich Zann" suffers from a s lightly
too circuitous main riff and "Talamasca" (the longest cut), begins to sound
a bit tired about mid-way through. "Daimonion" is a sweet little piano
ballad that makes for a nice closing to the album.
Without Face have done well with Astronomicon. It betters its predecessor
in terms of production and playing, but doesn't stray far stylistically.
Granted, this style was done to death a few years back (and feels a bit dated
for that very reason), but if you judge Without Face solely on their own
merits I think you will be quite pleased with what they have accomplished
here.
[Daniel Hinds]
|
|
