 ANHEDONIA
Demo 2000
(self-released)
This Cleveland-based dark-synth outfit is the output of Patrick Coleff
and Genevieve Southern Coleff. Although they have recently added
a guitarist (Melvin Hardy), this five-track demo was recorded with just
Patrick's synth-work and Genevieve's vocals to propel it forward.
"Forbidden" starts off with a disarming little melody before more sinister
synths move in. Genevieve doesn't seem to have a real natural singing
gift, but she does her best and establishes a distinctive style in the
process. There are just times when her voice sounds a little flat,
like you expect her to hit a certain note and she just doesn't quite do
it. Patrick's programming is generally very minimal throughout the
demo, with a very analog feel to most of the sounds. His attention
to the individual songs rather than trying to show off with a million different
tweaked samples gets my respect and allows the songs to breathe.
"Empty" has a somewhat Cure-like vibe going, making it one of my faves
here. Patrick takes over the mic on the last track, "Violence," delivering
the rather typical half-whispered vocals common to this genre and thus
making this one less memorable overall than the others.
This has a very home-recorded feel to it and I would advise some time
in an actual studio before Anhedonia release a full-length album, but I
think there are some good ideas here that just need to be explored a little
further. More info: http://www.anhedonia.org/
[Daniel Hinds]
BACKSTAB
Backstab
(self-released)
France has always seemed to exist in its own little world when it came
to all types of music and it is always interesting to hear something emerge
from there. Backstab are my latest exposure and one of the most unusual
ones yet, mixing up metal guitars, techno synths, hip-hop vocals, funky
rhythms and Arabic melodies. As confused as it sounds on paper, they
somehow make it all work
First up is "Demons," a very energetic mixture of hyper-synth and driving
guitar. The vocals alternate between a dramatic, neo-gothic tone
and a rapping style, both of which work remarkably well. "L'Oeil
du Clone" takes a groovier approach, building up momentum as it goes, and
features some oddly middle-eastern sounding vocal tonalities. "Bruises"
takes a more stripped-down approach, with the liquid synths coming to the
fore, while "El Tiempo" turns right around and shoves the nu-metal guitar
riffs straight in your face. The disc closes with "This Is What We
Get," a return to the adrenaline rush of "Demons" and a fitting close to
the album.
The way Backstab mix electronics and guitar is very effective and unique.
It isn't very metal, nor is it terribly techno in approach - the closest
I can come is to compare it to what Pop Will Eat Itself were up to on their
last outing. Throw in the funky rhythms, middle-eastern melodies
and rap-styled vocals and Backstab are one hell of an eclectic band.
One well worth checking out though, so find out more at: http://listen.to/backstab
[Daniel Hinds]
 BLOODSTORM
Pestilence From the Dragon Star
(Soul Sold)
This American mob is practically begging for derision, with their uninspired
corpse paint, swords & axes and garishly colorful album art.
Fortunately for them (and us), they deliver on the musical front in a big
way, pounding out some savage old-school black metal with a sense of utter
conviction and a fair amount of skill.
"Wrath & Vengeance" kicks in with no warning, with ferocious riffing,
sick vocals and drums of doom. The production is basic, but sounds
pretty full and is a perfect match for the band's primitive style.
"Death Thunder" continues the barrage, though the band manages to kick
the energy level up yet another notch with the hyperspeed "The Chaos Magician."
The band are really good at juxtaposing simple riffs with fairly complex
ones, such as on "Sirius Rebellion," but the band keep it intense at all
times. Even the slower riffs that make their way into a couple tracks
are deathly heavy, further tribute to the Tom Warrior legacy.
True originality in the field of black metal is hard to come by and
not really a big concern anyway. Bloodstorm echo moments of early
Emperor, Enochian Crescent and even some of the more Frost-inflected Darkthrone,
but in general never sound like they are directly copying anyone else.
If you love your blackness free of frilly keyboards, female vocals or melody
in general, Bloodstorm are a must. Write to: Soul Sold Music,
P.O. Box 920, Yonkers, NY, 10701, USA or email them at: metalczine@aol.com
[Daniel Hinds]
 CHALICE
Chronicles of Dysphoria
(Modern Invasion)
I didn't receive a promo of this album, but it was just so good I wanted
to review it anyway. Calling Australia home, this quartet makes a
truly enchanting brand of ethereal doom metal. With a sound that
blends heavy riffs with folk melodies, violin, and keyboards, Chalice tread
familiar territory yet give it a whole new spin, creating some incredibly
memorable tunes in the process.
Opener "Solitary Waves" is a great example of Chalice's style.
Starting with a beautiful piano melody, the violin and drums creep in,
followed by Shiralee's incredibly sweet vocals. This woman has an
incredible voice and is apparently the key songwriter in the band and it
shows, with her vocal lines blending seamlessly with the rest of the instrumentation.
She has quite the range, as well, hitting some amazing high notes from
time to time. Many of the tracks have a very romantic, medieval folk
flavor, giving a nod towards Rainbow as much as their more modern gothic/doom
brethren. "The Amber Twilight" for example is an incredible delight,
where the listener can focus on the vocal melody, the guitar riffs or the
violin and be equally enthralled with each.
People will likely want to draw comparisons to bands like 3rd and the
Mortal and The Gathering, but Chalice really do stand apart from the crowd
with their own sound. There is a stronger sense of classical melody
in Chalice's sound and Shiralee's voice is in a league of its own, at once
delicate and incredibly substantial.
Finding fault with this album is tough. The songs are all pretty
lengthy, but they sound complete rather than long. The recording
is crisp and clear and the performances are stellar, both from a technical
and an emotional stance. I will be amazed if someone doesn't pick
this disc up for a Stateside release soon - one of the best debuts I've
heard in ages and one of the best albums of 2000, hands down. More
info: http://www.chalice.cjb.net/
[Daniel Hinds]
 CONTAGION
Infectant
(PCB)
First off, this has been out for a while and I apologize this review has
taken so long - the CD got tucked away and I only recently found it again.
Contagion plays a fairly straightforward but highly enjoyable brand of
electro-industrial, complete with driving rhythms, menacing vocals and
sampled guitar riffs. It's a style of music that has sadly been out
of favor in recent years, so it is doubly nice to hear an album as solid
as this emerge in the year 2000.
"One of the Chosen" opens on a rather tame note, exploring some sub-Hate
Dept territory, but "Hate" firmly establishes Contagion as a presence to
be reckoned with. Like a blend of American coldwave and Euro EBM,
this track just stomps along its merry way. "Give to You" follows
in similarly memorable fashion. "Rigor Mortis" kicks the adrenaline
factor up a few notches, sounding like a more technofied MDFMK with a great
chorus. As the album progresses, several more great songs present
themselves, such as "Pain," "Crawl" and the rather funky "Divinity."
The album closes with "Isolation," something of a dark ambient piece.
Keith Arem seems to be the sole human behind Contagion and does an excellent
job with both the sound manipulation and sequencing. His vocals aren't
anything special, but they work well enough with the music and are mixed
quite nicely. The packaging of the album is also very well thought-out,
featuring a digi-pack bearing some very slick graphic design work.
Also, keep an eye out for the bonus enhanced CD included in the package
for the complete Contagion experience.
My first taste of Contagion was the rather disappointing Contaminant
PCB, released several years back on Capitol, but I'm pleased to say
that Keith has obviously grown and learned a lot as an artist since that
album and the results on Infectant speak for themselves. If you like
Hellbent, Noxious Emotion or any of the other bands mentioned in this review,
Contagion should definitely please your ears. More info: http://www.contagion.cc/
[Daniel Hinds]
 COUNCIL OF
THE FALLEN
Demo
(self-released)
This is very much a demo: 3 songs for a total of 7 minutes and 17
seconds. Forged by only two guys, the music of Council of the Fallen
is an remorseless mixture of death and black metal. Derek Roddy pounds
the drums in quite impressive fashion, while Kevin Quirion handles guitar,
bass and vokills, all with equal skill.
All three songs are pretty strong, with the first two coming in rather
mid-tempo before blasting off into overdrive. The third is pretty
much pure adrenaline from start to finish. The band sound surprisingly
mature in terms of both the playing and the song-writing, something I didn't
expect from just seeing the crude, home-made cover and CD-R. Granted,
the production isn't The Abyss, but it ain't shabby either and everything
is easily discernible in the mix.
If you're looking for some quality blackened death metal played by Americans,
look no further. CotF have done themselves proud with this all-too-brief
demo and I can only say - we want more!! More info: vehem@worldnet.att.net
[Daniel Hinds]
 CRUSHDOWN
Like This
(MCA)
It's no secret that hard rock music in general has fallen on hard times
since the influx of grunge and alternative in the early 90s. The
fun and energy was sapped and replaced with bitterness, whiny self-hatred
and a general lack of musicianship. Mostly though, the art of song-writing
seems to have ebbed in the past decade, with one memorable hook (often
sampled or stolen) being good enough to hawk scores of Fatboy Slim or Sugar
Ray CDs on an increasingly mindless public.
So is Crushdown here to save the day or add to the problem? Well,
certainly not the former but not quite the latter either. The band
can play reasonably well and, more importantly, manages to create several
well-constructed, memorable pop songs. Songs like "This," "Dosage"
and "Close My Eyes" are all strong numbers that manage to rock without
losing their catchiness. The band also stomp out a surprisingly heavy
version of Iggy Pop's "Loose."
Where Like This falls down is the utter lack of originality.
Sure, the songs are diverse and there are many different influences apparent,
but it never coalesces into a new sound that the band can call its own.
Nirvana, Alice In Chains, and even Aerosmith come to mind throughout, with
flashes of G n' R, Live and any number of faceless alterna-rock acts from
recent years filling the gaps. "Water" in particular is so brutally
a rip-off of Nirvana, it would make Bush blush. The band's vocalist
is quite amazing, more for his ability to sound like a dozen other singers
than for any actual singing ability.
If this album had been released when other imitators like Stone Temple
Pilots or Bush first made the scene, I'm sure it would have done remarkably
well. This late in the game though, I will be surprised if the band
can make their mark, at least with this album. Definitely some potential
here and it is nice to hear an pop-oriented alternative rock band that
at least tries to rock out for a change, so hopefully they will develop
their own voice for the sophomore effort.
[Daniel Hinds]
 CRYPTOPSY
And Then You'll Beg
(Century Media)
In death metal circles, Cryptopsy have been praised to no end for years
now, though it was '98's Whisper Supremacy that really established them
as a worldwide force to be reckoned with. This Canadian bunch are
an interesting mixture of jaw-dropping technicality and plain old brutality
for its own sake. My death metal tastes tend to run more towards
the likes of Vader rather than Morbid Angel, and this outfit falls
somewhere in between (though definitely leaning toward the latter).
Still, the sheer complexity of the material on And Then You'll Beg
demands respect and I must say, I'm impressed.
The first song to really grab my attention is "We Bleed," which is simply
a rollercoaster of riffs and tempos - always fast, but always unexpected.
The song also shows off some damn fine lead work. "Soar and Envision
Sore Vision" also stood out for me, as it starts off with a wonderful little
bass piece, even though it is clear long before this track that bassist
Eric Langlois is an incredibly gifted player. How many death metal
records have you heard where the bass was even audible, let alone stood
out and shone in its own light? Eric's playing is probably the single
most important thing to winning me over to Cryptopsy's camp.
The band can't be faulted in any department - Cryptopsy are a finely-tuned
killing machine. Vocalist Mike DeSalvo spews forth in fairly listenable
(if one-dimensional) death metal fashion and manages to keep up with the
speed of the music with no trouble. The production (often a sticking
point with music this involved) is more than satisfactory, thanks to Obliveon's
very own Pierre Remillard.
Cryptopsy play truly extreme music, music that will never be featured
on MTV or in Spin magazine. And it isn't because of the anger or
intensity behind it, it's because of the ungodly technicality of it.
The mainstream has no use for music this complex - it requires too much
brain power to compute. For all the fans of death, thrash and grindcore
though, you couldn't ask for more.
[Daniel Hinds]
 DESCEND / ALL
THAT IS EVIL
Split CD
(Cutting Edge)
Here we have four songs each from two fresh faces of the American underground
metal scene. The production on both bands is basic but functional
and the level of musicianship is quite high.
Descend are up first and kick off with the cemetery ambience of "Unseen,"
which eventually evolves into a twisted mixture of death and black metal.
The vocals, which seem to be in their own little world, vary between deep
gurgles and more audible blackened shrieks. The music is barely controlled
chaos, with some fairly elaborate drumming and weird change-ups.
This couldn't be more true of "Visions To Come," a song that keeps you
guessing all the way to the wah-wah guitar solo near the end. The
leadwork really gets to shine on the instrumental "Toutalis Strikes," a
song that shows some almost progressive elements amidst the deathly carnage.
"To Infinity We Shall Fall" is probably the most stereotypically death
metal song here, but even this one bears Descend's unique approach with
plenty of twists and turns along the way.
"Peril At Sea" begins the All That Is Evil half of this CD, with a more
straightforward approach to death metal riffing. Malcolm Anthony's
vocals are, much like Nate Worthington of Descend, a mix of death and black
metal styles. While the riffs may be more simplistic, the arrangements
are just as involved, with lots of different tempos and moods explored.
ATIE concoct actual stories within their lyrics, too, instead of the usual
mindless litanies of evil blasphemies. A good example is the closing
track "Her Only Wish," which has the potential to be expanded into a larger
conceptual piece.
Both All That Is Evil and Descend are noteworthy bands in their own
right, taking the existing genres of death and black metal and forging
something uniquely their own. Very impressive. More info from:
souldger@en.com
[Daniel Hinds]
 DESOLATE
Eventide of the Orb and Heavens
(X-Rated)
When it comes to discovering offbeat death and black metal bands from the
ends of the earth, X-Rated Records continues to prove their prowess.
Desolate hail from Bulgaria and deliver an opus of melody and brutality.
“At God’s Hand” is a good opening track, as it careens from high-speed
blackened brutality to melodic death metal territory and even some quieter,
clean guitar interludes. The vocals of Ilko G. are gruff but surprisingly
comprehensible and well suited to the music. “Fireflight” showcases
a slightly more linear arrangement, driven by a rather catchy melody.
Guitarists Vladislav St. and Metodi P. work together really well, pumping
out some very tight riffs and harmonies, not to mention some great leads.
The rest of the album keeps to a consistently high quality, though some
tracks are definitely more memorable than others. “Firmament” is
the least typical track, as it is a synth-driven, very atmospheric instrumental
cut and shows that there is a great deal more for Desolate to explore on
future albums.
As is often the case with unknown acts, the production on Eventide..
is a little thin. Still, the mix is good and the guitar cuts through
rather nicely. Desolate may look like yet another Dark Tranquillity
clone on paper, but in reality they have a distinctly different sound.
The unpredictable arrangements and time signatures mixed with some truly
memorable (and unusual) melodies are what make this album a keeper.
[Daniel Hinds]
 DIO
Magica
(Spitfire)
I have been a huge fan of Ronnie James Dio since my first exposure, circa
Sabbath’s classic Heaven & Hell, back in 1981. His rich,
textured voice can handle everything from the darkest, heaviest song to
the most delicate ballad. Along with Rob Halford, he is the Voice
of Metal. And I enjoyed most of his solo career and even count Strange
Highways as one of his best, but his last outing, Angry Machines,
just felt empty and lacking in almost every respect.
My fears that his creative energy had finally started to dwindle have
happily been allayed by this year’s release of Magica. Not
only does this album mark the oh-so-welcome return of Craig Goldy on guitar,
it also sees original Dio bassist Jimmy Bain back in the ranks. Add
former AC/DC drummer Simon Wright and you have quite possibly the strongest
line-up the band has ever had.
After a brief intro called “Discovery,” the second song is almost like
another intro. It is a short instrumental called “Magica Theme” that
has a slightly more grandiose and upbeat vibe than is typical of the album
at large. Personally, I think one or both of these tracks should
have been cut, but once “Lord of the Last Day” gets going, all is forgiven.
This track is a slow burner, with Ronnie’s voice sounding better than it
has in years. Next up is one of the album’s most memorable songs,
“Fever Dreams.” Featuring a classic Dio riff, this song takes the
listener right back to the glory days of Dream Evil. “Turn
To Stone” follows suit in similarly spectacular fashion. “Feed My
Head” has a heavier riff, more in line with the Strange Highways
era, and features a nice quiet bridge where Ronnie gets to show off his
softer side.
“Eriel” is probably the most ambitious track on Magica and makes for
a nice centerpiece. Starting off with some symphonic flourishes,
the song eventually settles down into a more standard Dio riff. “Challis”
is another catchy one, kicking off with a riff that has an almost 70s-rock
feel to it. “As Long As It’s Not About Love” is something of a power
ballad. It has its moments, but is a bit long and part of it reminds
me of that god-awful Celine Dion song, so I have a hard time enjoying it
properly…”Losing My Insanity” sets things right with a very medieval-flavored
opening that mutates into a powerful riff. This one also features
a great lead spot, thanks to Craig’s nimble fingers.
The final track is called “Magica Story” and is simply a spoken word
piece, where Ronnie recounts the whole concept behind the album.
Sadly, the story wasn’t as original or as gripping as I had hoped and Ronnie’s
delivery seems a little flat at times. At least he made the wise
decision to put this track last, as even those who get fully into the story
probably won’t want to wade through this 18-minute piece more than a few
times.
Magica isn’t the greatest album Dio has ever done, to be sure.
A few of the songs are just so-so and the conceptual parts are more distracting
from the music than endearing, but the good qualities are definitely in
the majority this time. As a mixture of Dio’s 90s sound and his 80s
sound, Magica works really well and has me eagerly looking forward
to his next record.
[Daniel Hinds]
ENDICHE VIS.SAT
The Best of Endiche Vis.Sat
(self-released)
This Lithuanian outfit, helmed by Ramunas Jaras, weaves together delicate
sonic tapestries, utilizing everything from analog synths to violins to
accordions. While some pieces might fit in nicely with the new wave
genre, others are far too experimental and unnerving.
The first song is very soft and gentle in its string and washed-out
accordion execution, while the second one brings in some unusual percussion
and melancholic clarinet solos. All subtlety is thrown out the window
with track three, which begins as a warped polka only to devolve into noisy
ambience and edgy samples. Some of it works, but at eleven minutes,
it begins to stretch the ol' patience. The fourth track is a bit
folkier in nature, with some excellent vocals. Song #6 has a quieter,
soundtrack-like feel, while seven returns to the noisy approach and sounds
like the CD is skipping at times. The fourteen-minute finale brings
us full circle, back to the calm feeling of the opening track, utilizing
more percussion than any other song here as it builds ever so slowly.
If you enjoy challenging, avant-garde compositions, you may well love
Endiche Vis.Sat. This album splices together so many different styles
and sounds, it is difficult to take it all in. For me personally,
the more structured, mournful moments with the clarinet, violin and accordion
worked the best. More info: http://members.nbci.com/endiche/
[Daniel Hinds]
 GARDEN OF SHADOWS
Oracle Moon
(Wicked World)
This US-based act has managed to concoct a rather convincing mixture of
Swedish and American death metal, with some atmospheric keys and doomy
bits thrown in for good measure. The riffs are heavy but melodic,
the vocals are subterranean and the arrangements are all over the place.
The result is a pretty decent band that just needs some slightly more compelling
songs to back them up.
The lengthy title track (what am I saying - all the songs on Oracle
Moon are 8+ minutes) is a prime example of everything good and bad
about Garden of Shadows. The song features some cool melodies and
harmonies, with an arrangement only the likes of Opeth would bother with
usually. On the down side, the vocals are pure death, which to my
ears still sounds a bit silly and takes away from the musical achievement
of the band. Imagine old Amorphis (or for that matter Opeth) but
less refined. "Desert Shadows" is worth mentioning, as it has some
more distinctly folk-influenced riffs than the others, not to mention some
reasonable nods towards the doom genre.
The playing on Oracle Moon is fine, rivaling their Swedish contemporaries
at times, and the production is solid, if a bit unadventurous. Sadly,
the gurgling vocals and overlong arrangements tend to spoil the proceedings
for me, but if you can handle those elements, Garden of Shadows definitely
have something to offer.
[Daniel Hinds]
 HALFORD
Resurrection
(Metal-Is/BMG)
After his brief foray into the realm of industrialized rock, Rob Halford
has turned back to his original calling - metal. Resurrection is
very much an amalgamation of everything he has done in the past, all wrapped
up in a powerful modern production. Not every track is a winner,
but the majority are and those make this a must have for all Priest and
Halford fans.
Kicking off with the rather obvious title track, Rob lays down the story
of the past decade and his journey from Fight to Two and back to his metal
roots. Musically, this track chugs along like the best cuts from
Painkiller,
a real stormer. "Made In Hell" sets the Wayback Machine to 1968 and
recounts Rob original inspirations and follows him through his eventual
world domination with the beast that was Priest. This one has a little
more classic metal feel, with the bridge sounding nearly identical to the
one in "Steeler." "Locked and Loaded" has the most modern feel to
it, with a slower, heavier groove that wouldn't sound out of place on a
Fight album. "Night Fall" is another highlight of the album, harking
back to classics like "Blood Stone" and featuring some truly gorgeous vocals
throughout.
The centerpiece of Resurrection has to be "Silent Screams," an
epic that moves from soft and contemplative to heavy and raging, then back
again. Fans of "Beyond the Realms of Death" and "Out in the Cold"
will be swooning over this one, it's so good. "The One You Love to
Hate" once again travels Fight territory, but with the added bonus of Bruce
Dickinson handling half the lead duties. A great duet by two of metal's
finest, this one has a great chorus that is fun to sing along to.
The first real filler cut comes in the shape of "Cyberworld."
The flat and strangely rushed-sounding arrangement isn't improved any by
they cliched and just plain blah lyrics. The verses are okay, but
the chorus ruins the whole song. "Slow Down" is a vast improvement,
and is the only song here that actually sounds like it could have been
on the Two record. "Twist" was penned by Bob Halligan, Jr., the man
who gave Priest the classics "Take These Chains" and "Some Heads Are Gonna
Roll." Sadly, the magic isn't repeated here, falling squarely into
the filler category. Same goes for the forgettable "Temptation."
"Drive" is a different animal, though, with a dirtier, more rock 'n' roll
feel to it. To close off the album, Rob gives us "Saviour," another
strong rocker in the vein of Painkiller.
While I personally would have liked to have seen Rob explore further
into the industrial genre, it was clear that very few people were being
receptive to that direction. So, short of a reunion with Priest,
this is about the best thing I could have hoped for - an album of classic
heavy metal with Rob's trademark voice stamped all over it. You don't
have to be old to be wise and you don't have to be young to kick some ass
and rock like a motherfucker, as Rob Halford will clearly demonstrate when
you go out and buy this CD.
[Daniel Hinds]
 THE HANGMEN
Metallic I.O.U.
(Acetate)
Alright this is more like it! Anyone out there miss the good ol’
days of sleazy glam metal, circa 1988? Okay, sure the image we could
do without, I’ll grant you that, but bands like Faster Pussycat, L.A. Guns
and Bang Tango released some truly inspired bursts of swaggering rock ‘n’
roll that actually ROCKED (unlike the more commercial crap bands like Warrant
and Bullet Boys).
The Hangmen have a much more gritty, punk rock image, but the music
is very much in the same tradition as the above-mentioned bands.
Throw in a bit of Social Distortion (just a bit though) and you’ve got
a loud, rockin’ album with a distinct blues influence. Songs like
“Downtown” and “Shoot” rely on simple but catchy riffs, while the band
shows off a twangier, more introspective side on “Bent.” “Russian
Roulette” even reminds me of The Church in a way, albeit a very rocking
version of The Church.
The lyrics are a perfect match for the music, detailing the usual sordid
tales of motorcycles, twisted love and life on the skids. Vocalist
Bryan Small has a good voice and can deliver the slower, more emotional
stuff just as well as the more revved-up songs.
This isn’t an album I will listen to a lot, but it is a good thing to
have on hand when I’m in the right mood. The Hangmen must be congratulated
at the very least for creating some actual songs and not just a collection
of melodies. There seems to be more of this more traditional rock
‘n’ roll coming out these days and it makes for a nice antidote to the
pessimistic and pointless crap that the 90s churned out.
[Daniel Hinds]
 THE HAUNTED
The Haunted Made Me Do It
(Earache)
First things first – The Haunted have a new vocalist. Thank god,
too, because the old one came damn near wrecking their debut album, an
otherwise excellent slab of energetic thrash metal. The new guy can
pull out the hardcorish vox when he wants to, but he generally stays more
in a gruffer, deathier vein. Sure, he isn’t terribly unique sounding,
but at least his voice meshes with the music instead of grating against
it.
While this development would lead one to think this is a better disc
than the first one, I’m not really sure that it is. Musically, it
just doesn’t seem as challenging or original. The opening intro “Dark
Intentions” and the following “Bury Your Dead” are just so damn Slayer-esque,
it’s scary. And the way “Victim Iced” starts off is just so similar
to “Necrophobic.” Of course, the fluid leads work to distinguish
this from Jeff + Kerry’s land o’ wank, plus the vocals are nothing like
Tom, but still.. The gritty, serial killer imagery and lyrics are
also very reminiscent of Slayer (and they were tired when Slayer did them…)
So, if you can deal with the somewhat disappointing lack of creativity,
there are some good tunes and solid performances to be had here.
“Trespass” is pretty straightforward, but has a neat little bridge in the
middle that makes it one of the album’s coolest cuts. The band’s
death metal roots shine through from time to time, too, such as on the
brutal “Leech.” Elsewhere, the band cranks out sheer brutality ala
early Entombed or Napalm Death, as one spin of the too-short “Revelation”
will demonstrate. “Silencer” is another good track, sporting The
Haunted sound in full glory.
The playing on The Haunted Made Me Do It is exceptional, of course.
It’s almost too clinical at times, lacking a bit of the raw feel of the
debut. It is also lacking those mind-bending riffs that showed up
from time to time on the first one. By the same token, there are
no truly bad songs to be found here. It’s a mix of average and good
material, making for an enjoyable but ultimately forgettable experience
overall. Come on guys, I know you can do better than this!
[Daniel Hinds]
 GLENN HUGHES
Return of Crystal Karma
(Steamhammer/SPV)
Although Glenn has been around for ages, serving time with the likes of
Trapeze and Deep Purple, my first real introduction to him was Sabbath's
Seventh
Star album in '86. Sadly, he apparently suffered from a drinking
problem at the time and was booted out of the band mid-tour. Glenn
has clearly gotten his act together in the 90s, and his latest album shows
that his rich, bluesy voice hasn't lost any of its impact.
"The State I'm In" is an excellent opening track, possibly the best
on the record. The song rocks, but has a very pronounced groove to
it as well, thanks in large part to the wonderful organ played by Hans
Zermeuhlen. Glenn's voice sounds better than ever, going from soaring
and powerful to soulful and seductive with the greatest of ease.
The chorus to this track is just plain haunting - very well done.
"Midnight Meditated" is slightly more in the straight-forward rock category,
a bit like latter-day Rainbow, and is another strong cut. "Switch
the Mojo" is another cool, funky little tune, with some nice spiraling
synths.
There are some surprisingly heavy moments on this disc, too, but they
are blended in with the more sublime bits really well. A good example
is "The Other Side of Me," which meanders between heavy rock and a more
bubbly, soul-inspired sound. "Owed to J" is a jazzy little instrumental
where guitarist Joakim "J.J." Marsh gets to show off his incredibly fluid
playing.
This isn't to say R.O.C.K. is a perfect album, however.
Songs like "Gone" and "Angela" offer very little to hang on to and are
quickly forgotten in the wake of the better tracks. Of course, even
on the filler material, there is plenty of spiffy playing from the highly-talented
assembled cast, so it isn't a total loss.
As a bonus, a limited edition includes a six-song live CD that was recorded
on the last South American tour, in Sao Paulo. Included on this are
two tracks from his previous solo disc, both of which sound excellent,
as well as some of his more classic material. Sabbath is represented
by a beautiful, piano-driven version of "No Stranger to Love." Hughes-Thrall
and Trapeze collect the rest of the disc, including tunes "First Step of
Love" "Your Love is Alright" and "Coast to Coast," with the latter including
some incredible playing from both Marsh and Zermuehlen. Only six
songs, but this disc is a full 45 minutes and an excellent live document.
Definitely seek out the version with this disc if at all possible.
[Daniel Hinds]
 IMMORTAL
Damned In Black
(Osmose)
Considering just how damn good At the Heart of Winter was, it seemed
impossible for Immortal to surpass such a landmark recording. And
thus Damned In Black had the potential for disappointment from the
get-go, but fear not! These Norwegians are clever. Instead
of trying to take that sound any further, they have taken a left turn and
produced a wholly different kind of Immortal record. It may not be
as epic or all-consuming as At the Heart.. was, but Damned In
Black is a rock-solid slab of extreme metal that will please old and
new fans alike.
As soon as “Triumph” kicks out of the speakers, a couple of things are
clear. First of all, Peter Tagtgren has given the band a much more
compressed, up-front production this time out. Where At the Heart..
had
a very broad, loose feel to it, this one is very tight and punchy.
Secondly, the music has taken a definite death metal turn. Not to
say that this is a death metal album or anything crazy, but the arrangements,
drumming and some of the riffs have more of that feel than you might expect
from a band like Immortal. The sound is full and pummeling – this
is how brutal metal should sound!
As with most Immortal albums, it is difficult to really pick out standout
cuts, as they are all pretty damn good. “Against the Tide” has one
of the more memorable riffs, reminding me more of the previous album than
some of the others. Even with the generally more compact songs this
time, the band manages to pack in plenty of change-ups to keep things interesting.
“The Darkness That Embrace Me” shows a bit more of an atmospheric flair,
while “In Our Mystic Visions Blest” features some incredibly speedy riffing
without losing the song’s integrity.
If you have yet to experience Immortal’s brand of black metal, you really
should. It is thoughtful, well played, heavy as hell and considerably
more satisfying than many others in the genre. At the Heart..
is
a good starting point, as is Pure Holocaust, but Damned In Black
would be a fine first album, too. It is so cool to hear a band that’s
been around this long blast forth with a sound that isn’t tired, yet stays
true to their roots. You won’t find any techno experiments here,
rest assured.
[Daniel Hinds]
 INBREED
Bastards Forest
(self-released)
This Texas trio pounds out a reasonably competent 80s thrash sound.
Remember the days when Metal Blade and Roadrunner would release albums
by obscure thrash bands, only to never hear from them again? Inbreed
could easily have been one of those bands if they had existed ten years
sooner.
"Lost Souls of the Night" sets the pace, with a mix of heavy and speedy
riffs, with Bryan Smith just going nuts on the fretboard at times.
Jason Dickinson isn't all that convincing at the mic, but his bass-playing
is quite nimble. "Bastards Forest" is next and has a much more unique
flavor to it, mixing neo-prog elements with a more mid-tempo Testament
savagery. "Fuel the Fire" is built around a cool main riff, while
the 8-minute "Witch Hunt (they cast you out)" shows a much more subdued,
complex side to the band that is worth exploring more in the future.
The quality of this recording isn't going to win the band any awards,
as it is clunky and a bit thin at times, but this is a demo after all.
My only other complaint is with some of the bloated arrangements.
A cleaner, more concise sound would do wonders for Inbreed. The most
important things - playing ability and a sense of identity - are well in
place and that bodes well for the band's future. More info:
bsinbreed@aol.com
[Daniel Hinds]
 KILLING MACHINE
Killing Machine
(Candlelight)
Within seconds of pressing play, I have the distinct impression that I’m
listening to an obscure album on Metal Blade from the late 80s (just like
Inbreed!). The chugging riffs, the wailing vocals, the generic lyrics..
it’s all here! So it wasn’t too much of a surprise to see that Michael
Vescera was doing the lead vocals, he of Obsession and Loudness fame.
The rest of the band has spent their fair share of time with the likes
of Impellitteri, WASP and Stream, so they’ve got the credentials, too.
Killing Machine seems to have a bit of an identity crisis. On
one hand, they play these fairly hard-edged songs like “Wrecking Ball”
and the title track, but then they also deliver a far more melodic sound
elsewhere, such as “Judgement Day” and “Vicious Circle.” For the
most part, the band sticks to the former, though of course even on these
songs, Mike’s singing and Peter Shethauer’s guitar playing keep some sense
of melody. Still, I much prefer the band when they aren’t trying
to sound so tough and actually crank out a catchy chorus or two.
Candlelight has really taken a strange turn in the past year, signing
bands like Agent Steel and now Killing Machine. With the over-saturation
of the black metal market, it is probably a wise move. As good as
Agent Steel’s return was, I am a little less enthused about Killing Machine.
It’s not a bad album by any means and there are a few outstanding cuts,
but a good chunk of it is rather pedestrian and I know the musician’s involved
are capable of much much more.
[Daniel Hinds]
 LAMB OF GOD
New American Gospel
(Metal Blade)
First off, kudos to Metal Blade for actually doing a nice job on the packaging
on this one. The booklet is nice parchment like paper and the lyrics
are actually readable. I suppose I should also give credit for signing
a band that isn’t in the usual vein of MB bands. Lamb of God plays
a very un-melodic, brutal form of metallic grindcore/hardcore.
Beyond that, however, I’m at a bit of a loss as to coming up with anything
positive to say about this album. The style has been done to death
(and done better) and really isn’t my cup of tea to begin with. The
vocals are just overbearing, nails-dug-in screaming with little variation,
other than some of it is low and guttural and some of it is high and grating.
Some of the music is reasonably complex, with the usual array of modern
metal disharmonics and screeches here and there, but none of it is terribly
compelling.
I guess Lamb of God do what they do pretty well and the production quality
is certainly admirable, so if you can’t get enough screaming grindcore
metal then New American Gospel might be for you. For me, it
is just another slab of characterless brutality with no real direction.
[Daniel Hinds]
 MAYHEM
Mediolanum Capta Est
(Dwell/Avantgarde)
If there was ever a band that didn’t need another live album released,
it would be Mayhem. Short on original material anyway, it seems like
I’ve seen more live albums than studio ones, though many of those are admittedly
bootlegs. So, here we have a fairly recent recording (’98), with
the band at their tightest and presented with a pretty good, clear sound
quality.
The usual suspects are all here – “Deathcrush,” “Freezing Moon,” “Necrolust,”
“Chainsaw Gutsfuck” – plus some of the band’s newer tunes. “Fall
of Seraphs” is one of the more impressive outings, technically, with Hellhammer
sounding almost inhuman at times. Maniac does a capable job of delivering
the grim vocal lines (not to mention some hysterical stage raps) and our
good friend Attila even shows up for the track “From the Dark Past.”
For my money, this album just doesn’t compete with something like Live
In Leipzig. The guitar tone doesn’t have that same buzzsaw rawness
and the playing is too rigid. The element of danger and unbridled
ferocity just isn’t there. Still, taken on its own merits, this is
still a fairly strong release. Debate all you like whether Hellhammer’s
heart is still in it (if anything, his heart is perhaps more into his playing
than Mayhem itself), but this is a good representation of modern Mayhem
doing its best with the classic material.
[Daniel Hinds]
 MIMETIC MUTE
Positive
(Moloko+)
MIMETIC MUTE
Negative
(Lytch)
From the man who brought us Von Magnet and Mimetic Field comes this double
release. Both are full-length albums in their own right, released
as companion works to one another. Unlike his previous outings, Mimetic
Mute is considerably more experimental in every way. The sounds created,
sample and manipulated are of a generally very unique nature and the way
they are arranged very rarely resemble traditional song structures.
Positive coasts through some interesting soundscapes and spoken
word bits before the first 'real' song appears, in the form of the danceable
electro instrumental "Zealous." Later, "Filter You" is an interesting,
self-referential piece that also bears an inspired rhythm.
The sound of Mimetic Mute is a very polished, high-tech lo-fi, if that
makes any sense. It isn't catchy or predictable or all that easy
to get into in one sitting. These can be viewed as strengths or weaknesses,
I suppose, depending on your outlook on music in general. Considering
the experimental field in which Mimetic Mute is operating, I feel that
these releases are highly successful at what they set out to do.
These discs play out like a movie soundtrack, with strange musical interludes
appearing divided by obscure sounds and voices. The atmosphere is
not necessarily dark, but more just slightly disconcerting. Like
a vivid scene that is only viewed from the corner out of your eye and has
resolved itself to something more ordinary by the time you focus on it,
only to be replaced by a scene even more confounding out of the corner
of your other eye. It is expansive music, made only as disturbing
as your own mind allows it to become. More info: mimetic1@aol.com
[Daniel Hinds]
 NEUROSIS
Sovereign (EP)
(Neurot)
Although there are only 4 songs on this disc, it clocks in at over 30 minutes,
with two 7+ min. tunes and one over 13 min. If you’ve heard Neurosis,
you know what to expect. If you haven’t, they play very slow, painful
riffs that seem to loop in on themselves after a bit. Blackened dirges
for an industrialized world.
Which is all well and good, save for a couple of things – the production
is crap and the songs are deadly boring. I’ll give the band credit
for at least being able to create an atmosphere with their sound (which
is more than Godflesh can do), but the songs still never really go anywhere.
The 13-minute “Sovereign” is something of an exception, as it moves (painstakingly
slowly, of course) through a few different moods and riffs. The tortured
vocals are, well, tortured I guess, but they also get annoying rather quickly.
There is a ‘psychedelic’ CD-Rom section on the disc, which is a lot more
fun than the music, but you can only do so much with it.
Neurosis has always been a critic’s favorite and, as with most bands
that fall into this category, I can’t for the life of me figure out why.
They aren’t doing anything new, they aren’t doing it exceptionally well
and they got Steve Albini to come in and make it sound like a demo recording.
Maybe you need to be stoned or something to enjoy this, I don’t know…
[Daniel Hinds]
 PECCATUM
Amor Fati
(Candlelight)
While Peccatum will probably always be known as ‘Ihsahn from Emperor’s
side project,’ they certainly have carved out their own little unique niche.
The chaotic mix of opera, metal, avant-garde and gothic music is still
fully intact, though I think the combination works considerably better
this time around.
Listening to a Peccatum album is always an adventure, as it is impossible
to predict just where each song will take you. “One Play. No Script.”
for example starts off with some lush strings, but eventually takes a sharp
left turn into razor-sharp riff land. “Murder” is another great tune,
with numerous different sections, including a very inspired solo.
“Between the Living and the Dead” has a doomier, more mid-tempo feel to
it, while the two-part “The Watchers Mass” creates a more somber atmosphere
akin to Ihsahn’s other project, Thou Shalt Suffer.
My big complaint with Peccatum in the past was the rather disharmonic
mix of male and female vocals at times. Amor Fati still features
plenty of diversity in this area, but there seems to be a coherence that
was lacking in the past. And on the musical side of things, the symphonic
keys sound much fuller and more realistic than ever, giving the music a
much fuller sound.
Amor Fati is still not an easy album to grasp and is probably
the band’s most complex and deep work to date. Paradoxically, it
is also the most accessible, due in part to the stellar performances from
all involved and the superior production. Peccatum will have to work
hard to shake free from the Emperor legacy, but they have finally created
a record that stands fully on its own merits and should go a long way towards
that goal.
[Daniel Hinds]
 PISSING RAZORS
Fields of Disbelief
(Noise)
Pissing Razors climbed out of Pantera's shadow with the remarkably strong
Cast
Down the Plague last year and their latest continues the trend.
Where their fellow Texans went off into self-indulgent sludge territory,
Pissing Razors continue to tighten their attack.
Right from the outset, a couple of things are clear. First off,
the band still know how to mix up the tempo and aren't afraid to interject
some speedy riffing and drumming when they feel like it. The other
thing that becomes obvious within a few songs is that Pissing Razors seem
to have abandoned, at least in small part, the complex arrangements that
made their sound so powerful in the past. This more straightforward
approach works fine on some tracks, but leads to ennui elsewhere ("Selfish"
and "Three" come to mind immediately).
The vocals here are still mostly of the one-dimensional, "WAAAARGHH!"
variety, though there are some decent attempts at actual (albeit very gruff)
singing, too. As for the rest of the band, the seemingly less-challenging
material doesn't allow them to shine quite as much as in the past, but
they still deliver the goods and the production is nice and thick.
Beyond that, fans of the band know what to expect and this certainly
ain't a radical departure for the group. So, overall, Fields of
Disbelief is a little disappointing, as I felt it failed to show the
same progression that Cast Down the Plague did. Not a bad
record by any means, just not the overwhelming artistic success I was hoping
for at this point.
[Daniel Hinds]
 PREVAIL
Prevail
(self-released)
In the past, it was nearly impossible to find a good black metal band from
America, but those days seem to be fast drawing to a close. Prevail
are the latest example of a Stateside band who knows how to do it right,
delivering 9 songs of brutality and atmosphere, tied together in a fairly
unique style.
“Of the Abyss” is a nasty little opener, with some raging riffs and
shrieking vocals, while the follower, “Night Pours In,” displays the band’s
more eccentric tendencies. The song has a very amorphous arrangement,
bouncing from eerie to heavy and back again. “Blood Is Shed in the
Garden” features one very cool riff, as well as nice little acoustic interlude
that has something of a horror movie feel to it. “The Violent Pain”
is a very short track with the most clichéd riffs on the album,
yet it still manages to hold its own. The song’s brevity is representative
of the whole album, as the band never indulges in the endless riff repetition
that so many black metallers do. They come to the point right away,
execute it with a great deal of energy, and then move on to the next song.
It’s the Reign In Blood theory of songwriting.
The band really won me over with “Ex Oblivione,” a track whose lyrics
are based on one of my all-time favorite H.P. Lovecraft short stories.
To complement the lyrics, the band assembles a Sabbat-like array of thrashy
riffs and unexpected change-ups. “Rain Falls on the Dead” is another
winner, with a well-placed tempo shift midway through. “Turn To Ash”
is a maelstrom of fast, choppy riffing and bile-soaked vocals, closely
followed by a very quiet, acoustic outro to close the album in style.
The production on this album is surprisingly strong, especially for
a self-released disc. The band obviously knows their instruments
quite well, too, as they pull off some rather daring riffs and change-ups
with ease. I’m not sure what to make of the cover art, though it
is definitely my least favorite element of the album. Minor complaint
though and I think Prevail are destined to become a far more known entity
in the future. More info: http://www.impaled.net/prevail
[Daniel Hinds]
 RAINBOW
The Millennium Collection
(Polydor/Universal)
As with all of the Millennium Collection series, this album is meant
to be a complete anthology, but more of a sampler of the band’s most popular
tracks. Over half of the cuts are culled from the first three albums,
which feature Ronnie James Dio on lead vocals, easily the band’s most creative
period.
Starting off with the ubiquitous “Man on the Silver Mountain,” it is
hard to not love this song, even after hearing it a million times already.
It begins with Ritchie Blackmore’s most well known riff (aside from “Smoke
on the Water,” of course) and lets Dio explore the fantasy realms his later
career would be best known for. “Catch the Rainbow” is the other
track taken from Rainbow’s debut, and it is a beautiful ballad with a somewhat
medieval flavor to it.
Strangely, even though the liner notes acknowledge Rainbow Rising
as the band’s greatest achievement, only the song “Stargazer” is here to
represent it. Granted, this epic track stands alone as a rock classic,
but it would have been nice to see something like “Tarot Woman” included,
too. Long Live Rock ‘n’ Roll fares better, with “Kill the
King” (which has to be one of the most covered tracks in metal history)
and the incredibly gentle “Rainbow Eyes.” In the midst of all this
is the lengthy live version of “Mistreated” from Rainbow’s sole live opus,
On
Stage.
From the post-Dio era, we are treated to only one cut with Graham Bonnet,
namely the hit single “Since You Been Gone,” while Joe Lynn Turner’s 3
albums are boiled down to “I Surrender,” the MTV hit “Stone Cold,” “Power”
and “Street of Dreams.” Both Bonnet and Turner did a good job with
the material, which itself wasn’t bad, but after the Dio material, it feels
a little weak.
Sure, there are songs missing (“Temple of the King,” “Long Live Rock
‘n’ Roll,” “Lost in Hollywood,” and “Death Alley Driver” come to mind),
but for a single disc, career-spanning collection, this album does a very
good job. For the casual fan or someone new to Rainbow, I would highly
recommend getting this.
[Daniel Hinds]
 RAVEN
One For All
(Metal Blade)
Raven is one of those unique bands that emerged from the NWOBHM, never
really clicked with the general public, yet built enough of a fan base
to sustain themselves for twenty-odd years. Billed as 'athletic rock'
early on, the band play a mix of lively 70s brit-rock, speed metal and
something entirely their own. One For All, while it doesn't
touch the quality of their first three discs, is fairly enjoyable and most
certainly in the classic Raven style.
"Seven Shades" is a rather tepid opening track, but "Doubletalk" sets
the album on track. In the 80s, the band went from no production
to being overproduced with little middle-ground, so I won't complain too
much about the work on One For All. It's a bit too live sounding,
especially the drums, but it ain't bad and the songs rise above to make
their presence felt. "Roll With the Punches" is again kind of uninspired,
but then "Get Your Motor Running" is a rave-up along the lines of "Don't
Need Your Money." The album continues in this hit and miss fashion,
with the highpoints being "Derailed," "Kangaroo" and the rather peculiar
"New Religion."
If you've followed Raven's career, they flirted with commercial rock
during their late 80s Atlantic days, only to turn around and move in a
heavier, more thrash direction once they were back in the indie world.
In more recent years, it seems the band has given up trying to keep up
with the pack and instead gone back to doing their own thing - fun, wild
metal with sing-along choruses and plenty of adrenaline. One For
All perfectly reflects this attitude and I just wish the quality of
the songs themselves was a little more consistent. Maybe next time.
[Daniel Hinds]
 REIGN OF EREBUS
Of Blackest Magick… (MCD)
(Blackend)
With the stalwarts of the black metal scene diving off into uncharted territory,
there seems to be an endless supply of fresh faces to carry on the traditions
of singing about Satan and covering their albums with pentagrams.
And with Reign of Erebus, you also get the latest fashion trend – pix of
the band members brandishing firearms. Well now, isn’t that just
precious…
After an intro track, “Of Blackest Magic and Deepest Dreams” thunders
in like a herd of blackened death metal beasts. Despite the obvious
brutality, there is a fair amount of melody to be found, thanks in large
part to their female keyboardist, whose name I can’t read thanks to the
cryptic font they used… On the songwriting level, the mixture works
quite well, but the rather thin production forces the various instruments
a little too far away from each other. The remaining tracks follow
suit in similar fashion, the vocals ranging from low and gravelly to high
and shrieking. “At Dusk The Heavens Bleed” has a more mid-tempo riff
that shows a different (and more exciting) side to Reign of Erebus.
To me, this disc sounds like a really well recorded demo and I think
we can expect much more from this band on their full-length debut.
Nothing new to be had here, but there is definitely a seed of promise.
[Daniel Hinds]
 SAXON
Metalhead
(SPV)
The NWOBHM gave the world only two major success stories, namely Iron Maiden
and Def Leppard. On the next rung down though were numerous mid-level
bands that have sustained popularity despite all odds, from Raven to Venom
to Witchfinder General to Diamond Head. Saxon are probably the best
known of this lot, having been consistently pumping out the releases since
their heyday in the early 80s. There were some creative low points
along the way (Innocence Is No Excuse comes to mind for some reason..),
but likewise there were surprisingly strong comebacks, such as Solid
Ball of Rock and Unleash the Beast.
The year 2000 brings us the latest from these British legends in the
form of Metalhead. On the surface, I'd have to say it is a
step down from the thoroughly enjoyable Unleash the Beast, but not
a huge step. Opener "Metalhead" is a nice mix of modern heaviness
and Saxon's classic sense of song-writing. It puts me in mind of
Dio's underrated Strange Highways album - an attempt at modernity
without abandoning the strengths of the past. "Are We Travelers In
Time" has a cutting riff that could almost be off an Accept or U.D.O. record.
This is a 'true' metal album if there ever was one and Saxon have the
history to back it up. A song like "Conquistador" or "Song of Evil"
would blow people away were it presented to them as some new power metal
outfit. Even the moments where the band experiment with a more typical
hard rock sound ("What Goes Around" and "Prisoner"), it comes off as genuine.
The album closes with "Sea of Life," a mini-epic of sorts that just doesn't
build the grandeur it needs to.
Production-wise, Metalhead is thick and chunky, just like a metal
record ought to be. Vocalist Biff Byford still has that distinctive
tone and does some of his finest singing here. In the past, it seems
like he has maybe been trying too hard at times, pushing his voice too
hard, but on this one he really finds just the right balance of power and
melody. Lyrically, Saxon have never exactly been the most clever
of fellows and nothing has changed there, so just concentrate on the music
for maximum enjoyment.
For most people, Saxon have been around so long, you either love them
or hate them by now. Personally, I think Strong Arm of the Law
is the only fully brilliant album they will ever make, but that doesn't
mean I don't well enjoy many of their other records, too.
Metalhead
is a good, solid collection of heavy metal songs from a band that many
wrote off way too soon.
[Daniel Hinds]
 SCHIZOID
All Things Are Connected
(D-Trash)
This is second release I've reviewed by the one-man band known as Schizoid
and some definite progress can be heard here. The hyperspeed mix
of digital violence, chaotic beats and angry screams is as present as ever,
with perhaps a little more method to the madness and a better mix to go
with it.
"Two Minutes Hate" is a rather blah intro to the album, surprisingly
so, but the title track more than makes up for that with its all-out sonic
fury. "New God" shows the more experimental side to J. Smith's work,
while "Grim Prospects" follows the cascading hardbeat approach of old Public
Enemy for one of the album's most memorable cuts. "Indulgence/Compulsion?"
is almost contemplative in comparison to the rest of the album, while "Elitist
Musings" is pure feedback and distortion bliss. This is the kind
of extremity Earache was hoping The Berzerker would deliver, but alas did
not.
What this album lacks in refined production values it makes up for in
sheer energy, as it screams for your attention throughout. The unpredictable
arrangements also keep the listener on their toes, never taking the obvious
step. Noisy, angry, dangerous and just fucked-up, Schizoid are not
for everyone, but if you're bored with the umpteenth IDM or EBM rehash
and want to hear something a bit different being done with samplers and
sequencers, check it out. The guy had the nerve to appear on a Burzum
tribute for Christ's sake! This isn't the kind of music I would listen
to that often, but it's damn cathartic when the world is getting you down.
More info: http://www.lunaticfringe.org/~schizoid/
[Daniel Hinds]
 SERPENT OBSCENE
Serpent Obscene
(Necropolis)
This is pure death/thrash metal at its deathiest (and, uh, thrashiest too
I suppose). Shades of Slayer and Dismember, Sodom and Swordmaster
cover this debut, without any really obviously stolen riffs or style.
By the same token, I think I would be hard-pressed to identify this band
by their music, as it is for the most part pretty generic death/thrash
metal without a lot of distinguishing features.
While the songs on this album are all fairly similar in both sound and
quality, a few hooked my attention. "Serpent Prophecy" has a nice
mid-tempo breakdown in the middle to counter the otherwise full-on speed
of the track. "Pestilent Seed (the plague)" is another winner, with
its careful build-up and retro-crafted riffage. "Violent Torture"
is a nice German-inspired number, while "Act of Aggression" finishes off
the album in a wake of unbridled speed.
Nine songs and only 28 minutes? Hmm, well this isn't Reign
in Blood, but it's not half bad either. As long as they aren't
expecting anything experimental or too original, I think most hardcore
headbangers will be pleased with the aggression and quality of Serpent
Obscene's debut.
[Daniel Hinds]
 SIX FEET UNDER
Graveyard Classics
(Metal Blade)
This is an all-covers album, where SFU get to pay tribute to the folks
that inspired them to start making noise in the first place. To accentuate
the positive, let me just say the song selection is impeccable. Among
others, we get “Holocaust” (Savatage), “TNT” (AC/DC), “Piranha” (Exodus),
“Son of a Bitch” (Accept), “Blackout” (Scorps) and “In League With Satan”
(Venom). Actually playing the CD seems to have been my big mistake…
SFU are an okay band and they pull off the musical end of things reasonably
well, but the death metal vocals of Chris Barnes just sound silly on a
lot of these tracks. Add to that some truly sub-par production (courtesy
of the band and Brian Slagel himself, no less), and the only thing good
to come of this disc is supply some great bands with royalty checks.
The low points of the album would have to be “TNT,” which just sounds
stupid, and “Smoke on the Water.” The big problem with these and
most of the tunes is SFU doesn’t do enough to make the songs their own;
they just play them as close as possible to the originals.
Still, there are a few that come off pretty well. “Sweet Leaf”
and (amazingly) “Purple Haze” are both fairly cool, but the majority of
the record is just blah. Okay, I’ve never been a Chris Barnes fan,
but I was reasonably impressed with the last SFU and was expecting more
from them than this. Especially with such great source material!
[Daniel Hinds]
 SMP
Terminal
(ADSR)
SMP has been kicking around the Seattle scene now forever it seems and
has really established its own unique sound. Industrial at the core,
SMP throw in plenty of hip-hop and punk influences to make a sound that
is hard and angry but still musical.
"Last Start" makes for a good first impression, complete with 16 Volt-like
aggro vocals and a thumping beat. "Policy" is even better, demonstrating
all that is right with SMP. Featuring an annoyingly catchy chant
of 'S-M-P', this track has it all - driving synthlines, choppy guitar riffs
and in-your-face vocals aplenty. The rap sensibility that used to
be far more prevalent in SMP's sound makes a comeback on "The Grid" and
later on "September," "Fatal"." I'd like to see more of this side
of SMP, especially now that their songs are fleshed out more than they
were back in the ReCon days. "Sheet Metal" takes an aggressive and
minimalist approach that works surprisingly well, while "Dirt" has an energetic
attack reminiscent of Ministry circa LoRaH.
As strong as much of Terminal is, at 73 minutes it is bound to
contain a few filler tracks and, indeed, it does. "Chemicals," the
cover of Oingo Boingo's "Pictures of You," "Mutate" and "Megaton" are all
a bit ho-hum and I'm not a fan of long albums to begin with. Nevertheless,
SMP hit the nail on the head most of the time and it is good to hear a
release this good in a scene that has been sorely lacking quality releases
lately.
[Daniel Hinds]
 STIGMATA
Do Unto Others…
(Victory)
This is a nice, thick slab of NYHC style mayhem with a lot more bite than
other releases I've heard in this genre lately. Hailing from upstate
New York, it appears the band has ceased to be as a full time thing, but
this release proves they definitely had some potential.
The album lays into it right away, with the appropriately titled "No
Compromise." Simple, heavy riffing is thrown down over a bed of surprisingly
intricate drumming and topped with rough (but not painfully so) vocals.
This is hardcore in the 90s vein, so don't expect a lot of outrageous speed.
Still, Stigmata know how to keep the listener's interest from flagging
and they mix things up throughout. Other highlights include "Drowning,"
"At What Price" and the ripping "Haunted By Memories," but the whole album
is pretty potent.
Lyrically, the band steer more towards the self-examining variety rather
than the borad social statements (another 90s indicator I suppose).
While they won't win any poetry awards, they are all fairly well thought-out
and delivered with conviction.
I must admit, my attitude toward hardcore has become quite jaded in
the last ten years, as I felt a lot of the things that made it so great
in the 80s were leeched out. Plus, a lot of the 'nu-metal' shit can
be traced directly to what transpired in the hardcore scene in the 90s.
But, I must give Stigmata credit - this is a damn fine album by any standards
and it is a shame they have closed up shop.
[Daniel Hinds]
 SYMPHONY X
V
(Metal Blade)
Despite sharing the same title (and strikingly similar artwork) as the
latest Spock's Beard album, Symphony X has really crafted a top-notch progressive/power
metal album that reflects the band's unique vision. Melding classical,
progressive and classic metal seamlessly, V is a sixty-minute excursion
into sonic bliss.
After a prelude that immediately establishes both the band's classical
leanings and the individual members' obvious skill, the album really gets
going with "Evolution (The Grand Design)." Describing the song as
'epic' is redundant, as every track on here has that quality. Russel
Allen's vocals are soaring yet powerful, never getting stuck in the higher
ranges, as is the case with many similar acts. There are several
shorter segues throughout the album where keyboardist Michael Pinnella
really gets to show off his ability to craft some complex textures that
would be right at home on a movie soundtrack. Michael Romeo's guitar
playing is worth noting as well, as he cranks out some drivingly heavy
riffs in conjunction with some truly inspired leads.
There is a vibe underpinning this album that puts me in the same mind
as classic Rainbow and MSG, as well as more modern acts like Tad Morose
and Dream Theater. Part of that I believe comes from the middle-eastern
feeling that comes through on some of the songs, which isn't surprising
considering the lyrics are a conceptual piece that involve ancient Egyptian
mythology. The more obvious analogy is the extremely fluid and dynamic
musicianship on display throughout, comparable in quality to any of the
aforementioned acts.
I must admit, I pinned Symphony X to be of European origin, based on
the quality and technicality of this release, but they in fact hail from
New Jersey. Clearly the days of American inferiority in the metal
realm are but a memory and fans of classy, symphonic power metal the world
over should be overjoyed to get a copy of V.
[Daniel Hinds]
 SYSTEM DER
DINGE
Fear Forms Function
(DSBP)
This is another release that got misplaced along with Contagion and Blood
Storm earlier this year, so I'm just now getting around to reviewing it.
System Der Dinge are a Swiss outfit and, as with pretty much all Swiss
acts I've heard over the years, they walk their own path. Throwing
together elements of yesterday's industrial dance music with today's EBM,
the sound is smooth and well-crafted, but ultimately it leaves me a little
flat.
The first two tracks, "Quiet Sun" and "Scanner," establish the band's
intentions pretty well. Danceable rhythms are overlaid with soft
electronics, pulsing synth lines and washed-out Leeb-esque vocals.
If I had to make a comparison, the closest I can think of is older XMTP
and in fact they seem to share the same sense of there being something
missing with Sevren's project. I don't know if the vocals need to
be more emotional or the songs need more variety, but each song starts
off well enough only to lose my interest after a minute or two. Later
in the album, the band hands us "Lobotomy," which sounds very much like
a toned-down version of Blok 57's "Nerve Damage" for some reason.
Of course, there are some exceptions to this rule. "Mindfire"
takes a tougher stance, with the vocals actually acquiring something akin
to an edge. "Les Nuits Secret" features an operatic female vocalist
and makes for a nice distraction halfway through the album. Finally,
"Epidemic" has a Paranoid-like sneer to the vocals that perked up my flagging
interest some.
I could make an argument here about my theory that IDM has ruined industrial
music (witness hajobb for but one example), but frankly most of the material
on Fear Forms Function (a great album title, btw) is very much in
the traditional style of bands like X-Marks and FLA. It is simply
not very engaging - all technique with little emotion behind it to propel
it to greatness. More info: http://www.dsbp.cx
[Daniel Hinds]
 THE TUBES
The Millennium Collection
(A&M)
The Tubes are a product of the 70s, a mish-mash of styles and attitudes
that is nearly too diverse for its own good. I had always seen their
albums and been intrigued by the generally bizarre imagery, but this was
my first real contact with their music. Mixing up elements of prog-rock,
punk, new wave, 70s rock and rollicking musicals, The Tubes' music often
sounds like an alternate soundtrack to The Rocky Horror Picture Show
or something equally disturbing.
"White Punks on Dope" is one of the band's best-known tracks and makes
for a good opening, with its strange time signature and free-flowing arrangement.
"What Do You Want From Life?" is a little less flamboyant, with a rather
sarcastic view of America's shallow consumer culture (one which sadly holds
true to this day).
The rest of the album is a rather hit and miss affair, which is too
bad considering this is a 'best of' collection. Songs like "Don't
Touch Me There" and "Slipped My Disco" come off as just silly and overindulgent
for their own good. On the plus side, "Pound of Flesh" makes the
most of the band's strengths. "Prime Time" shows the more commercial,
'mature' version of the band in their later years and is a fairly well-written
little pop tune. Same goes for "I Want It All Now."
Growing up, my first musical discoveries were during the era that The
Tubes hit the scene and I have a feeling I might have enjoyed their work
more had I heard it back then. Judging it now for the first time,
it is difficult to put it into the right perspective. They did have
a unique charm all their own, but I can't say that more than a few of the
songs here are really worth the time.
[Daniel Hinds]
 USURPER
Necronemesis
(Necropolis)
Usurper is an odd band, one that continues to confound. Not falling
easily into little boxes like "retro thrash" or "old-school black metal,"
Chicago's kings of the macabre steer even further into unknown territory
with Necronemesis.
Kicking off with an opener that is tantalizingly similar to Slayer's
classic "Chemical Warfare," the band then shift gears into a more Frost-influenced
riff, followed by the song's main riff and vocals that remind me of Hallow's
Eve. Just when you peg the band as playing mid-tempo black metal,
they turn around and present the punishing speed of "Slaughterstorm," where
some much rawer vocals are introduced as well. Again, just to throw
you off the track, this song morphs into a halting, repetitive riff and
ends with a 30-second scream. This of course leads into a fairly
mellow, acoustic-led instrumental and…etc.
So are Usurper musical geniuses or just fucked in the head? A
little of both is my guess. The result demands some extra attention
and patience from the listener, but also rewards them with a unique listening
experience. Fans who fear the old Usurper is gone need not fret,
as there are still plenty of overt Morbid Tales references, but
the band are not sitting still either and I think that is a good thing.
On a side note, the legendary King Diamond lends his vocal talent to
the middle of the title track, apparently as a trade for some extra studio
time he needed that Usurper had already booked. He sounds as great
as ever, though it always comes as a bit of a shock when I hit that point
in the album…
[Daniel Hinds]
 VOID II VOID
The Symbol & The Shrine
(self-released)
Void II Void is the effort of sole member Scott DeFusco, who combines an
interesting array of styles to create a fairly unique sound. The
basis of Void II Void’s sound is electro-industrial, but there are also
some definite gothic and black metal influences to be found throughout
the six songs on offer here.
The album opens with a short little melodic instrumental piece that
segues into the distortion-heavy frenzy of “Nebularium 9…9.” The
next track takes a far more laid-back and moody direction, but then they
shift back to full-on aggression with “Black Room Incident.” This
one works better though, with a sound that is familiar without being obviously
stolen from anyone. “From Blood to Water” has the most obvious use
of guitar, with some nice, quick riffing that lends the song an almost
black metal feel.
In this age when a lot of black metal bands are crossing over into electronic
territory, it is interesting to hear a band like Void II Void who seem
to be going the other way. The more melodic bits give it a rather
gothic feel, too, and I could see this appealing to a fairly diverse audience.
This is a home recording so don’t expect stellar sound quality, but there
are some pretty fine tunes here and I look forward to hearing more from
Scott in the future. More info: www.voidsector.com
[Daniel Hinds]
 WITCH HUNT
Souls Enshrouded Fire
(X-Rated)
Ah, the sound of under-produced death metal! There's nothing quite
like it, is there? Of course, in most cases, there is a dearth of
musicianship and good song ideas to go with that crap production, but Witch
Hunt are actually doing quite well for themselves in those departments.
"Ablaze Thy Majestic Kingdom" starts off at full tilt and you expect
it to continue in that vein, but the band flesh things out considerably
with some cool melodic breaks and a wide variety of rhythm patterns.
"Under Black Celestial Skies" almost has the feel of early Swedish melodic
death metal, with particularly blackened vocals setting it apart.
"Enshroud" has a majestic, almost beautiful feeling to it, but ends fairly
early. Rarely is it that I wish bands would actually make their songs
longer, but in many cases on this album, Witch Hunt left me wanting more.
The drumming, while certainly in need of a better recording, is quite
impressive throughout this album. But it is the guitar-work that
really keeps me coming back to Witch Hunt. It is tight, melodic,
inventive and damn catchy at times. The vocals are fairly occult,
crossing from black to death and back at will.
This is a quality album, by any standards, and I look forward to hearing
more from this Virginia duo. Based on the recording and packaging,
it is clear that Witch Hunt could do with some more money. They have
the talent to really pull off a great album, so I urge you to seek out
this album and buy it so they can afford a couple weeks at The Abyss studios
or something next time around. Contact: http://www.xratedrec.com/
[Daniel Hinds]
 WRITTEN IN ASHES
Epiphany
(Raincloud)
This is Gothic rock with a capital 'G,' the way it used to be made in the
good ol' days (i.e. the 80s - remember them?). Playing around the
Northwest, this Portland outfit has really established itself as one of
the key players in the scene here over the past few years. While
it isn't a great album, Written In Ashes hold their ground with Epiphany
and manage to establish their own style.
Opening track "Shattered and Gone" is fairly uptempo and features one
of the album's more memorable choruses. "And the Stars Song" has
a bit more of an alternative feel to it, with the vocals standing out a
little much. Lead vocalist Kevyn is far more impressive on the more
laid-back and melodic tracks, such as "(When I) Knew" and the piano-driven
"Sinners." The remaining tracks are pretty evenly split between engaging
and uneventful, with the nine-minute "Terrapin" somehow falling into both
categories.
The performances on Epiphany are not likely to blow you away,
but they are all pretty good. The only thing that really fails this
album is the production. The drums sound rather flat and the guitars
are often a little too hazy for their own good, making the sound a lot
looser and messier than it should be. For an independent band with
a no doubt limited budget, this is to be expected, but it is a shame as
there are several good songs here that would really come alive with a better
recording.
Somehow I was expecting a little more after hearing the band's last
album, Eternal. This really isn't the step forward I was hoping
for, though the tracks are a bit more divers perhaps. The bio claims
the band is a live outfit at heart and I can imagine this material coming
across a lot better in that forum. More info: http://www.writteninashes.com/
[Daniel Hinds] |
