 ALCHEMIST
Organasm
(Relapse)
Australia is much like Finland in that the bands it produces are usually
quite different from each other and more than a bit left field. Alchemist
is a good example, as they started out in the early death and thrash mould
and have evolved a startlingly different mix of brutally heavy metal, tribal
rhythms and Pink Floyd experimentality.
"Aural Spectrum" opens with a nice groove and mammoth riff, the kind
of tune I wish Neurosis could pull off more often. Next up is a trilogy
of songs, whose titles betray the distant Voivod influence: "The
Bio Approach," "Rampant Macro Life" and "Warring Tribes." The Floyd
influence is also felt here, with some nicely delayed guitar riffs, but
the band never wanders too far from the leaden riffs and complex drum patterns.
The vocals are deep and fairly harsh most of the time, but don’t fall completely
in the death or hardcore category. Plus, vocalist Adam lets loose
with some ear-splitting shrieks once in a while that are quite impressive.
Some cool futuristic synths are put to good (though limited) use on songs
like "New Beginning" and "Escape From the Black Hole" and the bass is as
audible and crushing as the guitar is - no minor feat.
For some reason, I expected this to be a bloated, directionless attempt
at metallic psychedelia, but instead Alchemist have put together a very
well-constructed and involving collection of tunes. So ignore the
PhotoShop-by-the-numbers album art and let the dense, multi-layered music
within soak into your being.
[Daniel Hinds]
 ASTRAL
Filicetum Lunare
(WWIII)
Seems like most of the bands I hear out of Eastern Europe are pretty cool
but also pretty fucking weird. Astral, hailing from the Czech Republic,
is no exception. A dazzling mixture of folk melodies, gothic atmosphere,
black metal, progressive rock, and opera, Filicetum Lunare is the
proverbial rollercoaster ride.
The title track opens the album with a kind of horror movie riff, which
mutates into some fucked-up keyboard runs and then a brave mixture of operatic
choir and blackened vocals. The 8-mintue "Conspectus Noctis" follows
in epic and slightly more controlled form. "Intermezzo" is a beautiful
little instrumental, while "Oblivio" has an elegant feeling to it.
The incorporation of acoustic instruments, from guitars to flutes, helps
make songs like this and the dreamy "Starec" quite memorable. "Stigmata
Amore," one of the three bonus tracks, breaks down into a synth-led dance
track in the middle - incongruous but pretty cool nonetheless.
It will be interesting to see if Astral can find their audience, as
their sound is so diverse. They are on a metal label and there are
certainly metal elements in the vocals and guitar work, but there just
as many if not more other elements going into the brew. Fans of all
kinds of dark and mystical music are advised to give Astral a spin or two.
[Daniel Hinds]
 BAD LUCK 13
RIOT EXTRAVAGANZA VS. ALL ELSE FAILED
Live At the Dungeon
(Supermodel)
This is hardcore the way it was perfected by the NY scene in the 80s -
big, ugly riffs played by big, ugly guys with buzz cuts. Recorded
live in a small studio, this split has no shortage of spontaneity, menace
or anti-social commentary.
Despite what the tracklisting says, the first four tunes are actually
All Else Failed. Lots of yelling over a smothering blanket of noisy
riffs and disharmonics define songs like "Bad Penny" and "Burster."
It's weird because the band's music is more experimental than Bad Luck
13's, yet they come across as much tighter.
The Bad Luck 13 Riot Extravaganza take a more directly bludgeoning approach,
with one corroded mosh riff after another. The vocals are shouted
and overdriven much of the time and the guitars have a very dirty, loose
feel to them. Song titles like "Stabbin' You Up" and "I Hate Everybody"
pretty much sum up the band's philosophy and the between song banter is
amusingly coarse throughout.
Though All Else Failed seem to be a bit more original in some respects,
I personally found Bad Luck 13 far more entertaining (and less irritating).
The CD also includes two video tracks, one of each band, that attempt to
show just how chaotic their performances are. Lots of senseless destruction
and that's about it.
[Daniel Hinds]
 BELPHEGOR
The Last Supper
(Mercenary Musik)
For a cult black metal band, these Austrians are sure getting around lately.
This is the band's debut from way back in 1995 and, while it isn't a classic,
it is certainly a worthy album and a remarkably solid debut.
Right away, the album sets off on a trail of blastbeats, raging black
metal riffs and grim vocals that descend well into death metal territory
at times. The music stays in high gear most of the time, but the
band knows when to throw in change-ups and pull off the transitions pretty
well. Plus, there are some nice solos, slightly above the typical
squealy Slayer-isms often present in black metal.
Production-wise, this album is basic but actually pretty good.
In fact, I think it sounds a bit better than the follow-up, Blutsabbath,
and the songs themselves are perhaps a bit stronger, too. In addition,
there are six bonus cuts here, making for quite the deal at over sixty
minutes in length. Among those extra tracks are a blackened version
of "Sabbath Bloody Sabbath" and a ripping take on Sodom's classic "Outbreak
of Evil."
[Daniel Hinds]
 BELPHEGOR
Blutsabbath
(Mercenary Musik)
Mercenary has seen fit to re-issue the first two Belphegor releases.
This is the Austrian trio's second effort, from way back in '97, and it
is quite the raw slab of black metal indeed. While Blutsabbath
is somewhat stripped down in both the arrangements and the production,
it doesn't completely fall into the 'primitive BM' category. The
riffing is fast and pretty tight, plus the songs have a fair amount of
change-ups. The drumming is pretty standard blastbeat central and
- like all true black metal - the bass is inaudible.
Difficult to give a song-by-song review, as they are all fairly similar.
Lots of speed, sick vocals, and anti-christian lyrics - all the usual good
stuff is here. Necro cover art completes the package. While
I wouldn't recommend this as highly as their latest, Necrodaemon Terrorsathan,
it is still a worthy release and nice to see it get a US distribution finally.
[Daniel Hinds]
 BLACK DAWN
Blood For Satan
(Necropolis)
Doing a search on 'black dawn' I came across something rather interesting
- a New York metal band of the same name who are apparently very unhappy
with this Black Dawn and have vowed, "we will not stop until 'Blood for
Satan' is not available for sale anywhere in the United States."
Should be interesting to see what transpires, especially as the New York
lot apparently has two albums and trademark law on their side. So
if you want to get this album as it is currently, you may have to hurry.
Now the question is, do you want to? If the album title and cover
art didn't give it away, the tray card clearly states "TRUE BLACK METAL"
and that is exactly what you get. Fast, maniacal riffs, relentless
drums and blackened shrieks aplenty. The only real pauses in the
action come in the form of cult-oriented movie samples here and there.
It is a ferocious attack and one that would not be sustainable much beyond
the current 32-minute length.
Nothing essential about this release, nor terribly original, but the
energy level is well above average and that counts for a lot these days.
Fans of the more extreme black metal outfits will be the most enamored
with Black Dawn, though the sheer speed and demonic double-tracked vocals
might rake in some folks from the more Deicide-oriented persuasion as well.
Personally, I think if the band is forced to change their name, they should
go with Blood For Satan. It is a cool name and far more illustrative
of the band's sound and philosophy than Black Dawn.
[Daniel Hinds]
 BLIND GUARDIAN
And Then There Was Silence (CDS)
(Century Media)
Blind Guardian have always been a bit of their own little island in the
metal world. Though often lumped in with the likes of Helloween and
Rhapsody due to their fantasy-themed lyrics, their sound is considerably
heavier and the vocals in particular are rougher and deeper. This
is supposedly the first single ever released by Century Media, which is
a bit of a surprise actually considering how long the label has been around,
but it is definitely worth the attention.
Clocking in at over 14 minutes, the title track is an epic metal track
in the truest sense of the word. The song winds through several changes,
with a very operatic feel throughout. The big choir vocals add the
proper grandiose feeling to the song and the lyrics are appropriately far-reaching
and poetic. "Harvest of Sorrow" is considerably shorter but no less
impressive, as it works its orchestral ballad magic. The lyrics are
almost gothic in nature and the overall effect reminds me a bit of Rainbow's
great folk ballads from the early days. The final track is a QuickTime
video for the song "Born in a Mourning Hall." The band and crowd
are both quite energetic, making for a satisfyingly entertaining clip.
While the title track will appear on the band's upcoming release, "Harvest
of Sorrow" and the video are only available here, making this a plenty
worthwhile investment.
[Daniel Hinds]
 BOLT THROWER
Honour-Valour-Pride
(Metal Blade)
In the early days or grindcore and death metal, there was a little British
label called Earache. They quickly established themselves as the
leaders in the field, with genre-defining releases from the likes of Napalm
Death, Morbid Angel, Carcass, Entombed and Bolt Thrower. The latter
mob impressed me the least, despite the cool album graphics and Warhammer
obsession. I remember purchasing a copy of Realm of Chaos
when it came out back in '89 and feeling rather letdown. The aggression
and leaden riffs were there, but the vocals sucked, the production sucked
even more and the songs were too similar and monotonous.
Honour-Valour-Pride is my first encounter with these hardy Brits
since that first impression gone awry. Strangely, there is much about
the band that hasn't changed at all, yet they seem to have also improved
in many ways. This is apparently the first release with new vocalist
Dave Ingram (ex-Benediction) and his deep growl seems the perfect match
for Bolt Thrower's sound. The war machine riffs are fully intact,
rumbling on in generally standard mid-tempo fashion, but the band also
throw in some slightly more offbeat riffs here and there ("Honour" and
"7th Offensive" are the best examples). Nothing overly melodic, but
enough of a gearshift to give the album the longevity I didn't hear in
their early work. Production-wise, the band couldn't ask for better
- the sound is thick, in your face and brutally heavy. Like Entombed,
Bolt Thrower features a crushingly heavy bass sound, taking the songs to
the next level.
War metal has been all the rage the past few years, with many in the
black metal scene taking up the cause (Marduk, Indungeon, Impaled Nazarene,
et al). But Bolt Thrower is truly one of the pioneers of the scene
and has kept that theme the driving force in their work all these years.
With war in the news now more than ever, this comes as an oddly timely
release. Hats off to the band for sticking to their guns and refining
their sound over the years without losing direction, making Honour-Valour-Pride
a rock-solid slab of death/grind.
[Daniel Hinds]
 THE BROUGHT
LOW
The Brought Low
(Tee Pee)
This is an interesting mix of indie rock, classic rock and just plain rock
'n' roll. The riffs are big, but not really heavy in the metallic
sense. This is more in the vein of Lynyrd Skynyrd and Blue Cheer
and some of the early grunge bands, though I can see it appealing to the
stoner rock crowd quite a bit, too.
"What I Found" is a good opener, with a nice bouncy bassline and a searing,
bluesy solo. Guitarist Benjamin Howard Smith has a unique voice,
though I must say it is probably my least favorite element of the Brought
Low sound. "Goddamn God Bless" has a great main riff, while elsewhere
the band takes a more moody approach on "Kings & Queens" that reminds
me vaguely of Dinosaur Jr. for some reason. "Hot 'n' Cold" has something
of a southern rock swagger to it, while "Deathbed" is a full on Skynyrd
tribute.
This is a good solid rock album, nothing more, nothing less. If
you can't get enough music in the classic 70s style, give it a shot.
[Daniel Hinds]
 BRUJERIA
Mextremist Hits
(Kool Arrow)
Once you get past all the hype and mystery of who Brujeria really is, the
music they make is a decent but fairly standard blend of grindcore and
death metal. The tracks collected here are culled from early 7" singles
and unreleased versions of some of their more known songs. The raw,
underproduced brutality of songs like "Padre Nuestro" and "Brujo Cirujano"
is where Brujeria excels, while the rather unsuccessful remixes that close
the album would have been better left off. The influence of Napalm
Death on the former and Fear Factory on the latter is apparently no coincidence,
as various members of both bands are rumored to be involved in Brujeria.
If you're already a fan, chances are you will want this. Otherwise,
you would probably be better off getting the band's second album, Raza
Odiada, and deciding from there if you need more.
[Daniel Hinds]
 CARNAL FORGE
Please...die!
(Century Media)
There apparently is no need for a thrash revival since Carnal Forge is
on the case. Okay, this has several elements that make it strong,
although not a brilliant effort. The music is fairly brutal and well
played. Tight...not incredibly technical...there are guitar solos
floating through very biting riffs with screamed vocals.
This is truly an assault on the senses and should appeal to a lot of
people for this reason. Still, the whole album, after a while begins
to blend together. Each song feels too much like the last and at
moments I wasn't even really able to tell that it was a new song that had
started. Seems like this would all probably go over better live.
The vocals are the main thing that lacks variety. Jonas Kjellgren screams
incessantly from start to end of each song, somehow, doesn't always blend
with the music...a little variety would manage to make this not such a
boring listen as some of the change-ups between songs are not bad.
Carnal Forge would probably be a much better band to see live opening
for someone else in limited quantities. I'm sure some people will
really love this, but like most modern bands trying to pull off this music,
this Swedish quintet makes me long much more for the days of Slayer's Reign
In Blood or even some brutal or more complex death metal of today.
Not bad, not quite good enough. At least it's not tired sounding.
[Victor Mejia]
 CESIUM:137
The Fall (CDS)
(Tonedeaf)
Presented here are 5 different mixes of the song "The Fall," along with
one mix of the track "Language Without Lies." First up is the straight
edit, which is good but somewhat by-the-numbers hard industrial dance.
Vocals are processed but carry enough impact to help drive the music forward.
The song itself isn't terribly complex, but the synths are nice and edgy
and the beat is reasonably dancey. The 'gasr-j4j' mix is better,
with an even more dancefloor friendly beat and synthline. The 'matrix-morpheus'
mix is probably the most involved, in terms of different sounds and changes
throughout, but it left me a bit flat for some reason. A more modern
approach is taken on the 'obfuscated' mix, particularly in the drum department,
while the 'ricky roma' mix is considerably denser than the others and probably
my favorite. Assemblage 23 mixes "Language Without Lies," making
it an interesting but somewhat tame techno-tinged number that brings to
mind earlier haujobb more than it does Assemblage 23.
Cesium:137 is one of those acts I've heard of more than once but this
is my first experience with them. Their sound is rather refreshing
in that it harks back to the earlier, harder-edge electro-industrial sound,
giving it just enough of a modern edge to keep it relevant. While
I wasn't blown away by this single, it was still fairly impressive and
makes me want to hear more. More info: http://www.tonedeafrecords.com/
[Daniel Hinds]
 CREMATORIUM
A World Where Only Nightmares Prevail (EP)
(Dismal)
This four-song EP displays an ample amount of post-thrash anger without
descending into the land of trend that bands like Machine Head and Fear
Factory have. The mosh rhythms are prevalent, as are the pissed-off
vocals, but the band can turn right around and offer up some more classically
thrash sounding tunes like the killer "Carved From Deceit." There
are even some nods to death metal on this one, as well as a nice little
hardcore bass break near the end. And "Unlearn" proves the band is
no stranger to speed, either. The disc closes with an energetic take
on Metallica's "Whiplash," made rather amusing by the sample of Cliff Burton
over the opening talking about people's perception of the band 'selling
out.'
Production is good for a demo, with only the drums suffering a bit,
and the mix is solid. Crematorium have defined a sound that will
either serve them well or limit their popularity, it is hard to say.
On one hand, they have incorporated many elements from classic thrash metal,
death metal and modern hardcore without regard to what is considered 'cool'
or 'uncool.' It is a rather refreshing direction to hear a band taking,
but whether the listeners at large will be open-minded enough to embrace
it remains to be seen. Contact: http://www.daggas.net/crematorium
[Daniel Hinds]
 DARK FUNERAL
Diabolis Interium
(Necropolis)
My first contact with Dark Funeral was via the Blackend comps. They
struck me as a wholly competent but rather faceless entity at the time.
With Diabolis Interium, the black warriors have taken the next step
and forged an invigorating slab of extra satanic black metal. The
only comparison I can come up with at all is the triple point where Satyricon,
Dimmu Borgir and Marduk all co-exist.
"The Arrival of Satan's Empire" bolts immediately from the starting
gate, all blast beats, tortured vocals and Nordic riffs. Most of
the album follows a similar course, with no real frills or attempts to
lighten the mood or build a false atmosphere. "Thus I Have Spoken"
is noteworthy for its war-machine-like opening riff and "Heart of Ice"
closes up shop in extreme fashion, featuring some of the iciest riffs to
be had here. The one drawback is the song fades after only 4 minutes
and it feels like it should have been prolonged to at least the six-minute
mark.
While this is undoubtedly a very strong effort, there are a couple of
criticisms I have. There is still a sense that Dark Funeral hasn't
completely found their creative voice, even though a great deal of progress
has been made in that direction. Sadly, the thing that bugs me the
most about this release is the cover art. It just seems so second-rate
compared to the quality of the production inside.
In addition to the 8 audio tracks, Diabolis Interium features
two full-length videos. One is a low budget (but cool) mix of live
footage and diabolic doings for the song "Secrets of the Black Arts," while
the other is a straight concert shot for "An Apprentice of Satan."
Nothing horribly vital but it makes for a nice addition to Dark Funeral's
strongest effort to date.
[Daniel Hinds]
 DARKEST HOUR
So Sedated So Secure
(Victory)
This Washington, D.C. mob are rather distinct for a Victory band.
There is certainly a hardcore element here but there is also a fair bit
of melodic death metal in the mix, too. The vocals are sandpaper
rough, yet manage to avoid the cliché traps of either hardcore or
death metal. So Sedated is the band's third release and the
experience they have under their belts can be heard in both the confident
playing and the well-arranged songs.
While the title track features some striking melodies, "The Hollow"
flows through a mid-tempo riff that hints at Slayer a bit. "A Cold
Kiss" has a catchiness to it that rivals modern In Flames, while the album
ending "The Last Dance Massacre" has a slightly more introspective feel
to it (especially the drawn-out guitar ambience at the end).
Production on So Sedated is rock hard, giving the album the proper
sense of vibrancy and edge. If I had to lodge a complaint I guess
it would be the vocals. They are distinctive, but they tend to be
a little monotonous after a few songs. As a bold melding of hardcore
and metal, however, Darkest Hour has succeeded in many ways that other
bands have not.
[Daniel Hinds]
 DARKWELL
Suspiria
(Napalm Records)
This is my favorite release I have heard put out by Napalm Records; it's
nice to have a label releasing some of the best bands that Europe has to
offer such as Darkwell. This is one of my favorite examples of Gothic
metal I have heard yet to date.
Darkwell is a perfect compliment of several elements. Nothing
on this CD is too complex, yet each part is an essential to each composition.
This bunch of Austrians seems to know their limitations and settle on the
strength of themselves as a unit to create an inspiring collection of songs.
Marc Patrick Fleisher must be commended for his mix on this album and the
production as well.
None of the elements overshadows any of the rest, although the driving
force is the clean angelic vocals provided by Alexandra Pittracher.
These are layered wonderfully over the interplay of strong rhythm work
(love the main riff on "The Beginning") by guitarist Roman Weinicke and
keyboardist Christian Filip. Christian also provides great gothic
backing vocals on tracks such as "Blackheart", mixed subtly by the hand
of Fleisher. The best musicianship is provided by Moritz Neuner and
his dynamic range drumming holds all the tracks together.
If there is a weakness to this CD, other than the atrocious artwork
provided for the cover, it is the intros to certain songs that seem to
lack development. Some of the endings could be flushed out as well.
A lot of these include spoken vocals rather than sung, and these seem to
lack inspiration. The lyrics on this CD are in English and for the
most part, are usually more than competent, but the parts of the CD that
are spoken tend to detract from the rest of the album and are far less
impressive (and at times silly "The Rejuvenation").
Hopefully, this band will continue to grow as a group in their songwriting
prowess and be able to strengthen the few weaknesses that occasionally
arise on this release, but on a whole, I think this is a wonderful collection
of songs and I look forward to more in the future.
[Victor Mejia]
 BRUCE DICKINSON
The Best Of
(Metal-Is)
Like most solo careers, Bruce Dickinson's has been hit and miss, but there
have been significantly more hits than misses, as this collection readily
points out. Covering everything from the Tattooed Millionaire
days up to present, you get a nice cross-section of his work. Everything
from upbeat rockers to emotional ballads to slabs of downright heaviness
are represented, both in studio and live form.
"Broken" opens the album in suitably heavy and triumphant fashion, followed
by the 70s-vibed rocker "Tattooed Millionaire." The highlight of
Balls
to Picasso is here, namely the Metallica-esque ballad "Tears of the
Dragon," followed by my favorite Chemical Wedding track, "The Tower."
The somewhat morose "Born in '58" is next, another excellent choice from
his first solo record, while "Darkside of Aquarius" is easily one of the
best from Accident of Birth. The inclusion of "Chemical Wedding"
seems obvious enough, but less so "Back From the Edge" from the rather
overlooked Skunkworks album. The album is filled out by "Silver
Wings," "Road to Hell," "Accident of Birth" and live versions of "Laughing
in the Hiding Bush" and "Book of Thel."
Though I was bummed to not get one of the limited edition versions with
the bonus CD (which includes his version of "Bring Your Daughter (to the
Slaughter)" and 12 other tracks), this is still a well-selected best of
collection. I was afraid that Metal-Is might skew the tracklisting
towards the new stuff exclusively, but this really does include the best
songs from his entire solo career.
[Daniel Hinds]
 ENTER MY SILENCE
Remotecontrolled Scythe
(Mercenary Musik)
Somehow, I associate Finland more with black metal than death metal, but
there are bands like Enter My Silence that are beginning to chance that
perception. The influence of the Swedes can't be discounted, as I
can hear the rumble of early Entombed as well as the melody of In Flames
and Dissection, but there is also that indefinable X-factor that sets Enter
My Silence apart from the mere clones.
"Six.Nothing" is a strong opening track, laying down the basics of the
band's sound. "Irrelevant" showcases some Maiden-esque harmonies
to good effect, while "Articulate" sounds like a more vicious version of
something from The Jester Race. "Filter X" has an almost progressive
feel to it, with its strange chords and quirky riffs. The vocals
throughout Remotecontrolled Scythe are nigh-on barbaric, not even
attempting to placate the commercial market with sing-a-long choruses.
Which is cool and makes for a strong contrast with the almost beautiful
melodies of many of the songs.
Without the momentum of bands like Soilwork or In Flames, I fear Enter
My Silence will be criminally overlooked in the same fashion as bands like
Gardenian, Sacramentum and A Canorous Quintet. Time will tell, but
until then, I highly recommend Remotecontrolled Scythe to all fans
of melodic death - this is the good stuff.
[Daniel Hinds]
 EVERGREY
In Search of Truth
(InsideOut/Century Media)
With a name and cover that intimate gothic doom, it was a bit of a surprise
to hear that Evergrey actually play a fairly metallic brand of progressive
rock. Hailing from Sweden, this five-piece has the requisite skills
to pull off the 'prog' end of things but also do a good job of making the
tunes plenty heavy, too. Elements hint at bands like Nevermore, Dream
Theater and even Royal Hunt as the razor-sharp riffs and pounding double-bass
drums fight for attention with the symphonic keys and melodic, textured
vocals.
The playing is all around stellar, with the keyboard work probably standing
out the most. The guitar work is tight and the leads fluid in the
extreme, though perhaps a bit more restrained than is typical of this genre
(a good thing in my eyes). Lyrically, Evergrey seem to take the typical
progressive approach - introspective yet universal in scope. As far
as the songs themselves, only "Dark Waters" really stands out, with its
multitude of cool, edgy riffs and well-placed choirs and multi-tracked
vocals.
Does this all add up to a must-buy album? Not really, unless you
live and breathe this kind of music. In Search of Truth is
a good album with some excellent performances, a nice mix of heaviness
and melody, but ultimately doesn't quite make the leap to the level of
greatness.
[Daniel Hinds]
 FLESHCRAWL
Soulskinner
(Metal Blade)
Remember when death metal was nearly dead and gone? It was the mid
90s and only the few faithful kept it going in the wake of post-grunge
alterna-crap, black metal and hardcore/nu-metal. Well obviously it
has well returned with more quality acts making the rounds today than ever
before, but it still amazes me how many of the bands from the earlier years
are still kicking it. Fleshcrawl, for example, continue their staunch
assault of raw, ripping death metal with absolutely no mainstream concessions
and it warms the heart to hear it.
As the title track gets underway, it is clear that Fleshcrawl has never
sounded more confident. The grinding brutality of the guitars and
bass is well matched by the thick drum sound and gruff-but-comprehensible
vocals. Bands like Vader and Dismember come to mind as Fleshcrawl
plow through one bruising track after another. Speed is certainly
present on Soulskinner, but it is never relied upon exclusively
and the band makes just as much of an impact with the slow and mid-tempo
riffs. The album closes with a kick-ass, deathified rendition of
Priest's "Metal Gods." So often bands resort to playing covers note-for-note
and, worst of all, in the same style as the original. Fleshcrawl
do themselves proud by making "Metal Gods" truly their own here.
There isn't a whole hell of a lot of variety on Soulskinner,
but then again everything that is here is pretty high quality. This
is very much the more brutal side of European death metal, so don't be
expecting any In Flames niceties here.
[Daniel Hinds]
 GAMMA RAY
No World Order
(Noise)
Following up an album as heavy and complete as Powerplant was bound
to be a difficult task and besting it would be a nigh impossible one.
No
World Order does live up to the Gamma Ray reputation, but it is more
of a step to the side rather than a leap beyond Powerplant.
And that's fine because No World Order is filled with hard-hitting
metallic gems just like you'd expect from Kai Hansen and crew.
After a pompous, operatic intro, the band's classy speed metal style
is intact on the powerful "Dethrone Tyranny." "The Heart of the Unicorn,"
despite the frilly name, is a pounding, mid-tempo rocker that could have
come off of Painkiller. Like all good Gamma Ray songs, this
one features a catchy chorus that you will be singing along with before
finishing your first listen. The title track shows off some Maiden
influences circa Number of the Beast, while "Damn the Machine" takes
a far heavier and darker path. "Solid" is basically a re-write of
Priest's "Rapid Fire" and the similarities are almost a little too close
at times. "Fire Below" is another powerhouse mid-tempo banger and
the album closes with "Lake of Tears," a full-on power ballad that is particularly
satisfying.
With all the releases under their belt, it is easy to take a band like
Gamma Ray for granted. But if you sit down with No World Order
and listen to it from the perspective of a brand new band that you've never
heard before, it becomes clear just how incredible these guys are as musicians
and songwriters. The production is rock solid, the songs are catchy
in the extreme and the playing (especially the solo spots) is simply amazing.
This may not have blown me away the same way Powerplant did, but
it is still a damn fine album and the best power metal release I've heard
in quite a while.
[Daniel Hinds]
 GLIS
advanced promo
(ADSR)
I was hoping to like this band more...I don't know if these are the final
versions of these 4 songs as they appear on the CD, but I have to say I
am for the most part unimpressed. The production on this is very
clean and modern, but sadly this seems to mesh the least with the elements
of the band that I like the most, the more retro keyboard leads and And-Rea's
backing vocals on the first three tracks on this CD.
Shaun's lead vocals on these three songs are fairly dismal. Especially
in this age of synthpop-based industrial bands with singers with the ability
to sing, his effort on these songs is especially weak. There is no
dynamics or energy to the vocals at all, which sadly, makes him fail even
more so as a vocalist than as a singer...maybe it's because the lyrics
are not that great to begin with. And-Rea does the leads on "My Cruelty"
and shows she isn't much better than Shaun in pulling this off...she works
much better doing back-ups. Makes me wish this was Fockewolf.
This music could almost be fun with different vocals or if they went
in even more of a retro nu-wave rather than modern sound. This is
pretty basic predictable soulless pop music and leaves me feeling almost
wholly uninspired.
[Victor Mejia]
 GODFLESH
Hymns
(Koch/Music For Nations)
There are certain bands whose popularity has always seemed way out of proportion
with their actual talent - Type O Negative, Korn, Neurosis…it's a long
list. Anyway, Godflesh has long been near the top of the list, serving
me as a benchmark for comparing lame bands to ("This sucks but at least
it isn't Godflesh.")
Little has really changed in the Godflesh formula over the years: simple
drum patterns, dissonant guitar riffs and truly uninspired vocal shouting.
The Prong comparisons are perhaps a bit more obvious this time around,
not surprising with Ted Parsons in the band now, but the songs are never
as interesting as Prong's were. "Defeated" is one of the better moments,
with its industrialized Sabbath pounding, but the album quickly recedes
into mediocrity afterward.
As much as I find most Godflesh music listenable (if boring), Justin
Broadrick's vocals are just so tuneless, it makes it impossible to enjoy.
"Anthem" attempts to introduce more melodic vocals and this is even more
disastrous. I think I would actually enjoy Godflesh more if they
just did instrumentals, sadly.
The electronic aspect of Godflesh's music is considerably sparser now
than in the Slave State days, though I can't decide if that's good
or bad. The programming in Godflesh has never been more than adequate,
but at least it added a little more depth to the music. Production
is okay and the guitars are nice and loud, though the drums could be a
bit fuller. On the positive side, I actually like the cover art -
it's simple but effective. And there is a certain amount of respect
I have to give a band that has endured this long and stuck to their sound
and vision regardless of what was in and what wasn't.
Clearly I am not a Godflesh fan - far from it in fact. If you
are, there is a good chance you will think me as clueless as I think Godflesh
is and you'll probably love this album, so by all means go buy it.
If you're not, don't let the hype fool you - give it a listen for yourself
and see if you can figure out what the fuss is about. I sure can't.
[Daniel Hinds]
 IN AETERNUM
Past and Present Sins
(Necropolis)
This is one of those collection of odds and ends that have been turning
up a lot lately. Among the tracks here are a new studio cut, an older
7" appearance, two covers, four live songs and other assorted unreleased
tracks.
"Cursed Legions" is a new one, featuring some vocals from Schmier (Destruction)
and the band's trademark blackened deathrash sound. "Demon Possession"
is taken from a '99 single and is a little more involved musically, with
some interesting riff changes. The next six songs date back to their
pre-debut period of '95-'97. The sound is far murkier, the playing
not as tight and the Venom and Bathory influences are a little more distinct.
Which makes for a good lead-in to the cover of "Countess Bathory," done
in a faithful manner with a nice buzzsaw guitar sound. King Diamond's
"Abigail" is tackled next with the usual gravelly vocals replacing the
falsetto wails. The album closes with four live songs culled from
their most recent tour, but sadly the sound quality is mediocre bootleg
at best.
For fans of the band, this is a nifty enough little package with some
hard-to-find tracks. As a representation of the band, though, I'm
afraid it is pretty lacking and anyone interested should steer toward The
Pestilent Plague well before plunking down any cash for this hit and
miss affair.
[Daniel Hinds]
 IN THY DREAMS
Highest Beauty
(Century Media/WAR)
This is Swedish death metal played with perhaps a bit more ferocity and
less melody than many in the genre, but still staying within the same general
guidelines. Moments remind me of Dark Tranquillity's early work,
At the Gates and Soilwork. It is all well played and fast and heavy,
but there is just something lacking in the songs themselves to truly transcend
the mundane.
The opening tracks are all decent enough, but "Spirits Forge" is the
first to really catch my attention properly. The main riff here is
a bit more melodic and quite infectious, while the vocals switch between
the usual raspy shriek and a deep growl. "Selfpity Human" is the
only other track that showed some sparks; the rest all just kind of blurred
together after a while.
Apparently a few of the guys from In Thy Dreams are also responsible
for Carnal Forge. While I must say I prefer this album to either
of the Carnal Forge releases, it still doesn't really do enough to stand
out and make me want to come back for repeated listens.
[Daniel Hinds]
 JAG PANZER
Mechanized Warfare
(Century Media)
This says it came out in August - d'oh! Oh well, better late than
never I guess, so here goes. A definite 80s metal band, Jag Panzer's
potential wasn't fulfilled until the reformed in the late 90s and released
the one-two punch of The Fourth Judgment and Age of Mastery,
two power metal classics to be sure. The band followed this success
with an ambitious conceptual album, Thane to the Throne. A
fine record, but it felt a bit stilted to me and lacked the sheer power
of the previous albums.
Perhaps to reaffirm their roots, the Colorado metal merchants take a
more straightforward and classically heavy metal sounding release with
Mechanized
Warfare. Some choppy, proggy rhythms permeate opener "Take to
the Sky," while "Frozen in Fear" has a wonderfully melodic gallop to it.
In the ore epic vein are several tracks, namely "Unworthy," "Cold is the
Blade (and the Heart That Wields It)" and "All Things Renewed."
The production on Mechanized Warfare is almost too polished,
but there is no denying the results when it comes to the gorgeous choir
vocals and acoustic passages. While my tastes tend toward the catchier,
heavier material from the band's past, it is good to see Jag Panzer continue
to evolve and Mechanized Warfare is another proud chapter in their
history.
[Daniel Hinds]
 KILLER KHAN
Rock 'n Roll Forever
(self-released)
Formed in 1993, during the bleakest period in American metal history, Killer
Khan has released several albums since. Each album reconfirms the
band's commitment to classic heavy metal, the way bands like Witchfinder
General, Jag Panzer and Tygers of Pan Tang played it back in the day.
This is actually a re-release of their second album, originally put out
back in '97. Seemed like a strange thing to do at first, but then
I thought about how much more receptive the climate is right now to old-school
heavy metal than it was back in '97.
Killian Khan is the man behind the band, handling the guitars, vocals
and songwriting. His love for real heavy metal is obvious and he
lovingly crafts the songs in that fashion, laying down some excellent leadwork
on top. His vocals are probably the weakest point of the band, as
they are a bit limited in range, but they are passable and are at least
quite unique. He actually sounded better on the '99 album Kill
Devil Hills, though I'm guessing part of that is also the improved
recording there.
"Kamikaze" opens in fine NWOBHM style, harking back to the raw sound
of bands like Desolation Angels. "British Barbie" takes a slower,
more driving approach, while "Neither King Nor Kaiser" has a top-notch
Ozzy-ish riff and one of the album's most memorable choruses. "Vanishing
Point" and "The Hated and the Damned" are very much in the power metal
tradition, while "Hammer of the Gods" adds a touch of the blues.
"Sanctuary" is the longest cut and unfortunately drags along without going
anywhere, but the title track closes up shop on a high note - a high-octane
rocker in the vein of "Bark at the Moon."
Rock 'n Roll Forever sounds all the world like a forgotten release
on Metal Blade from the mid 80s - same sound, same production, same cover
art. While some might find that an indictment of the band's relevance,
I have always had a soft spot for this kind of stuff. It isn't ground-breaking
and it isn't something I listen to every day, but for those moods, nothing
works quite like metal in its purest form and that's what Killer Khan excel
at. More info: http://www.killerkhan.com
[Daniel Hinds]
 MADRIGAL
I Die, You Soar
(Nuclear Blast)
With a name and cover art that screams 'goth metal!' it was a nice surprise
to hear that Madrigal aren't just another lame copy of Theatre of Tragedy
or Tristania. The goth element is definitely there, but there are
equal amounts of progressive rock, power metal and alternative rock to
be found on I Die, You Soar.
"Languish" demonstrates the band's strengths amply. Vocals that
are clean, mid-range and emotional without being weepy melt with rich,
highly textured riffs and keyboard lines. Flashes of Katatonia and
Amorphis come to mind, but no one is going to confuse Madrigal with either
band. Or any other band, most likely, which is definitely a point
in their favor. Keyboards are used consistently and wisely throughout
the album and make a nice balance to the big, almost doomy guitar riffs.
The crisp, clean production serves the music perfectly.
This is a moody album and Madrigal are skillful enough to make it so
through sheer emotional songwriting and performances, avoiding any gimmickry.
Like many releases on bigger labels like Nuclear Blast, I'm afraid Madrigal
might slip through the cracks, so I'd like to just urge people to check
them out and give them a chance.
[Daniel Hinds]
 MANOREXIA
Volvox Turbo
(Ectopic)
This is a self-released collection of experimental, free form and ambient
pieces by J.G. Thirlwell, aka Foetus. Having had a love-hate thing
with his main project throughout the years, I wasn't at all sure that I
would enjoy this, but damn if this isn't some of the man's best and most
diverse work to date.
"The Hardened Artery" opens the album with a ominous cycle of tension-filled
strings and synths while "Ice on the Equator" is cool ambience. "Zithromax
Jitters" is probably the most frenetic track here and almost my least favorite
track. "A Womb is Waiting" is white-out droning, simple yet evocative.
"Helicobra" is far more rhythmic, with a slightly Indian vibe, while "The
Cringe Factory" and "Bruxism" return to a more ambient arena.
It is really the details that make Manorexia work so well. The
carefully crafted sounds, the ebb and flow of the samples and the space
between them. There is also an obvious attention to the big picture
here, too, and a subtlety that I didn't entirely expect from Foetus.
[Daniel Hinds]
 MASTODON
Lifeblood (EP)
(Relapse)
Mastodon may live up to the heaviness of their title, but they do their
best to supercede the lumbering image. The five songs on Lifeblood
are a crazed mixture of grindcore, jazzy arrangements and technical death
metal. Vocals are delivered in a 'rrrawwrr' manner closest to grindcore
and make for a suitable match for the careening, dangerously off-balance
riffs and rhythms. "We Built This Come Death" features some almost
sung vocals, with the effect being even more disturbing than the regular
vocals.
This is really out of my league taste-wise, but I can appreciate the
craftsmanship and skill that went into writing and playing this stuff.
Comparable to Dillinger Escape Plan in terms of technicality, Mastodon
has picked up the gauntlet and run with it.
[Daniel Hinds]
 MÖRK GRYNING
Maelstrom Chaos
(No Fashion)
This latter-day Swedish black metal outfit has been slowly building a name
for themselves, producing a very grandiose yet brutal sound.
After a symphonic, tension-building intro, "Templars" rages forward.
Near-death metal vocals spew forth over hi-speed riffs, with the only respite
coming from the melodic keys that come in over the chorus, Dimmu-like.
In excess of eight minutes, this track takes several twists and turns along
the way, including an almost classic metal bridge. The album continues
in similar (if less epic) style, with a really cool Sabbat-like vocal barrage
on "The Menace" - words are spit out in pure hatred at a speed that rivals
the blastbeat drumming. "My Friends" takes a rather creepy, much
slower approach and pulls it off remarkably well. I wasn't expecting
this kind of stylistic breadth from this lot for some reason, so I was
doubly impressed with this cut.
If you are burned out on the black metal scene at the moment, this probably
is the wrong album to reignite interest. That isn't to say it is
bad - far from it - but it is deeply rooted in the style as it has been
played for the past several years. Having said that, though, it is
a very well constructed work, well produced (thanks to Pytten) and there
are a few moments that transcend the usual bm expectations, so it is well
worth looking into.
[Daniel Hinds]
 MORTIIS
The Smell of Rain
(Earache)
This bold release marks a major change for Mortiis, both musically and
image-wise. Gone is the shrouded magician of the Northern woods,
in his place is the ragged desert dweller. Also gone are the lengthy
bouts of medieval ambience, replaced by surprisingly confident and memorable
slices of gothic EBM.
"Parasite God" makes for the perfect opener, with its dramatic yet danceable
approach. I am immediately reminded me of some of the classic EBM
outfits like Click Click, with Mortiis' vocals coming across as a strange
blend of Peter Murphy and Jean-Luc DeMeyer. "Mental Maelstorm" adds
in some driving guitar and "Spirits in a Vacuum" introduces more female
backing vocals (even taking the lead at a couple spots) for a more Sisters
of Mercy style. Just when you might pigeonhole the proceedings as
predictable, along comes "Monolith" a brooding piece driven by a menacing
piano melody and some almost folky percussion. "You Put a Hex on
Me" is like a gothic version of New Order's "Blue Monday," with a chorus
melody that is almost identical. "Everyone Leaves" is a rather touching
little ballad. The retro sequencing and synth stylings come back
full force on "Marshland" and the album closes on another rocking track,
"Smell the Witch."
No doubt some will be upset that Mortiis has abandoned the more neo-classical/ambient
approach of his earlier work, but I think he has said what he needs to
say in that forum and The Smell of Rain is a welcome new direction.
The real surprise is just how well he carries out this new style, right
down to his clean and emotional vocals. The Smell of Rain
is a thoroughly enjoyable listen, full of surprises, and Mortiis' crowning
achievement to date.
[Daniel Hinds]
 vidnaObmana
Tremor
(Release)
vidnaObmana has quite the established name in the realm of tribal/ambient/experimental
electronic music, yet this is only my first proper encounter with his work.
His work on Tremor left me quite impressed and I found the music
a lot more emotionally gripping than much in this particular genre.
The ethnic element is felt right away as "Moedra" kicks in with a captivating
tribal rhythm, perfectly complemented by the sparse, airy electronics.
"Flesh Reaper" continues in a similar vein, with a slightly creepier vibe.
"The Insane Brightness" is first really ambient track, a chilling body
in orbit just beyond the visible. Songs like this make me think vidna
should be scoring films, as this would be the perfect counterpart to a
mission of alien discovery. The whole album is inspired by Dante's
Inferno, so the sense of otherworldliness makes perfect sense and is
continued on songs like "Artificial Repose" and the multifaceted title
cut.
There is a strange dichotomy to vidnaObmana's work, as the electronic
backbone is always visible, yet the music has an extremely organic feel
to it. There are moments that remind me of early Delerium, especially
with some of the rhythms vidna creates. The difference is that vidna's
work is more like a passing stream, an even flow with slight nuances, rather
than a directed composition that builds and falls. The effect is
dark without being foreboding, making this CD both relaxing and involving
at the same time. Clocking in at over 73 minutes, Tremor is
a complete journey and one well worth taking.
[Daniel Hinds]
 PHOBIA
Serenity Through Pain
(Deathvomit)
Phobia plays pretty straightforward hardcore-influenced grindcore.
It is intense, fast and pulled off with the proper amount of reckless abandon.
The band incorporates some cool movie samples as well, helping break up
the album a bit and give it more of its own identity.
After a downbeat acoustic intro called "God is Grace" that is strangely
reminiscent of Current 93, Phobia plow into "Death Threat." Here
they make their intentions clear - out of control speed mixed with slow
grindy bits, typical grindcore vocals that alternate between guttural and
shrieking, and one to two-minute songs. The band has the same distinctly
punky edge that reminds me of early Napalm Death. The socially aware
lyrics bring to mind a certain ND comparison, too, and it is clear the
world hasn't changed much in the past ten years. Has it ever though?
The album continues for 45 minutes and a total of 23 songs, making it
a borderline exhausting experience. Based on the name and album art,
I wasn't expecting any real originality so at least I wasn't disappointed
in that department. And the production, while reasonably raw, is
a bit murky. Still, the songs are generally pretty strong, making
Serenity
Through Pain a remarkably listenable album.
[Daniel Hinds]
 PROJECT PITCHFORK
Daimonion
(Metropolis)
I have let myself become very disillusioned with the industrial scene through
the second half of the 1990s, with one disappointing release after another.
Daimonion is the CD I needed to restore my faith in the music that
had defined so much of my enjoyment of music 10 years ago and that I had
thought I had lost.
There are several very modern almost future pop (especially on tracks
like "Timekiller") elements to this CD. Still I like it more than
any of these bands...I think it's because of the use of guitar as one of
the driving forces in the music, not just the steady bass beat. The
vocals still contain much more of an old-school feel than much of the more
modern bands that have come to redefine the scene. The vocals are
not as tweaked as earlier Project Pitchfork, but still very recognizable.
Project Pitchfork manages to cover more ground than many of their modern
contemporaries as well. Branching from the more dance-oriented synthpop
anthems to trippier old-school electronics of pioneers such as Skinny Puppy.
There are also more gothic elements that have also always been a PP trademark
that show up on "Jupiter or Somewhere Out There" and "Citynight."
It's the variety on the CD that helps make this a pleasure to listen
to. Not to mention this is one of the best pieces of production I
may have ever heard from anyone in this genre or any other. They
maintain somewhat of an old-school feel while creating and playing within
a very modern aural landscape. Hope some bands will take note of
this CD and feel free to diversify their sound just a little from time
to time.
[Victor Mejia]
 RAPTURE
Futile
(Relapse)
Perhaps I've come to expect too much from Finnish bands, but Rapture just
didn't impress me as much as I was hoping. This is driving, gloomy
metal ala Katatonia, with deathy vocals and distant keyboard melodies added
to the mix. The tempo is kept in the mid to slow arena and the somber
melodies do their best to capture a depressive atmosphere, but something
just doesn't quite click. Part of it is the rather one-dimensional
vocals. They aren't terrible in and of themselves, but they just
don't seem quite right for the music. And the music itself is just
a little too lackluster for its own good. Perhaps the intention was
to drain the life out of the music to get the proper mood, but it is just
a little too grey and featureless for its own good. "Someone I (Don't)
Know" is the one highlight, featuring some icy acoustic guitar and more
emotional clean vocals.
The lyrics are the one thing here that really did impress me.
They aren't overly poetic, just stark observations on the futility of life
and the loneliness of isolation. There is a simple yet profound truth
in many of the words and I just wish they were delivered in a more involving
fashion. Maybe next time.
[Daniel Hinds]
 ROADSAW
Rawk N' Roll
(Lunasound Recording)
All fans of loud, brash rock 'n' roll that truly rocks should be aware
of this Boston mob. Taking the same cues as bands like Kyuss and
COC, Roadsaw have carved out their own niche over the past several years.
Rawk N' Roll is their fourth album (near as I can figure anyway)
and it is as thick, meaty a slab of amped power chords and attitude as
you could ask for.
Heavy, fuzzed-out guitars rage on songs like "Disconnected," while the
band shows off some slightly more blues-tinged influences on "Scorpion
Bowl" and "Your Own Private Slice of Hell." This diversity and attention
to each individual song helps set Roadsaw above some of the more truly
stoned stoner rock bands out there. Vocalist Craig Riggs is also
noteworthy, as his rich, soulful voice really makes the Roadsaw sound complete
and unique. "That's Mr. Motherfucker to You" (love that title!) has
a great jam feel to it that kind of reminds me of Clearlight, while "Burnout"
sports a very laid-back acoustic sound not dissimilar to Sabbath's "Planet
Caravan."
My first spin of Rawk N' Roll was rather casual and it didn't
do much for me, but once I sat down (and turned the volume up), the quality
of Roadsaw's work became apparent. Forget what is passing for "rock"
music on MTV and the radio these days - this is the real deal.
[Daniel Hinds]
 SATANIC SLAUGHTER
The Early Years: Dawn of Darkness
(Necropolis)
This single CD collects all 25 tracks from both the Satanic Slaughter
and Land of the Unholy Souls albums. Satanic Slaughter, if
you don't know, is the band that spawned Witchery when founding member
Ztephan Dark parted ways with the rest of the band to carry on the SS name
himself.
The similarities to Witchery are present, though SS are considerably
less refined and more 'modern' sounding in some ways. This is fast,
evil blackened death metal with very little in the way of melody or other
unnecessary frills. The moments when the band actually slow things
down are my favorite, bringing to mind some of the raw heaviness of early
Celtic Frost. The tracks from Land of the Unholy Souls are
a bit more restrained tempo-wise and the inconsistent production takes
a bit of the edge off, but I generally enjoyed these tracks more.
This collection is really only recommended for die-hards as it is rather
one-dimensional and fucking long as hell. Witchery has certainly
done much better work than this (like, everything they've recorded so far
for example) and I'd bet the newer SS material is better, too, though I
haven't heard it yet. Not crap, just nothing special.
[Daniel Hinds]
 SEASONS OF THE
WOLF
Nocturnal Revelation
(Earth Mother)
This Florida outfit has defied trends since day one and continue to grind
out some top-quality power metal that is uniquely their own. Bits
of 70s rock are mixed in with ultra-heavy power metal numbers, resulting
in some seriously doomy, epic tracks. Keyboards are utilized in a
very intelligent manner, adding a slightly retro prog touch at times.
And Barry Waddell's guitar playing is consistently excellent, particularly
the lengthy leads that decorate each song.
This is SOTW's third album and, in my estimation, best yet. The
song writing is consistently strong throughout, the production is thick
and tight and the performances are all marvelous. One thing that
struck me (and I'm surprised I never noticed this in the past) is how much
vocalist Wes Edward Waddell reminds me of Bobby Blitz from Overkill at
times. Not so much Bobby's higher-pitched stuff, but just that edgy
snarl his voice has. It works really well with the music and brings
to mind some of the slower, more epic Overkill songs like "The Answer"
or "Skullkrusher." There is also a touch of Mark Shelton from Manilla
Road in this voice, too, so rest assured this isn't your typical power
metal singer (i.e. not another Geoff Tate wannabe, thank god).
The album art and layout are the best yet as well and it still boggles
my mind how the bigger labels can keep signing third-rate Helloween clones
like Heavenly and Freedom Call and ignore such quality acts as SOTW.
Granted, it is always harder to market a band with originality, but given
their commitment, critical acclaim and obvious skill at writing classic
metal tunes, I can think of few more deserving. In the meantime,
definitely check these guys out at: http://www.sotwmetal.com/
[Daniel Hinds]
 SIGH
Imaginary Sonicscape
(Century Media)
The Japanese masters of highbrow art metal are back with another chapter
in their evolutionary progression. If Celtic Frost had held it together
creatively and progressed from Into the Pandemonium, they might
have ended up in the same far corner of deep space that Sigh is currently
residing in.
Opener "Corpsecry - Angelfall" is typically unassuming, kicking off
with a very simple, classic heavy metal riff. As the song progresses,
the 70s-styled organ makes its presence felt and Mirai's raspy vocals descend.
Near the end, the song shifts abruptly to sweeping symphonic strings, evocative
of a dramatic film score. "Scarlet Dream" follows in a similar pattern,
incorporating more offbeat samples and a vocoder into the mix and almost
reggae-sounding bridge. "Nietzschean Conspiracy" crosses into hyperspace,
utilizing several layers of tripped-out keyboard and organ sounds.
"A Sunset Song" starts off somewhat deceptively, with an almost alternative
sound, then shifts into metal gear before taking off on a loungey tangent.
By the time the funky, discofied middle section comes around, you are pretty
much ready for anything. The remaining cuts follow similar patterns
of unpredictability, with "Ecstatic Transformation" playing host to some
particularly catchy riffs.
One thing I like about Sigh is, as weird and progressive as they get,
they never lose the raw riffing and sore throat vocals that are oh-so-metal.
Often bands abandon their roots when they strive to expand their creative
scope, but Sigh has always kept one eye on the past as they move forward.
Imaginary Sonicscape is another successful step forward and quite
possibly their best album yet.
[Daniel Hinds]
 SINERGY
Suicide By My Side
(Nuclear Blast)
Not one to sit idly by, Sinergy founder Kimberly Goss has pushed forward
constantly and here we have the third release in as many years. Despite
a somewhat lukewarm reaction from critics, Kimberly has stayed true to
her sound and I admire that. The blend of power metal and technical,
Children of Bodom-like death metal is fully intact and as powerful as ever.
Fans looking for something that is midway between the likes of Jag Panzer
and Stratovarius should definitely dig Sinergy.
Opener "I Spit on Your Grave" couldn't be more classic Sinergy, with
the speedy riffs, dancing leads and Kimberly's powerful vocals. "The
Sin Trade" is a bit more mid-tempo, with a really cool bridge. Power
ballads are usually where Sinergy are at their weakest and "Written in
Stone" is no exception. The oddly titled "Nowhere For No One" is
one of the album's strongest tracks and is followed by the equally classic
"Passage to the Fourth World." The album closes with the more serious
title track and a dark piano solo that reflects its moodiness well.
This album won't change people's mind about Sinergy one way or the other.
Like Primal Fear, Sinergy found their style right away and have pursued
it relentlessly, refining it only slightly with each release. Of
the three albums so far, this one is probably the heaviest and most consistent,
though the songs are maybe a little less memorable overall than those on
To
Hell and Back.
[Daniel Hinds]
 SODOM
M-16
(SPV)
German thrash stalwarts Sodom certainly picked the right year to release
a military-themed album (though they do look hilarious in their camouflage
get-ups on the back). Tom Angelripper and co. have been keeping the
banner flying high for over 15 years now and show no sign of relenting.
Last year's Code Red was a solid if unspectacular release and
M-16
seems to tread similar ground, but generally impressed me more. "Among
the Weirdcong" alternates between mid-paced and fast riffs while Tom growls
out the lyrics with less than his usual conviction. "I Am the War"
is better, with a hard-hitting riff and more impassioned vocals.
"Napalm in the Morning" is a slow grinder with a wicked solo, while "Minejumper"
brings the speed back full-force. "Little Boy" chugs along at a good
clip, culminating in a frenzied burst of speed near the end. No Sodom
album would be complete without some lightening of the mood and it comes
here in the form of a cover, the 60s classic "Surfin' Bird."
Although the band has experimented a bit over the years, M-16
sees them right back to the same spot they occupied on albums like Agent
Orange and Better Off Dead. This isn't a bad thing at
all, unless you have a perverse need for evolution in every band.
Sodom clearly has figured out what they do best and concentrate on refining
that formula as best they can. M-16 isn't perfect nor does
it contain the absolute best Sodom songs ever, but it is still quite good
and the most rock solid thrash album you are likely to find released any
time soon.
[Daniel Hinds]
 SOILENT GREEN
A Deleted Symphony for the Beaten Down
(Relapse)
One of the mainstays of the Relapse label in recent years, Soilent Green
has built a pretty solid fanbase with their brand of ultra-heavy grindcore.
In fact I'm not even sure the term 'grindcore' really covers what these
guys do, at least on this album. The vocals are harsher than harsh,
but they are generally pretty intelligible and the music itself incorporates
as much Sabbath as it does Carcass.
A good example of that is "Later Days," which has some nice, slow riffs
that just bleed Iommi. The band has no problem getting the speed
on, though, as multi-tempo cuts like "She Cheated on You Twice" and "Hand
Me Downs." The general rule for Soilent Green is expect the unexpected
and never fall into a simple verse/chorus rhythm.
Total running time here is only 33 minutes, but it is a full ten songs
and a longer album would probably be a little tiresome. Mention must
also be made of the gorgeous (and tripped-out) artwork that folds out of
the CD booklet into a nice 14" x 14" poster. A Deleted Symphony
covers
a lot of bases stylistically and could appeal to fans of everyone from
Immolation to Crowbar to even Slipknot.
[Daniel Hinds]
 SOLARIZED
Driven
(Meteor City)
There is some deep, mystical connection between the automobile, the 70s
and the current crop of retro-rockers. What lies behind that fascination
is probably best left to cultural historians, but I will tell you this
is one of the best, most kick-ass pure rock albums you are likely to hear
this year. Solarized play it loud and keep it simple, yet there is
never a feeling that the songs are lacking in any area. It all comes
down to playing with feeling and knowing how to write and arrange songs
- skills sadly lacking among far too many bands these days.
"Dig the Ride" flies out of the gates, an energetic slab of jet-fueled
rock 'n' roll that would make Monster Magnet proud. Not that you'll
be confusing the two bands though, as Solarized have a much grittier sound
and James Hogan's vocals are in a league of their own - a unique mix of
Ian Astbury, Danny Joe Brown and Rob Zombie. "Born of Fire" and "Chrome
Shop" continue the hard rock boogie assault and "Angel" is just a straight-up
stomper with some incredible bluesy leads all over it. "Stab Your
Back" is a minute-long blast of punk, while "Box Full of Dirt" is a moodier
piece than much of the album. "Southbound" is a somewhat nondescript
instrumental, but "Conspiracy" gets things rolling again in a big way and
"World Without End" closes on a similarly pedal-to-the-metal note.
The retro/stoner/whatever you want to call it movement has grown considerably
in the past ten years and I've received numerous discs to review in the
genre this past year. And many of those have been damn good, such
as Bad Wizard and Astroqueen, but Solarized's Driven is easily one
of the best yet.
[Daniel Hinds]
 SUCKER[p]UNCH
3-track promo
(Spiky Cat)
This is an odd (and believe me, 'odd' is putting it mildly) Brit outfit,
represented here by three cuts from the upcoming full-length, Global
Village Idiot. It ain't metal, it ain't Britpop, it ain't trip-hop
- it ain't a lot of things and listing them is easier than trying to figure
out exactly what it is.
"New Bones For the Empress" rocks along with a major groove and freaked-out
guitar lines, reminding me a bit of Rage Against the Machine with psychosis
in place of the anger. The Faith No More influence becomes a bit
more obvious near the end and even moreso on "I Loathe You," though of
course I'm referring to the messed-up latter day FNM stuff. And just
to prove I haven't run out of comparisons quite yet, "My Fullest Stop"
has a very jazzy, wobbly feel to it not unlike Primus.
Can't say that Sucker[p]unch are exactly my cup of tea (maybe ten years
ago), but they definitely have the chops and willingness to experiment
that should take them places. More info at: http://www.suckerpunch.co.uk/
[Daniel Hinds]
 TIDFALL
Instinct Gate
(Nuclear Blast)
Norwegian black metal. That sums up about 90% of what Tidfall are
about, which is good in some ways and not so good in others. Instinct
Gate is well played, nicely produced and features some cool keyboards,
but the atmosphere that sets bands like Emperor and Immortal above the
rest just isn't there.
One thing that I enjoyed the most about Tidfall was the vocals.
They have a blackened quality to them, but they are gruffer and richer
in texture than many others in the black metal market. The other
thing that caught my fancy was some of the keyboard work, which is used
pretty extensively but it never really mutes the aggressive edge of the
band's music - the guitars still rule supreme here. The usual symphonic
synths come into play now and then, but it is the more experimental electronic
sounds that show up a few times that I liked best. I hate to say
this, since I think the fascination with industrial electronics has marred
some otherwise good black metal outfits, but I would actually like to hear
Tidfall explore this area more. Partly because they do it better
than most and partly because the actual guitar riffs are frankly not that
interesting.
Had a good laugh at the bio, which called Tidfall "potential inheritors
to Emperor's vacated throne." Um, yeah… Look, Emperor's throne
hasn't been vacated just because they are calling it quits. What
they achieved was monumental and anyone that comes up in the scene will
always be in that shadow. That's not to say no one emerging from
the scene will ever have the same kind of impact that Emperor did, but
they will have to innovate and redefine their sound to the extent that
it creates a whole new sub-genre and Tidfall are still a long way from
doing that.
[Daniel Hinds]
 TO/DIE/FOR
Epilogue
(Nuclear Blast)
To/Die/For is a Finnish Gothic band with metal tendencies, but staying
truer probably to a goth sound. Actually, I think I would like it
more if they would go for a little more of the metal sound. Some
of the material on here, at least the production quality of it sounds very
late 80s early 90s Cleopatra. This is what gives it more of a goth
feel than metal, and I think by adding a bit more of an edge and modern
feel to the production, this would make a far stronger release.
My favorite song on this is probably "Veil of Tears." It is at
least a bit more catchy than much of the rest of the songs; maybe a bit
of 80s pop thrown into the mix. I tried to like much more of this,
but always found the songs falling short. There was nothing that
really made me feel much of anything on this song and very little that
made me want to sing along with.
Not sure what else to really say about this CD. I'm sure there
is potential in this band to create something at least a bit more interesting.
Not sure if they have any true brilliance to share with the world either.
They really need to try something different with the production...and the
total waste of space with the dismal bassline repeating for over twenty
minutes of the CD...if I wasn't already non-plussed with this release...
[Victor Mejia]
 SUZANNE VEGA
Songs in Red and Gray
(A&M)
I've always found it odd that many folks in the metal and goth scenes namedrop
people like Tori Amos and Enya, but I never hear Suzanne Vega mentioned.
Her work over the years, especially her eponymous debut, has been extraordinary,
a delicate blend of folk and rock, fueled by striking and bittersweet lyrics.
This is her sixth full-length album and easily one of the best yet.
The album opens with my favorite cut, the plaintive "Penitent," which
shows off Suzanne at her absolute best. The soft vocal delivery is
heartbreaking, as are the guitar melodies, leaving a very profound impact.
"Widow's Walk" is more upbeat musically, reminding me quite a bit of her
last album, Nine Objects of Desire. "Soap and Water" is another
slice of melancholy beauty, while the title track is even more restrained
but no less affecting. Despite the somewhat dark theme behind it,
"Last Year's Troubles" is the liveliest song here, with some beautifully
played mandolin giving it a real spark. "If I Were a Weapon" it the
most rock-oriented track, harking back to the 99.9Fº days while
"Harbor Song" has a very laid-back, bluesy feel to it. The album
closes on a beautiful little tune called "St. Clare" that was written by
folk singer Jack Hardy.
Suzanne Vega's lyrics have always been thought-provoking at worst and
undeniably haunting at best. This album is no exception and there
is a clear thread running throughout Songs in Red and Gray dealing
with her divorce. While some songs make the point obvious, others
are considerably more subtle, but in each case Suzanne makes each word
count and the result is truly poetry.
Though it has been several years since her last album and she has complained
about having problems writing, you would never know it from this fine collection
of songs. Anyone who is only familiar with "Luka" or "Tom's Diner"
should do themselves a favor and buy her self-titled first album or this
one. Her words are poignant and involving in a way few lyricists
are these days and her unique voice ranges from soothing to simply intoxicating.
[Daniel Hinds] |
