16 VOLT
supercoolnothing
(Slipdisc/Mercury)

16 Volt are a bit of an enigma to me, as they have managed toreally define their sound (due in large part to Eric Powell’s distinctivevox), yet there is rarely a song that goes by where I’m not reminded meof someone else, too.  Nine Inch Nails is one of the main ones(“Everyday Everything” is like a thrash version of “Perfect Drug”),though there are hints of Hate Dept. and Ministry, too. It isn’t like a lot of bands that I feel are copying NIN + co.,though – it’s more like 16 Volt just came up at the same time inthe same tradition and happen to utilize similar elements in their sound.

supercoolnothing is no doubt the heaviest album 16 Volt haverecorded to date.  Plenty of metallic guitar riffs throughout, witha generally more rock approach than before.  I’ve always appreciatedthe band’s use of guitar in their sound, but I think it dominates the mixa bit too much this time.  Not that there is anything wrong with whatis offered here, it is just a bit disappointing because Eric’s programminghas been so creative in the past and you don’t get to hear it is much. There is definitely more emphasis on the organic metalcore elements thistime.  It sounds like the band wrote this album with their live showin mind.

This is not 16 Volt’s best album, but it is far from their worst. supercoolnothing is a solid album that defies current trends and continuesthe band’s evolution.  Armed with better distribution this time aroundand a sound that should appeal to the rock audience as well as their ownfanbase, 16 Volt definitely have all the cards in their favor forthe most successful album yet.
[Daniel Hinds]

ABLAZE MY SORROW
The Plague
(No Fashion)

Fredrik Arnesson‘s vocals help set AMS apart from their countrymen,as they shred more along the lines of bands like Children of Bodom andOldMan’s Child, giving the band a black metal undertone.  Musically,the band deliver a nice mix of thrashy death rhythms, slower heavy sectionsand the occasional blast beat for good measure.  “Mournful Serenade”is a particularly impressive track, starting off at full speed then, slowingup for a classic metal scream and a head-banging mid-tempo riff that isguaranteed to keep you moving.  “As the Dove Falls Torn Apart”showsthe band’s ability to play some truly fierce material, too, though evenhere the band is all over the tempo map and don’t shy away from the ‘m’-word.

Ablaze My Sorrow are not a great band, but they are very good. The maturity shown on this album (their second) is matched by the intensityof the music.  Nothing terribly original on offer, but the solid productionand strong song-writing make this a worthy listening experience nonetheless.
[Daniel Hinds]

ARCH ENEMY
Stigmata
(Century Media)

“Beast of Man” forgoes any frilly intros and jumps right intoa fast, chugging riff that tells you right away this is going to be a goodalbum.  The vocals are harsh, but more in line with older Entombedor Sepultura than death metal.  As brutal as the music is,it is carefully balanced with some seriously impressive and melodic leads.Chrisand Michael both provide some awesome fretwork throughout the ninetracks on Stigmata, including some of the best harmoniesI’ve heard since the days of classic Maiden.  It makes fora really interesting blend of modern and retro styles, making it clearthat Arch Enemy don’t want to limit themselves.

The arrangements are also quite involved, approaching the level of bandslike Opeth on tracks like “Let The Killing Begin.” While there are a few moments where things start to drag, the band generallydo a good job of keeping the excitement level up and not getting too self-indulgent. You aren’t likely to come away from Stigmata humming anyof the tracks, but you will have the urge to want to hear it again relativelysoon…
[Daniel Hinds]

ATTRITION
The Jeopardy Maze
(Projekt)

Martin Bowes is the main force behind Attrition, as hewrites everything, programs it, mixes it and sings on it.  Aidinghim is Julia Waller, who adds her beautiful voice to most of thetracks, and Frack Dematteis, who does an equally superb job blendinghis viola into the mix.  The interplay between Martin’s deep,ashen vocals and Julia’s operatic approach is the main appeal ofAttrition,as they work together to drive home memorable tracks like “Waste Not,Want…” and “The Illuminator.”

Musically, The Jeopardy Maze is all over the place. From dark ambient instrumentals, filled with menace and beauty, to moreup-tempo (but still eerie) dance songs, Attrition handle all thestyles with precision and sequences them in a logical and eminently listenablefashion.  The diverse elements are even brought together in one song,“I Am a Thief,” with equal aplomb.  The band somehow manages toincorporate elements from gothic, industrial, ambient, and techno musicwithout coming close to being pigeonholed in any particular style.

This isn’t the kind of album you’re going to properly enjoy cruisingdown I-90 or cleaning out your refrigerator.  You need to be ableto sit down in a darkened room and really listen to it, feel it. If you haven’t heard Attrition yet, but are a fan of bands like DieForm or some of the Projekt bands, The Jeopardy Mazeis a definite must.
[Daniel Hinds]

BLIND GUARDIAN
Nightfall In Middle-Earth
(Victor/Century Media)

Based on The Silmarillion by J.R.R. Tolkien, thestory is told through the song lyrics, spoken narratives between songsand extensive texts in the CD booklet.  Following it all is a definitechallenge, though still less headache-inducing than reading the originalbook.  I appreciate that the band has chosen a known (but not obvious)story to set to music and manage to do Tolkien justice.  Theaudio narratives in particular could have turned out cheesy, but they chosevoice actors well and they only serve to enhance the experience.

Musically, Nightfall.. is a beautiful mix of melodic,German speed metal, classical music and opera.  Hansi Kurschdoes a great job with the vocals, coming across as equally convincing withhis gruff style and his clean, singing style.  The vast choir backgroundvocals are also extremely well-executed, with more than a hint of classicQueenat times.  The rest of the instrumentation (which includes some excellentkeyboard and flute work) is equally flawless, further bolstering the auraof class and professionalism that this album exudes.

Picking out specific tracks for praise is difficult, as this is verymuch a concept record and all the songs work together toward a common goal. Fans of bands like Stratovarius and Savatage will definitelyhave to hear this (if they haven’t already), while those who wished Helloweenhad capitalized on the epic songwriting and medieval/fantasy themes fromthe Keeper.. albums would also be well advised to give thisa spin.  It is an elaborate project that a lot of bands wouldn’t beable to pull off, but Blind Guardian do and they do it stunninglywell.  Nightfall In Middle-Earth is a real achievementand takes metal to a new level.
[Daniel Hinds]

CONQUEST
Rage
(Scream Productions)

Musically, the band put together plenty of powerful, unmelodic riffsto fashion a sound not a million miles away from what Pantera weredoing on Vulgar..  “Walk Away,” for example,has a similar vibe to “Mouth For War,” though the vocals throughoutare much more in sync with Chuck Billy’s more extreme moments withTestament. The lyrics are filled with anger and are spit out with the proper amountof venom, though nothing terribly original or interesting is covered. The production is good, with the guitars and vocals right up front, butthe drums are a bit too dry.

Rage isn’t a bad album at all and the execution of thematerial is quite good.  It’s just that there is nothing going onhere that hasn’t been done before.  I’d like to see Conquestexperiment a little more and really work on developing their own sound. They obviously have the skills down, based on the spot-on drumming andfrenzied leads, so it’s just a matter of being a little more creative inthe songwriting department.  Write to:  Scream Prod., 6054Odell, St. Louis, MO  63139, USA or e-mail them at: questone@earthlink.net
[Daniel Hinds]

CRADLE OF FILTH
Cruelty & The Beast
(Mayhem/MFN)

A big part of my problem with CoF is the execution and mix. The drums sound very weak and uninspired, and I attribute at least partof that to the actual playing.  The keyboard sections that are supposedto give the music a symphonic feel sound mechanical and slightly amateurish. The guitar parts are cool, with some great melodic leads and high-speedriffs, but they are muted and banished to the extreme ends of the mix,fatally diminishing their power.  Every element is spaced too faraway from every other element.  The band would be well-advised tofind a better producer/mixer next time out.

CoF’s strengths lie with the songwriting and vocals.  Dani’simpassioned delivery shows a great range and he does an excellent job tailoringhis voice to the individual parts of each song, not unlike Martin Walkyierdid in his Sabbat days or even King Diamond, though Danisounds nothing like either.  The songs themselves are, for the mostpart, well-constructed and make a nice balance of evil, searing riffs andmore melodic sections.  Plenty of tempo changes, too, all of whichjust makes you wish the execution of the album had been better.

If you decide to buy Cruelty & The Beast, definitelyget the limited edition version.  It comes with a bonus CD that includessome great covers (“Black Metal,” “Sodomy & Lust” and “HallowedBe Thy Name,” all of which give you a good idea what inspired CoFin the first place), along with a slightly different version of “Lustmord& Wargasm” (probably the best track on the album to begin with)and a techno remix of “The Twisted Nails of Faith.”  This lattertrack is interesting, though it is probably bound to piss more people offthan it will attract.

The gorgeous album artwork is a nice touch, but I’m afraid that thatlevel of quality doesn’t permeate the musical portion of this package. Like I said, it’s not a terrible album by any means, but it is flawed andI hope the band deliver more next time out.
[Daniel Hinds]

DIE LAUGHING
Incarnations
(Cleopatra)

I had only heard Die Laughing on their one track on the Gothbox,so this CD caught me a bit by surprise.  I had heard their name fora few years now, but I had no idea to their musical ability.  It isnot easy to pinpoint exactly what it is that I find so satisfying aboutthese Brits' music.  They seem to master so many different elements,but balance it all so well, so no one thing overpowers anything else.

In my estimation, Die Laughing might easily be the best gothband of the 90s.  I am just sorry that all of their earlier stuffis apparently out of print and I can't get it.  At least I have Incarnationsand I can look forward for their new material.
[Victor Mejia]

DOG FACED GODS
Random Chaos Theory In Action
(GNW)

Building convoluted songs out of heavy riffs, speedy drumming and afew progressive elements, Dog Faced Gods don’t tread new groundso much as they do refine an established sound.  Citing influencessuch as Meshuggah and Fear Factory, the band don’t straytoo far from that general vibe.  When they do, though, it really addsto the proceedings (check out the melodic solo section of “Blindfolded”for example).  DFG actually write way more interesting songsthan Fear Factory and are on the same par as Meshuggah forcool, complex songs that retain their power and aggression.  The vocalsare also an improvement over their peers.  They are gruff in a hardcore/thrashway, but seem to blend with the music better.

The musicianship and production are both stellar, as is the stark artworkof the album’s digi-pack.  Dog Faced Gods are destinedfor great things if they can hang together and stay true to their vision,uncompromising power and technicality.
[Daniel Hinds]

EVIL’S TOY
Angels Only!
(Metropolis)

Angels Only! is the band’s fifth album and it shows somedefinite progress.  The band have cleaned up the vocals considerablyand given the music an injection of modern synth-pop, while still retainingthat edge that puts the ‘evil’ in Evil’s Toy.  (sorry…) Songs like “Transparent Frequencies,” the title track and “FromAbove Comes Sleep” showcase the band at their best, mixing memorablechoruses with upbeat, dancey rhythms and that mix of darkness and lightthat has defined Evil’s Toy sound from day one.  An interestingremix of “Angels Only!” appears later on the album as well, featuringwhat can only be described as a depressed house sound to it.

The quality of the material, unfortunately, isn’t completely consistent. For all the good tracks on offer, there are a few fillers, such as themundane opener “The Concrete Garden” and the unfinished-sounding“AGirl Called Bitch.”  Another disappointment is the ever-presentsweeping synth pads in each song.  It works at times, but so often,it just dilutes the song instead of adding to it.  Not to mentionthe fact that everyone does it all the fucking time now in every goddamnsong.  Whoever started this trend needs to be beaten with their ownMIDI cables…

While Evil’s Toy won’t win any awards for innovative songwritingor thought-provoking lyrics (or imaginative album art for that matter…),they have consistently produced high-quality, edgy  EBM for many yearsand Angels Only!  effectively continues that tradition.
[Daniel Hinds]

EXHUMATION
Dance Across the Past
(Holy)

What Exhumation achieves here isn’t terribly original, but itis very expertly put together and performed.  Epic, heavy riffs, thatare as melodic as they are powerful are the foundation for DanceAcross the Past, with Marios Iliopoulos’s inspired fretworkdancing over top.  Bassist John Nokteridis provides the requisitegruff and somewhat one-dimensional vocals.  Not the best vocals I’veever heard, but better than average overall.

Exhumation do two things very well:  they write great, complexriffs and they arrange them well.  I am reminded at times of classicmetal bands like Iron Maiden and Mercyful Fate, due to theband’s keen sense of songwriting.  They don’t sound like those bands,they just utilize the same principles in coming up with good tunes. The 8 originals on offer are pretty consistently good, with “MoonlessNight,” the title cut and “Images of Our Extinction” (whichhas a bit of a folk flair to it) being particularly memorable.  Asolid but slightly out-of-place cover of Sepultura’s “Territory” closesout the album.

The scene in Greece seems to have really gained a lot of internationalattention in the past couple years and Exhumation’s latest willonly further that.  This is a well-produced, finely crafted slab ofmelodic death metal that acknowledges the past without wallowing in it.
[Daniel Hinds]

HAGALAZ’ RUNEDANCE
The Winds That Sang of Midgard’s Fate
(Elfenblut)

German-born, Andrea spent many years in England before followingher heart to her current home in Norway.  The music on The Winds…is an interesting blend of folk styles from all three of these cultures,giving the album a truly different flavor from the World Serpent bandsthat are obvious influences.  Tracks like “Behold the PassionateWays of Nature,” “A Tale of Fate (Folksvang awaits)“ and “Das Festder Wintersonne (ein Weihnachtslied)” are particularly effective, withthe vocals blending in beautifully with the instrumentation.  Svein-TorreDammen adds some clean male backing vocals on a number of tracks, mostnotably the memorable “The Oath He Swore One Wintersday.”

The tribal drums, gently plucked strings, and alto-recorder all do wellto help create the proper atmosphere for the nature-minded lyrics. Andrea’sconcern for the natural world and ancient traditions if obvious and heartfelt,giving the music further depth.  The recording has a very live andspontaneous feel to it, without sacrificing any quality.

The Winds…is a solid debut that should definitely be ofinterest to the neo-pagan folk fans out there (Death In June, Current93, etc.), as well as those into the likes of Arcana and Mortiis,as it shares a similar vibe (check out “Mother of Times” in particular). I won’t say this album is perfect, as my attention did wander a coupleof times, but Andrea has created a distinctive sound and it willbe interesting to see where she heads with her next release.
[Daniel Hinds]

HAMMERFALL
Legacy of Kings
(Nuclear Blast)

Legacy of Kings is another solid slab of classic, powerfulheavy metal.  The band haven’t strayed from their formula one iota,incorporating the same balance of speedy rockers and grandiose power ballads.JoacimCans’ vocals still come across as a bit too soft for the material,though once you get used to his style, it is enjoyable enough.  Theexcellent riffing and lead playing is carried over as well.  Sadly,the good-but-could-be-better production of Glory To The Bravehasn’t improved any either, but it gets the job done.

First single “Heeding the Call” kicks things off beautifully,setting the pace with its Riot-esque riffing and spirited chorus. The lyrics on this album are as simplistic as the previous outing, butthey do fit the mood of the music well.  The title track follow ina similar vein, then “Let The Hammer Fall” slows thing a bit, comingacross like one of Accept’s great mid-tempo rockers.  “RememberYesterday” is the first ballad and the better of the two on offer thistime.  I didn’t particularly care for HammerFall’s balladson the first album, but this track is considerably better.

Elsewhere on the album, the band tackle Pretty Maid’s classic“BackTo Back.”  People can say what they want about HammerFall,but I give the band total respect for their efforts to give exposure tounderrated classics like this (they did a similar job on Warlord’s “Childof the Damned” last time out).  It’s a classy move that pays tributeto the originators of the power metal scene and will no doubt expose youngerfans to some great music they may not have heard yet.

HammerFall’s greatest weakness is also one of their greateststrengths, paradoxically.  The band have publicly stated that theywill never change and this album is nearly identical to Glory ToThe Brave in every way.  That’s fine with me, as long as theycontinue to deliver high quality material like this, but I can’t see themmaintaining their current success without evolving a bit more over time. Look at Manowar, a band that has clearly influenced HammerFall. Each album they have done has been true to their metal faith, yet no twoalbums sound alike.  I hope HammerFall can chart a similarcourse, as I want them to be around making albums for a long time to come.
[Daniel Hinds]

THE HOPE BLISTER
...A Smile's Okay
[4AD]

Unlike TMC, The Hope Blister is a set bunch of musiciansfor all the songs.  Other than that, this could easily be the fourthinstallment of This Mortal Coil, which is a bit of a disappointmentin a way since Ivo claimed that this would be completely different.

The fact that the CD is a compilation of covertunes helps tie it intothe early This Mortal Coil work.  The watery instrumental productionbehind the enchanting vocals of Louise Rutkowski just add to thefeeling that this is 1988 and this is this is This Mortal Coil.

My favorite track is probably "Outer Skin" as it adds a bit ofa modern feel to it...well, at least a 90s feel as it reminds me of themore laid-back Sunscreem tracks.  I like this CD, but overall,it just is nothing new.  But then again, a lot of what is new is completeshit, so I will take what I can get.
[Victor Mejia]

KUSCHA
Sweet Little Lie
(self-released)

1998 brought us Kuscha, who  reminds me a lot of GaryNuman.  Not the 80's Numan but the 90's big-guitars-persona. Kuscha'svocal style and lyrical content are the main similarities here.  Thereference to the 90's-Numan in particular refers more to Kuscha'sinstrumentation:  lots of rigid guitar riffs.  I bring this upbecause I felt rather disappointed with Gary Numan'sExile,and I have the same problems with Kuscha's instrumentation: it'sbland.  The Ants had a quirky, bouncy style, Bowiewas a production God, and The Cult were.. I dunno... tight. Kuschahas done all the guitar, bass and drum-machine work himself with this release,and it is kinda squarish, which puts the music at odds with his obtuse,weirdo voice.  his voice is pretty good, though, and I think it'sworth reiterating the Numan reference.  Be on the lookout.
[Laird Sheldahl]

MEPHISTO WALZ
Immersion
(Cleopatra)

Past MW albums have suffered from somewhat muddled production. This is the one place where I believe the American goth scene has reallymanaged to improve on in the past four or five years, is the productionquality of the music.  The beauty has always been there, it has oftentimes been difficult to pick up.

What is most notable about immersion is that Mephisto Walz isone of the first bands I have ever heard to blend the two main polar elementsof the gothic scene into one individual sound.  There has always beenthe guitar-based death punk element of goth and then the more light etherealside of Gothic music introduced in the 80s by Ivo and 4ADrecords.  I think this is a combination of the production and Christianna'swonderful vocals.

With the rise of all of the new talent in the goth scene, it is refreshingto hear one of the veteran bands really step up to match all of the newbies. If this is any indication of what is to come this year, the goth sceneshould close the millenium up with a bang.
[Victor Mejia]

MIDNIGHT SYNDICATE
Born of the Night
(Linfaldia Records)

Midnight Syndicate aren’t a goth band.  What they play isvery well-crafted, dark, eerie music.  It’s the kind of atmosphericmaterial you’d expect to accompany a classic horror film.  Very dramaticat times, very subtle and creepy at other times.  The use of piano,bells, chimes and strings are very effective, particularly on “Shadows,”“Haunted Nursery” and the title track, but the album works as a whole– just like a movie soundtrack.

At first, the occasional whispered narrative kind of irritated me, butafter a few spins they seemed to fit in better and add to the overall mood. This isn’t the kind of album you want to pop into your car CD player. You need to be in a dark, candle-lit room with no distractions, so thatyour mind can create the mental movie to go with this soundtrack. MidnightSyndicate are obviously a talented group of musicians and, fortunately,have put that talent to work and created a unique listening experience.
[Daniel Hinds]

MIG
Tongues
(Urlinie Records)

The music on Tongues is based on electronics and sampling(though it sounds like a number of live instruments may have been usedas well) and is a really curious mixture of elements, giving the band avery eclectic and bouncy feel.  Generally fairly upbeat, the bandseem to have a sense of humor based on some of the goofy-sounding samplesthey come up with, plus their penchant to mess with the vocal tracks. Even still, there are some interesting, darker elements incorporated, too,and a really melodic feel overall.  There is a lot going on withineach track, too, and a great deal of diversity from one song to the next. No real standout cuts, but a general level of quality persists throughoutthe entire 16-song album.

Trying to describe Mig's sound is nearly impossible and comparisonsto other artists, even harder.  I quite enjoyed Tonguesand found it to be soothing and relaxing and a pleasant change-of-pace. Anyone who likes modern electronic music of any sort might want to givethis a try.  I mean, how often do you come across something you canactually call ‘unique’ these days, especially something that doesn't completelysuck?  Mig are a tangent to current trends, taking just whatthey want before heading off into uncharted territory.  More info:lb55@dial.pipex.com
[Daniel Hinds]

NOKTURNAL MORTUM
To The Gates of Blasphemous Fire
(The End Records)

Eastern Europe has increasingly been a hot bed for extreme metal actsand, more and more, the quality of those bands is quite exceptional. NokturnalMortum are a six-piece hailing from Ukraine and are one of the bestnew(er) black metal bands I’ve heard lately.  After being introducedto the world by The End last year with their Goat Horns album,the darkened ones have returned with this monstrous slab to lay waste toeveryone in 1999.

“Fuck!” was pretty much all I could think after the opening one-twoonslaught of “Bestial Summoning” and the title cut.  This issome brutal-as-all-Hell, high-speed black metal that makes Marduksound somewhat laid-back by comparison.  Underneath the pummelingdouble-bass, raging out-of-control guitars and leather-lunged vokills,there is some actual depth to the music, too.  Keyboards swirl inand around the maelstrom, adding both a classical feel to the tunes anda unique folk flavor.  These leanings first become apparent during“OnThe Moonlight Path,” but really come out in the open on “Cheremosh”andalbum closer “The Forgotten Ages of Victories.”  Fans of theepic Viking metal bands out there should find something to latch onto here.

The production on this album is very good, a nice mix of raw guitarsand vocals and full-sounding drums and keys.  To The Gates…is the best black metal release I’ve heard since the last Naglfarand Tyrant albums hit my CD player.  A truly invigorating blackmetal release that has set the standard for others to try and beat in 1999.
[Daniel Hinds]

OVERKILL
Necroshine
(CMC Intl.)

Much like Anthrax and Pantera, Overkill have tradedin the speed of earlier albums for a heavier, groove-oriented sound inrecent years.  Bobby “Blitz” Ellsworth’s vocals haven’t changeda bit, though he tends to keep the high-pitched screech in check more oftenthese days.  The other remaining original member, D.D. Verni,maintains his patented bass thump that has defined the band’s sound asmuch as anything else over the years.

Song-wise, Necroshine is perhaps a little weaker thansome of the previous releases, but there are still some definite winnershere.  "My December” with its mid-tempo Megadeth crunch,“80Cycles” with its blues-tinged vocals, and “I Am Fear” with itsdouble-bass pounding and slap-bass are all classic Overkill. “Black Line” is worth mentioning, too, as it shows that Overkill’spunk roots are still intact, too.  Songs like “Let Us Prey” and“Forked Tongue Kiss” are a bit more ho-hum, but there no bad trackshere.

The production on Necroshine is rock-solid, very in-your-face. While I will always have a soft spot for the classic Overkill albumslike Feel the Fire and Taking Over (mainlybecause of the speed and Bobby Gustafson’s electrifying leads),I am happy to see the band still at it and still creating heavy music withoutcompromise.
[Daniel Hinds]

PEGAZUS
Wings of Destiny
(Nuclear Blast)

“Wings of Steel” kicks off the disc in fine style, sounding abit like Born In America-era Riot with more elaboratechoruses.  “Braveheart” slows things down a bit and featuresa truly wicked riff, while “Enchanted World” is more in the veinof classic Liege Lord.  “Werewolf” displays the band’sobvious love for NWOBHM, cheesy lyrics and all.  “Witches Hex”attemptsa more epic style but falls a bit short, though it does feature some greatleads.  Cue the piano for the closing track, a ballad called “Destiny”that would be more at home on a Styx album.

All the performances on Wings of Destiny are good, withsome of the guitar playing and vocals being particularly impressive. Where Pegazus fails is in the lyric department, some of which arejust so cliched they make you cringe.  Also, most of the riffs aren’tterribly memorable, with “Wings of Steel” and “Braveheart” beingthe obvious exceptions.  The bulk of the album falls into that ‘average-to-good’category, however, and that will no doubt make it difficult for Pegazusto compete in today’s crowded metal market.

I think it is great that Pegazus pay tribute to the classic stylesof metal that they do, but I would like to see them inject more creativityinto their next album.  The talent seems to be there, it just feelsunderutilized on this effort.
[Daniel Hinds]

PRIMORDIAL
A Journey’s End
(Misanthropy)

Patience is a virtue, at least in the case of Primordial. This Irish quartet play an odd mixture of progressive death metal and folkrock.  If that sounds like a musical mismatch, it is and it isn’t– it’s a difficult sound to describe.  The usual power chords andmetallic riffs are traded in for offbeat time signatures and folky arrangements. On songs like “Dark Song,” where the instrumentation is acousticand the vocals are clean, it works quite well.  Elsewhere, such as“Journey’s End,” the band employ similar songwriting but with heavyguitar and harsher vocals.  The style takes a bit of getting usedto, but it’s pretty cool and really helps Primordial carve theirown niche.  One of the most interesting tracks is “Solitary Mourner,”which is a dark, ambient soundscape with grave vocals sung slowly overtop – very reminiscent of Eden’s Fire & Rain release.

The dark, dreary album art that accompanies this release is a perfectreflection of the mood expressed by the music within.  If you findsolace in the bittersweet gloom of bands like Katatonia and Solstice,and can live with less than state-of-the-art production values, give Primordiala shot.  Ireland doesn’t exactly have a world-famous metal scene yet,so I’m sure they can use all the support they can get.
[Daniel Hinds]

SEAR BLISS
The Haunting
(II Moons)

While associated with black metal, to my ears the only real mutual elementsare the icy atmospheres created and the mystical, pagan lyrics.  Isuppose the few fast parts have a blackened feel to them, too, but I’dstill group Sear Bliss more in the death/doom vein.  The vocalsare raw in a near-death style and probably my least favorite element ofSearBliss’ sound.  They’re just not very good and I constantly imaginehow much better this album would sound with clean vocals, or at least amore powerful harsh singer.  Nonetheless, the band makes up for thisshortcoming with the music.

“Tunnels of Vision” starts things off well with a slow, downtunedriff that is monstrous and doom-laden.  The band effectively addsatmospheric keys to accentuate certain parts of the song, along with thesubtle use of trumpet.  This same formula works equal wonders elsewhere,such as on “Unholy Dance,” one of the album’s most melodic cuts. The trumpet is an inspired addition and could easily spark a trend of moreunusual instrumentation in the extreme metal circles.  Only sevensongs, but due to the epic length of a number of them, the CD still clocksin at over 45 minutes.

Sadly, the production doesn’t quite live up to the quality of the music. It’s passable, but the drums are weak and practically disappear duringthe fast sections (which are, admittedly, fairly few).  I do likethe guitar tone they’ve achieved, though – very dense, very heavy.

Some nice art and a good, readable lyric booklet completes TheHaunting.  This is the band’s second album and, despite someshortcomings, shows that they have the talent to create something uniqueand eminently listenable.  A band to watch, as they say.
[Daniel Hinds]

SEPTIC FLESH
A Fallen Temple
(Holy)

Septic Flesh’s style is a really eclectic mix of classic metal,death, folk, opera and classical music.  “Brotherhood of the FallenKnights” starts off with some mystical keys, leading into a nice, crunchyriff overlaid with growled, death metal vocals.  When the chorus rollsaround, though, the vocals switch to a clean, harmonized style that reallyhelps define the band’s sound.  “The Eldest Cosmonaut” featuresa more bombastic, gothic style, including some operatic female vocals thatonly hint at the full-on theatrics of later track “Underworld – ActI,” where the band dispenses with all metal trappings altogether. Both acts of “Underworld” are interesting, featuring some inspired keyboardingand use of different voices/characters to evolve the story.

The album is divided into three sections, “The New Order,” “Testimonial”and “The End of the Circle.”  The first one features four newtracks, while the second one includes updated versions of tracks from their1991 Temple of the Lost Race EP.  The final sectionhas only two tracks:  the conclusion to “Underworld” and the“dark version” of the “The Eldest Cosmonaut.”  The “Testimonial”tracksshow a much more pronounced speed/death metal style than the new material. It’s a cool contrast and makes for a nice detour midway through the album.

The scope of this record is rather large, but Septic Flesh manageto pull it off.  The production is perhaps a little lacking in thedrum department, but overall still an improvement over previous efforts. I like how the band aren’t afraid to show their roots (the EP material),while simultaneously delving into rather daring and uncharted territory(the “Underworld” tracks).  Top it off with a wonderful digi-packfrom Holy Records and you’ve got an album well worth checking out.
[Daniel Hinds]

SONAR
Overdose Simulation
(COP Intl.)

Sonar has no use for melody or conventional songwriting, constructinginstead tracks based on pulsing, overdriven beats and sprayed with screechingdistortion in just the right amount.  Definite similarities to Klinik(the structure of “Strict Heat”) and Dive (the samples on“Crashand Learn”), but Sonar pushes everything to the limit. No vocals and the arrangements are perhaps a bit more repetitious thanDirk’sprevious projects, yet they still have no problem keeping you riveted tothe speakers.  The songs are diverse, too, ranging from the cold ambienceof “Route Diagonal” to the furious, machine-gun approach of “Comformist”tothe boiling menace of “Spreading Mutations.”

When it comes to noise, it’s so easy to go so wrong, but Sonardo everything right.  You get the feeling that Dirk and Patrickare completely on top of everything happening, yet there is a feeling ofbarely-contained chaos just waiting to erupt.  The duo have done awonderful job with the mix, too, with a very effective use of stereo separation. The sound itself is just so raw and in-your-face, it’s beautiful.

Overdose Simulation appears to be cutting straight acrossall genre lines, which isn’t surprising.  Sonar take powerelectronics and re-shape it into a danceable, techno/industrial format. Add to that the two dark ambient pieces and you have a very well-roundedalbum that really has the potential to make waves throughout the electroniccommunity.  One of the “must have” releases for ’99.
[Daniel Hinds]

STRATOVARIUS
Destiny
(F.A.D./Noise)

Describing Stratovarius’ sound without using comparisons is difficult,as they play very much in the tradition of many power/speed metal bands. “No Turning Back” brings to mind prime Keeper-era Helloween,while first single “S.O.S.” has hints of Dream Theater andAngraabout it.  Vocalist Timo Kotipelto is a superb singer withgreat range and control, but he often sounds a little too much like MichaelKiske or Geoff Tate.  Timo delivers on the moremellow songs better than either, however.  Musically,Stratovariustend to lean a bit more toward the pomp-rock side of things, too, thoughthere is plenty of speedy riffing on Destiny, too.

The musicianship in this band alone will be enough to get some fans. Guitarist Timo Tolkki delivers some incredibly fluid, hyper-speed(but never self-indulgent) leads, along with writing the bulk of the musicand lyrics.  Jens Johansson (one of the best keyboard playersI’ve ever seen) delivers a typically impressive performance, adding a realsense of class to the proceedings.  The interplay between his workand Tolkki’s is the real highlight of the Stratovarius sound,in my opinion.

As strong as Destiny is as an album, I still felt it didn’tquite live up to the same level as their previous release, Visions. The production is just a touch too smoothed out and a couple of the songs(like “Playing With Fire”) never get going as much as they should. The band are at their best when they play with the extremes, whether itis the beautifully epic ballad “Venus In The Morning” or the speedy“Rebel.”

What Stratovarius might lack in originality, they more than makeup for with the conviction of their playing and the skill of their songwriting.Destinymight be the first sign of a band mellowing a bit with age, but it is stillan excellent album and should only serve to expand their fan-base.
[Daniel Hinds]

TURK KNIFES POPE
Performance Crippling Data Restriction
(ZenFlesh)

I'm still not sure whether this disc has an improvisational feel ornot-- it does sound very real-time, and like the effort of a single person. There's no musique-concrete wizardry nor computer-assisted deconstructiongoing on.  It more like an assorted collection of ambient sounds runthrough a few different effects processors, giving  this release amore organic and fluid nature  (and sparse at that).  I was neversure what to expect next, but when it came, I was never suprised, either. Weird how that works.
[Laird Sheldahl]

[various artists]
New Violent Breed
(COP Intl.)

Let me start by saying Aghast View is pretty darned good at EBM, although I think a better version of their song "Truthlike" appearedrecently on Arts Industria's Silicon Warfare CD compilation.VNVNation, if you haven't heard them, do an excellent reworking of thesynthpop genre in a post-NIN fashion.  "Interface" justhad a good article on the resurgence of synthpop, so I was all curiousto hear if VNV Nation lived up to the praise "Interface"gavethem.  Yup.  Yavin 4 also strive for a more synthpop sound,but ultimately wreck it with cookie-monster vocals.   On theother hand, Sonar--the noisier offshoot of Dive, is a realgem.  They aren't noisy as in Merzbow "we-are-trying-to-be-really-really-difficult"noisy.  Instead, Sonar compiles pulsatingly rhythmic soundswith an overall dynamic.  Sure, there's some mayhem that's been hadwith a distortion pedal or two, but it has been chopped up and reassembledinto a buzzy, chunky song.  Scar Tissue I was already familiarwith, and unlike 99 out of 100 electro bands, Scar Tissue stillmakes room for experimentalism, and when it comes down to business, theycreate some very intriguing and intricate rhythms.

I am also familiar with Index, and  either they submitteda "this track is too stinky for our next CD, maybe we'll put it on somecompilation" song, or their talent was a temporary attribute.  Theirupcoming album Ultra Hard Shadow will probably answer thisquestion.

I was surprised by the utterly low-quality recordings of some of thebands, most notably Chain.  I am all for COP showcasing youngtalent, but dang... their track was barely audible compared to its neighbors. Even given the poor recording quality, Chain isn't worth showcasing.Dustin Bass, however, is.  They also feel like a band who is luckyto be included on a comp alongside Funker Vogt and the like-- stilla bit rough around the edges.  Imagine noisy, percussive bass guitarsmixed with some junkyard percussion.  Their unique sound here willhave me keeping tabs on their progression.

All in all, this is a pretty good showcase.  The focus is obviouslyelectro/EBM, but the real talent here are those that have ventured beyondthe Teutonic beat + aggro bassline + rahr-rahr vocals standard.
[Laird Sheldahl]

[various artists]
…Until The End of Time
(The End Records)

Up first is the Russian outfit Mental Home, an excellent trackfrom their Black Art album.  Mental Home blendclassic Maiden-esque melodies and rhythms with modern death metaland some serious classical overtones to boot.  They keyboards areairy and very effective and the vocals are rough but highly listenable.Sculptured,from the US, are next and take a similarly melodic approach, though withdeathier vox and a less polished production. Epoch of Unlightalsosuffer some production problems, but the intensity of their high-speedblack metal assault can still be felt, no doubt about it.  The vocalsare of the extremely screechy Hecate Enthronedvariety for the mostpart.  With more time in a better studio, these guys could reallydevastate.

Ukrainian black metallers Nokturnal Mortum are next with a cutfrom their Goat Horns release, a wonderful blend of modernblack metal and eastern European folk music.  Mental Home returnagain for a moodier (but still excellent) track, this time from their Valerecord.  Greece’s Odes of Ecstasy are next, delivering probablythe most unique song on this comp.  Starting off with clean guitarand a beautiful piano complement, “Faithless” evolves into a greatmid-tempo track with operatic female vocals as the lead and some deathlymale vox here and there.  Personally, I’d lose the latter, as theytend to undercut the majesty of the song, but Odes of Ecstasy isdefinitely another band I would bet on making serious waves in 1999.

US outfit Scholomance are a strange brew of black, prog and deathmetal, with lots of odd keyboards and unusual riffs.  NokturnalMortum finish things off (literally) with a thoroughly annihilatingtrack from their brand new release, To The Gates of Blasphemous Fire. The folk elements are still there, but the band have seriously upped thebrutality factor this time around.  That, coupled with strong production,makes this one of the best cuts on the album.

While some of the bands on offer here could use a bigger recording budget,that is the pitfall of discovering talent in the raw.  And, believeme, The End have done an amazing job of finding some truly talented bandsfor their line-up.  If you’re unfamiliar with these bands, definitelyget this comp.  It’s cheap, though it will no doubt lead you to buyingone or more of the albums it is culled from.
[Daniel Hinds]